A cinematic scrapbook
Supercut is where you keep the shots, moods and half-ideas that a film is made of — for a short, for the next video, or for the one you’re living. Collect them as they turn up. Thread them onto a reel when the story shows itself.
Google or a magic link. No password to invent.
The story path: your scenes in the order you’d watch them, gaps and all.
What people plan in it
Park every reference, mood and framing note against the scene it belongs to, then lay the scenes out as a reel and see the shape of the thing before you shoot a frame.
One cinescape per video. Thumbnails, b-roll ideas, the joke you thought of in the shower — all sitting in order, waiting for a shoot day.
The trip, the year, the flat you’re about to leave. Collect the scenes while they’re happening and let the story turn up later, which is what it does anyway.
The method
A cinescape is one film — a project, a trip, a channel. Name it, and its card on your wall becomes its poster.
Each scene holds a reference image, a sketch you draw yourself, notes, and mood, lighting and genre tags. Supercut writes the image prompt for you from them.
Thread the scenes onto the reel, frame by frame. Drag one into a gap, swap two, pull the whole strip loose and reseat it. The order is the edit.
Your wall
The card for a project isn’t a folder with a name on it — it’s a one-sheet you design. Eight templates, your own paper and ink, and every line on the poster typed straight onto the poster.
Four of the eight templates. The stills above are stand-ins — yours are your own photographs.
How it thinks
Six things Supercut believes about making something. They’re not settings — they’re why the app is shaped the way it is.
You almost never meet the scenes of a story in the order they’ll be told. Supercut is built to take them as they arrive.
Scenes, frames, reels and cinescapes — never entries, slots or collections. The language you plan in shapes what you make.
Gaps on the reel are kept, not closed. A hole in the middle of the film is you knowing something belongs there.
A scene sits in one place on the story path. If it wants a second, it’s two scenes.
Reorder mode lifts the film off the reel and lets it shake about until you’re happy. Then it threads straight back.
Naming the thing and putting a sheet on the wall for it is how it stops being a folder and starts being a film.
One film. A project, a trip, a channel.
One moment: image, sketch, notes, mood.
The reel — your scenes in order.
One slot on the reel. It can sit empty.
The cinescape’s card. You design it.
You don’t need the story yet. You need somewhere to put the first thing you noticed.