Script free with an account·render in about a minute·no watermark on any plan
Claymation Video Generator
Hand-moulded plasticine on a miniature set, fingerprints and all, from a line of text.
Start free — no credit card, and the script and the shot list cost no credits.
01Tell it about one person. A habit, a street, a routine. Small human subjects are what this look was made for.
02A miniature set per scene. Plasticine figures with visible fingerprints on a hand-built set, warm practical light, shallow focus.
03Soft read, small captions. A gentle storytelling voice over a lo-fi bed, with unobtrusive captions timed to the words.
Voice:
Elli
Captions:
Subtle
Music:
Lo-fi
Format:
Vertical 9:16
What comes out
The settings this page ships with, and the shape they produce
Every example on this page is labelled with the exact configuration behind it, including the one that says it is a drawing.
Layout mock-up
A postman who has delivered to the same street for thirty…
Style: Claymation
Voice: Elli
Captions: Subtle
Ratio: 9:16
A mock-up of the frame and caption layout at this page’s settings — TikTok, Reels and Shorts, lo-fi music bed. It is a drawing, not a rendered video: we have no published render library to show you yet, and a stock clip dressed up as our output would be worth less than saying so.
Your input
“A postman who has delivered to the same street for thirty years and knows which doors to knock softly”
Plus this page’s brief, verbatim
Write this as a small, warm, human story, the length of an anecdote rather than an argument. Stay with one person and one place for the whole video and describe habits and small physical details — a kettle, a gate, a particular door — because each of those becomes a miniature set. Keep the narration gentle and unhurried, and end on an observation rather than a moral.
That string is not marketing copy — it is the instruction the script writer is given before it reads a word of yours, and it is the only thing separating this page from the other forty-seven.
The shape that comes back
Scene 1 — the hook
One line that works with no context, because the viewer arrived mid-scroll.
Scenes 2–6 — the body
One idea each, one or two spoken sentences, each with its own image prompt and its own duration.
Final scene — the close
A line that lands the point rather than asking for a follow.
Per scene — the shot
The exact image prompt the model would receive, with this page’s style suffix already appended.
This is the structure, not a saved example. The box at the top of the page writes the real one — with your wording, in about ten seconds, free once you sign in.
5–8 scenes
each with its own line, its own frame and its own length
Under 60s
cut to the narration, not to a fixed per-scene timer
Word-timed
captions burned from the voice model’s own alignment
1080-class
vertical, square or landscape — no watermark on any plan
01
The fingerprints are the point
The style suffix asks for visible fingerprints in the plasticine, and that is the single most load-bearing word in it. A clay frame that comes back perfectly smooth has failed: smooth clay looks like a 3D render with a matte material on it, and the entire appeal of this look is the evidence that a hand was involved.
It is also the most useful thing this preset does commercially. The commonest complaint about generated video is that it looks generated; a frame whose texture is thumbprints and tool marks is the furthest thing on this site from that complaint, which is why it is worth regenerating a scene that comes back too clean.
02
A handmade look asks for a small story
Claymation has a native scale, and it is domestic. A kitchen, a street, a corner shop, one person with a routine — those are the things a miniature set can hold, and they are the things this brief pushes the script towards. A subject that spans a continent gets flattened into a generic landscape and the look stops doing anything.
So the direction handed to the writer is unusually restrictive for this page: one person, one place, habits and physical details rather than argument, and a closing observation instead of a lesson. The result is closer to a short read-aloud story than to a short-form explainer, which is what the style is good at.
03
It is a clay look, not stop-motion, and the difference is honest to state
Real claymation is shot a frame at a time, which is why a two-minute film takes a studio months and why the medium is so admired. This pipeline does none of that: it generates a still image of a clay set per scene and moves a virtual camera slowly across it, then cuts to the next one on the narration.
That means no walk cycles, no moulded mouth shapes, no lip sync, and a figure that changes a little between scenes because each frame is generated independently. Keep the character in mid-shot rather than close-up and the drift reads as the handmade variation the look is already promising.
Who this is for
Four people this was built for
Story and anecdote channels
A look that makes a small domestic story feel deliberately made.
Children’s storytellers
The register a read-aloud already has, without a set or a camera.
Local and community brands
Warm and handmade, which is what a small business usually is.
Writers with a short piece
Frames that suit an anecdote rather than illustrating an argument.
Compared
What this replaces
Six things somebody has to arrange to make one short, and who arranges them.
Input
The usual way: Sculpt the figures, build the set, and shoot twelve frames for every second.
With Veedio: One anecdote in a sentence. The clay and the fingerprints arrive with every frame.
Visuals
The usual way: A studio quotes a stop-motion short in months, and a dropped figure costs a day.
With Veedio: A miniature clay set generated per scene, regenerated free when one comes back too smooth.
Voiceover
The usual way: Record the read first, then animate the mouths to it, a frame at a time.
With Veedio: A soft storytelling voice over the finished scenes, re-read for nothing when the line changes.
Captions
The usual way: Auto-captions that drift, then an hour nudging keyframes.
With Veedio: Burned in from the voice model’s own word alignment, so they land on the syllable.
Turnaround
The usual way: Days, and most of it waiting on someone else.
With Veedio: About a minute, and you watch it fill in scene by scene.
Changing it
The usual way: Re-record the line, re-cut the timeline, re-export, re-upload.
With Veedio: Edit the line and regenerate that one scene. Regenerating a scene is free.
The usual way
With Veedio
Input
Sculpt the figures, build the set, and shoot twelve frames for every second.
One anecdote in a sentence. The clay and the fingerprints arrive with every frame.
Visuals
A studio quotes a stop-motion short in months, and a dropped figure costs a day.
A miniature clay set generated per scene, regenerated free when one comes back too smooth.
Voiceover
Record the read first, then animate the mouths to it, a frame at a time.
A soft storytelling voice over the finished scenes, re-read for nothing when the line changes.
Captions
Auto-captions that drift, then an hour nudging keyframes.
Burned in from the voice model’s own word alignment, so they land on the syllable.
Turnaround
Days, and most of it waiting on someone else.
About a minute, and you watch it fill in scene by scene.
Changing it
Re-record the line, re-cut the timeline, re-export, re-upload.
Edit the line and regenerate that one scene. Regenerating a scene is free.
Related tools
Same engine, different preset
Twenty more pages over the same pipeline. Each one is a different brief, a different look and a different page — and each one prints its brief the way this one does.
No. It is a generated still of a clay set per scene with a slow camera move on it. Real claymation is shot a frame at a time over months; saying otherwise would be claiming a craft this pipeline does not have.
Why do the captions default to small?
Because the miniature set is the thing worth looking at and a big block of text covers it. Bold and highlight captions are both one dropdown away if your feed needs the louder option.
The frames came back smooth and shiny. Is that right?
No — regenerate them. Visible fingerprints and tool marks are what separate this look from a plain 3D render, and a scene without them has lost the only thing it was for. Regenerating a scene costs nothing.
Can the same character appear all the way through?
Roughly. Each frame is generated on its own so the figure varies a little between scenes. In this style that variation reads as handmade rather than broken, provided you keep the figure in mid-shot rather than close-up.
Is there lip sync?
None. Nothing in the pipeline animates a mouth to the narration, in any style. The voice plays over the scenes and the captions carry the words.
What do I need to try it?
A free account and no card. Writing the script and seeing the shot list costs no credits at all; rendering it into a file spends from the 60 credits the account starts with.
Do I have to sign up to try this?
Yes, a free one. Signup takes a moment and needs no card. Once you are signed in, the box at the top writes the script and the shot list for no credits — that is the part that decides whether the video is worth making — and rendering it into a file uses the 60 free credits the account starts with, about four videos.
What does it cost after the free credits?
Starter is $19 a month, Pro $49, Studio $149. A credit is a unit of pipeline cost rather than a video, so a five-scene short costs less than a nine-scene one, and you see the estimate before you spend anything.
Do I own the videos, and is there a watermark?
You own them, on every plan including the free credits, and there is no watermark on any plan, no resolution cap and no platform withheld. Four things do follow the plan, because they are what a video costs to make: AI motion and sound effects need Starter, a presenter avatar and the choice of video model need Pro, and a free account tops out at a minute where paid plans go to three. Everything else — every voice, every language, every caption style, every aspect ratio — is the same on all of them.