Reshoot brings AI video-to-video editing to Picsart Flow

Reshoot is the new node in Picsart Flow that re-shoots a video with new people, products or places. It is AI video-to-video editing that keeps the take and changes what is in it. Connect a clip and a few reference images, write a note about what should change, and Flow re-renders the clip while the motion, camera and cuts stay exactly as filmed.

One run renders one take on a new node next to the original. Run it again with different references, and one product video becomes a whole catalogue: the same motion with every colourway, every model and every location.

What is Reshoot?

Reshoot is a video-to-video node in Picsart Flow. The clip you already shot sets the motion, the camera moves and the cuts. Your reference images set what appears in it: a new cast, a new product or a new set.

How to use Reshoot in Picsart Flow

Every Reshoot run follows the same five steps. Your references and your note decide the result.

Recast or Swap: the two Reshoot modes

Reshoot has two modes, and the difference is how much of the frame changes. Pick the mode before you write the note.

Recast suits a full reshoot with a new cast in a new place. Swap suits a targeted change, such as one product in an otherwise finished shot.

Character swap with Recast

Recast is the character swap mode. It rebuilds the cast, the wardrobe and the set from your references, so the same take plays out with different people, in different clothes, in a different place.

The performance itself carries over. The motion, the camera moves and the cuts stay exactly as filmed, so the result is the same scene with a new cast.

Swap a product and keep the shot

Swap is the narrower mode. It changes only what your references point at and leaves the rest of the clip alone.

That makes Swap a form of AI product placement. Point a reference at the product, and the new product takes its place in the same take, with the same motion and the same framing around it.

What stays exactly as filmed

Reshoot changes what is in the frame, not how the frame moves. Three things carry over from the original clip on every run, in both modes.

• The motion. Every movement in the take plays out the same way.
• The camera. The camera moves stay as they were shot.
• The cuts. The edit points land in the same places.

The length carries over too, because the output follows the length of the clip. That is what lets a set of variants line up shot for shot, so the only difference between them is what your references changed.

What goes in and what comes out

Reshoot works within a few clear limits. Here is the full range in one place.

Mention a reference in the note with @, and its first frame shows in the list. That ties each part of your note to a specific reference image.

Writing the note

The note is where you say what should change. It works alongside the reference images, and the @ mention is what connects the two.

Mention a reference with @, and its first frame shows in the list, so you can see which image each part of the note points to. With up to 30 references in a single run, naming each one in the note keeps the instruction clear.

Then match the mode to the note. A note that rebuilds the whole scene fits Recast. A note that changes one thing fits Swap, which leaves the rest of the clip alone.

How the director step works

A director step sits between your inputs and the render. It reads the clip and the reference images, then writes the edit prompt itself.

A video model then renders that prompt into the new take, and the output follows the length of the original clip.

One take, every variant

The idea behind Reshoot is simple: shoot once, then produce every variant from the same take. For performance marketers, that turns one product video into a full set of ads without another shoot. Each run renders one take on its own node next to the original, so the variants build up next to each other on the canvas.

Every colourway

Keep the product video exactly as shot and run Reshoot with a reference for each colourway. Every version moves the same way, so the variants line up. Each colourway lands as its own take, ready to compare against the rest.

Every model

Use Recast to put a different cast into the same take. The motion and the cuts stay as filmed, so each version is a like-for-like comparison. The wardrobe can change with the cast, since Recast rebuilds the wardrobe from your references too.

Every location

Recast also rebuilds the set. The same performance can play out in a new location on each run. Because Recast rebuilds the cast, wardrobe and set together, one run can change the people and the place at once.

Every product

Use Swap to replace only the product in a finished shot. Everything else in the clip stays untouched, which suits a take where the product is the only thing that needs to change.

Reshoot your first take in Picsart Flow

Pick a clip you already like, between 4 and 30 seconds, and connect it to the Reshoot node in Picsart Flow with up to 30 reference images. Then write a note about what should change. Each run lands as a new take next to the original, so the next variant is one more run away.