Aisma vs 7 popular AI video editors:
same clip, same request

Removed the background people in every shot: the beach pair and a figure on the rocks (8.00, 10.75 s), the walker (16.25–21.75 s) and the seated people (22.25–27.25 s), with clean fills, and left shots 1 and 3 as filmed. Aisma did it in one run plus one extra edit of the last shot (22–27.5 s): “Also remove the shirtless man sitting on the sand on the right, beside the blue and yellow striped beach chair.” The price includes both.

Removed no one: the beach pair (8.00, 10.75 s), the walker (16.25–21.75 s) and the seated people (22.25–27.25 s) all remain. The sky and light of 11.25–15.75 s were regraded cooler and the subject of shot 5 brightened, which the request did not ask for.

Removed no one: the beach pair (8.00, 10.75 s) and the seated people (24.75 s) remain, and the walker turned into a dark silhouette (19.00 s). Shot 4 was regraded darker, toward night. Its cuts came late: at 5.25, 16.25 and 22.25 s the previous shot still shows.

Cleared the background people in shots 1, 3 and 4 with clean fills. A few tiny distant pedestrians remain (0.25, 6.75 s), with a figure at the far left (16.75, 19.75 s) and a faint one at the right edge (26.25 s).

Removed at most the foreground cyclist in shot 1, where the cyclists may only have been reshuffled. The pair and café crowd (3.5, 6.75 s), the bench group (13.75–19.75 s) and the walkers and seated people (20.25–26.25 s) remain.

Removed no one in any shot. At 20.25 s it still shows shot 3 where the source has cut to shot 4. At 23.25 and 26.25 s the man in shot 4 has a second backpack on his shoulder beside the one in his hand.

Turned all four shots into a convincing night with street lights, keeping the people, cars, framing and cuts. The station shot (11.00–16.50 s) is lit a little flatly, closer to dim daylight.

Turned every shot to night, with lit windows and streetlights. The silver car turned black at 16.50 s and parked cars were removed at 19.25 and 21.50 s. The station shot (11.00–16.50 s) went dark enough to lose background buildings, people and detail.

Shot 2 (6.00–10.50 s) stays in daylight, and from 13.75 to 16.50 s only the sky turned black over a sunlit scene. Shot 2 runs past its cut, still showing at 11.00 s. It added a walker (8.25 s) and a minivan (19.25 s).

Put a glossy red raincoat on the dog in all six shots, keeping its red collar, the cuts and the framing, with no visible artifacts. The coat’s design may shift a little between shots: hooded at 0.25 s, plainer and without a hood at 10.25 s.

Put the same red hooded raincoat on the dog in every shot. Two cuts come late: at 14.25 s it still shows the walking shot where the source has cut to the man, and at 17.25 s it still shows the bench shot.

Put a red garment on the dog in every shot, but it reads more as a padded vest than a raincoat. Its design changes between shots: a hooded zip at 6.75 s, a flat band at 12.00 s that looks pasted on and a zip vest at 14.25 s; the hood appears at 6.75 and 17.25 s but not in shot 1.

Turned all 43 seconds to winter in one go, with snow everywhere. It also added scenery the request did not ask for: power lines from 23.86 s, large trees at 33.31 and 42.75 s and a sign at 9.69 s.

Turned the white dress red throughout its shot and left the green and the yellow dress shots untouched. In that shot the background turned slightly cooler, and the eyelet lace may read bolder than filmed (3.83, 6.50 s).

Turned the white dress red throughout shot 2. At 3.83 and 6.50 s her tinted glasses became black sunglasses, and the lace dress became plain satin with a flared skirt.

Turned shot 2 red but re-staged it: at 3.83 s she faces away. The white close-up at 9.17 s is gone, with the striped-dress shot in its place, and shot 3 (9.67–14.54 s) was regenerated with different framing, poses and cut point.

Turned the green dress of shot 1 red (0.25–3.33 s) and left the white dress white (3.83, 6.50, 9.17 s). The close-up at 9.17 s is softened or smeared, and the pattern at 9.67 s was recolored.

Turned the dress red in shot 2 (3.83, 6.50 s); at 9.17 s the close-up is smeared and the lace lost. At 9.67 s, where the source shows the blue-and-yellow dress, it still shows a blurry red close-up, and its file ends at 10.08 seconds, so the rest of that shot is missing.

Turned the white dress red throughout its shot, keeping the cut, the slits and the eyelet texture, and kept the green and the striped dress shots as filmed. The wall in that shot turned slightly cooler (3.83–6.50 s).

At 3.83 s the white-dress shot opens in a green dress with a red flap. At 6.50 s the dress is red but flared, with several slits, losing the straight cut. The striped shot may also have been regenerated, with her in another position (12.10, 14.54 s).

At 3.83 s she is seen from the back in a green dress, not a red one, and her pose changed at 3.33 s. The striped shot was regenerated with a different pose, position, pattern and motion (12.10–14.54 s), and her face is smeared at 14.54 s.

Swap Anything needs a reference photo for an outfit, so it also got a photo of a red strapless gown, with the request and a pointer to that photo. It put the same long red satin gown in all three shots, replacing the green dress (0.25–3.33 s) and the striped one (9.67–14.54 s) as well, and changed the cut and length from midi to floor length.

Turned the dress solid red with its slits at 3.83–6.50 s. From 9.17 s the picture goes dark, nearly black at 9.67 s, where the source shows the striped dress, and its file ends at 10.08 seconds, so the rest of that shot is missing. Her pose also appears changed at 3.33 s.

Turned the green dress red instead (0.25–3.33 s) and left the white dress white (3.83–9.17 s). It put dark sunglasses in every shot, replacing her tinted pair at 6.50 s and adding a new pair at 12.10 s.

Replaced the bottle with the white can in all three shots and kept the scene. The grip on it changes at 3.25 s, the framing may shift a little at 6.25 s, and in shot 3 the can turns light gray (13.25, 16.25 s).

Put a white can in shots 1 and 2, though the object at 6.25 s may read as an unclear tall cylinder. In shot 3 (13.25–16.25 s) it is an oversized white cylinder with the label removed and no can rim, closer to the bottle or a tube than a can.

Swapped in a can in every shot, but a chrome blue or silver one, not the white can from the photo. At 6.25 and 12.75 s the can keeps the sport bottle’s cap, and its color shifts between shots.

Shows the can only at 0.25 s; from 3.25 s on the bottle stays. It added text to the bottle at 6.25 s and replaced the stadium seats and trees of shot 3 with track (13.25, 19.25 s).

Put him in a black, distressed leather jacket with a stand collar and zip pockets, a close match for the photo, in all three shots. His face, pose and red trousers, the background and the cuts were kept, with no visible problems.

Put him in a black leather jacket with zip pockets in all shots and kept the scene, his face and the cuts. The jacket is close to the photo, though it may be smoother, with a more generic collar than the photo’s distressed stand collar. His right hand on the railing is smeared at 4.75 s.

Put him in a distressed stand-collar leather jacket with zip pockets in every shot, but faded charcoal-gray rather than the photo’s black. At 7.50 s his raised hand is blurry and its pose differs slightly; the scene was kept.

Put him in a glossy leather jacket, not the photo’s distressed one, with few of its zip details. The design changes between shots: a shirt collar at 0.25 and 12.00 s, a stand collar and flap pockets at 7.50 s. His right hand is slightly smeared at 4.75 s.

Put him in a jacket close to the photo in every shot, but changed the shots: shot 2 already shows at 4.75 s, his pose changed at 7.50 s, and shot 3 (9.75–13.75 s) was replaced by a different canopy-pier scene and framing.

Changed the overshirt to camel corduroy at every moment and kept the red inner layer, the bag strap, the hoodie, the beanie, his face and the boardwalk. Clean and consistent throughout, with no visible problems.

Changed the overshirt to camel corduroy with a similar fit at every moment and kept the strap, the red inner layer, the hoodie, the beanie, his face and the boardwalk. At 6.22 and 7.71 s his head pose and eyes may drift slightly, with a small shift in framing.

Changed the overshirt to camel corduroy throughout, but removed the red inner layer and the crossbody strap at every moment (0.25, 6.22 s); the hoodie fills the gap.

Changed the overshirt to corduroy throughout, but in a darker rust or cognac rather than camel, and removed the bag strap at every moment (0.25–7.71 s). It kept the red inner layer, which may look repatterned at 6.22 s, the hoodie, the beanie and the scene.

Changed the overshirt to camel corduroy everywhere, with a slightly boxier fit, but replaced the red inner layer and removed the crossbody strap throughout (0.25–7.71 s).

Removed the SUV at every moment and rebuilt the paving, joints and all, and the open garage with the pickup inside it, as filmed. The houses, tree, planter, gate and camera were kept, with a slight overall shift in brightness.

Removed the SUV throughout and kept the rest of the scene. It rebuilt the garage dark and empty, so the pickup inside it is gone too (6.22–7.71 s).

Removed the SUV throughout and kept everything else, but rebuilt the open garage as a closed garage door, which hides the pickup (0.25–7.71 s).

Removed the SUV throughout and kept the rest, but rebuilt the garage interior lighter and empty, removing the pickup inside it (6.22, 7.71 s).

Removed the SUV throughout and kept everything else, but rebuilt the garage as an empty, lit carport, so the pickup inside is gone (6.22, 7.71 s). Shelves inside the garage appear and shift between 0.25 s and 3.23–6.22 s.

Removed the SUV at every moment, but lit the house windows and doorway with warm lights the request did not ask for (0.25–7.71 s). It repaved the driveway smoother and lighter than the source and removed the pickup in the garage.