Genjutsu Motion Transfer vs Object Swap: which mode fits the shot?

What is the difference between Motion Transfer and Object Swap?

Motion Transfer rebuilds the broader scene around the performance in your source video. Object Swap keeps the shot as it is and replaces one targeted element. Both use the same source footage and one character image, but they answer different questions: "what should this whole shot become?" versus "what single thing should change?"

The distinction matters before you spend credits. A Motion Transfer run is designed for a larger visual rebuild; an Object Swap run is designed for a narrower edit. Choosing the wrong mode can make a simple product change drift into a full-scene regeneration, or leave a full recast looking like a patch.

• Read the Motion Transfer workflow
• Read the Object Swap workflow

When should you use Motion Transfer?

Motion Transfer fits a project where the performance is already right and the visible world around it should change. The source clip supplies the body movement, camera path and timing; the character image and prompt define the new subject and scene.

This is the mode for character recasts, location changes, outfit rebuilds and larger creative transformations. It is not a face-only overlay, and it does not promise that the original person remains recognisable underneath.

• A dance, walk, fight or product interaction that must keep its exact rhythm.
• A new character or performer replacing the visible subject.
• A new location or visual world around an approved performance.
• A short social clip where the real motion is the reason the video works.
• A shot-by-shot series that will be assembled in an editor later.

When should you use Object Swap?

Object Swap is the narrower tool. Use it when the shot, performer, camera and background already work and only one element needs to change: a product, prop, piece of clothing or small visual detail.

Because the rest of the frame is meant to stay intact, the source clip should be clean and the target element should be clearly visible. If the object is occluded, tiny, moving quickly or covered by hands, expect more retries. Exact labels, legal text and logos still belong in post-production.

• Swap a product into an existing hand-held demonstration.
• Change one garment or accessory without rebuilding the performer.
• Replace a prop while keeping the same camera move.
• Test a packaging or colour variant on an approved take.
• Keep the original background and supporting cast intact.

What do both modes require on this site?

The current generator requires one character image and one reference video. The video must be a continuous source between 3 and 30 seconds, and the image should be clear enough to show the identity, product or styling you want.

A prompt directs the change but does not replace either file. Both modes also require an active plan with enough credits for the estimate shown before submission.

• One sharp character or subject image.
• One MP4 or MOV source video between 3 and 30 seconds.
• A continuous shot without internal cuts or speed ramps.
• A prompt that names what changes and what must stay.
• Credit for the displayed duration and quality estimate.

How do credits compare between the two modes?

On this site, the credit estimate is based on source duration and selected quality, not on the mode name. A 6-second 720p Motion Transfer run and a 6-second 720p Object Swap run use the same credit formula; the estimate is shown before you submit and the server recalculates from the uploaded file.

That makes the decision about output, not price. If one element is the only problem, Object Swap is usually the more efficient creative choice. If the whole scene must change, Motion Transfer avoids trying to force a large rebuild through a narrow edit.

• Understand duration, quality and credit math

What are the common failure modes?

Both modes are generative and probabilistic. Identity can drift when the subject turns, hands pass in front of the face, the camera moves quickly or several people occupy the frame. Object Swap can also change neighbouring pixels, soften edges or alter a label that was supposed to remain untouched.

Fix one variable at a time. Start with a shorter, cleaner source, match the reference image to the framing and body proportions, and test at 720p before paying for a longer or 1080p finish.

• Use one continuous action with a readable camera path.
• Keep the subject visible through the important frames.
• Avoid occluded hands and fast turns around the target element.
• Match image framing and proportions to the source video.
• Judge the full clip, not a single frame.

Which mode should you test first?

If you are unsure, start with a 3 to 6 second 720p Object Swap test on a clean shot. It isolates one change and shows you how well the reference, edges and background hold. If the goal is a full character or scene rebuild, run a short Motion Transfer test instead.

Do not compare modes using different clips, durations or quality settings. Keep the source and quality constant, change only the mode, and review identity, hands, edges and camera before committing to a larger run.

Key takeaways

• Motion Transfer rebuilds the broader scene; Object Swap targets one element.
• Both modes use one image and one 3–30 second source video here.
• Credits depend on duration and quality, not the mode name.
• Choose Object Swap for surgical edits and Motion Transfer for full recasts.
• Test short and at 720p before scaling duration or resolution.