Move AI

The company sells three distinct products under one brand. Move One is single-camera, markerless motion capture aimed at individual creators — it runs as an iPhone app or through a web uploader, tracks one person at up to 1080p and 60fps, and exports body and hand/finger movement without requiring a suit, markers, or a dedicated capture volume. Move Pro is the professional tier: multi-camera capture (up to 12 synchronized cameras, supporting GoPro, Sony, and other standard hardware), 4K resolution, up to 120fps, and multi-person tracking for up to eight people in a volume as large as 20 by 20 meters. Move Live is a separate real-time product for broadcast, virtual production, and interactive applications, promising sub-100ms latency and an Unreal Engine plugin — it's positioned for live events rather than post-production work.

The pitch across all three is the same: markerless capture means you can get usable motion data from a phone or a small multi-camera rig instead of renting time in a suit-based mocap studio. Whether that trade-off makes sense depends heavily on how much precision your project needs and how much footage you're processing.

Move One's plans scale from a genuinely free (but non-functional for capture) tier up through four paid levels. Free gives you zero processing credits — it's there so you can look at the app before paying. Personal, at $15/month or $10.50/month billed annually, includes 2,250 monthly credits (about 375 seconds of processing on the Gen 1 model) but restricts use to non-commercial projects. Standard, at $50/month ($35 annually), adds commercial-use rights and 7,500 monthly credits. Advanced, at $250/month ($175 annually), unlocks the higher-fidelity Gen 2 model and jumps to 37,500 monthly credits.

The credit math matters more than it might seem. Move AI charges by processing time and model complexity, not by finished clip length: the Gen 1 single-camera model burns 6 credits per second of footage, Gen 2 burns 12 credits per second, and going over your plan's allowance triggers automatic overage billing at $0.0067 per credit. In practice that means a two-minute unedited take costs far more in credits than trimming to the 15 seconds you actually need before uploading — the system rewards planning your capture, not shooting long and cutting later.

Move Pro doesn't have a standard subscription tier at all. The only self-serve option is a 30-day trial for $995, which includes 1,000 credits (roughly 1,000 seconds at the multi-camera credit rate of 1 credit per camera per second) and commercial-use rights. Beyond the trial, Move Pro and Move Live are both Enterprise-only, with pricing set through a sales conversation based on camera count, capture volume, and support needs.

Autodesk's Flow Studio (formerly Wonder Dynamics) is the most useful comparison, because it also produces usable motion data — but Flow Studio goes further, adding automatic character compositing and lighting matching on top of the tracking step, whereas Move AI stops at clean motion data and leaves compositing to whatever pipeline you feed it into. If you need character replacement in existing footage, Flow Studio does more of the work; if you only need the mocap data itself, Move AI is the more focused (and for casual use, cheaper) tool.

Against traditional suit-based systems like Xsens or Rokoko, Move AI's pitch is speed and cost: no suit calibration, no dedicated capture space, and a phone is often enough for Move One. The trade-off is precision — markerless systems are more sensitive to occlusion, lighting, and camera placement than a properly calibrated suit rig, which is part of why Move Pro's multi-camera setup exists as a middle ground for productions that need more reliability than a single iPhone can offer but don't want the overhead of a full suit-based stage.

Move One being iPhone-only on mobile is a real limitation if your team standardizes on Android. The credit-expiry policy (no rollover) means inconsistent usage patterns — heavy one month, light the next — waste money compared to a flat subscription. And Move Pro's total absence of a mid-tier subscription plan (it's either a one-time $995 trial or a custom Enterprise deal) makes it a poor fit for a studio that wants ongoing multi-camera capture without either overcommitting to Enterprise pricing or repeatedly buying trial periods.

Because credits are billed per second of processed footage rather than per finished clip, the practical way to control cost is to edit before you upload, not after. A 90-second raw take that gets trimmed to the 12 seconds you actually need still costs the same in credits as any other 90-second take if you upload the whole thing — Move AI has no way to know which section you'll keep. Shooting shorter, more deliberate takes, and doing rough trims in a phone's native editor before handing footage to Move One, stretches a Personal or Standard plan's monthly allowance considerably further than uploading raw footage and cutting afterward.

The other lever worth knowing about is model selection. Gen 1 (s1) processing costs half as many credits per second as Gen 2 (s2) on Move One, and Gen 2 is only available starting on the Advanced plan. For most single-actor, well-lit capture, Gen 1 is enough; Gen 2's extra fidelity mainly pays off with faster or more complex motion, so there's little reason to upgrade a plan solely for model access unless a specific shot is giving Gen 1 trouble.

For an individual or small team that wants motion-capture data without building or renting a capture stage, Move One's Personal or Standard tier is a reasonable, clearly priced entry point — just budget for the fact that credits are consumed by processing time, not finished output, and that trimming footage before upload matters more here than it does with most subscription software. For studio-grade multi-camera work, expect to either burn through the $995 trial quickly or move straight to an Enterprise conversation, since there's no self-serve middle tier for Move Pro.