How it works
Media
Your images and videos, and the slots a motion puts them in. Drop files into the Media panel; the active motion takes them in order.
Order is meaning
A motion asks for layer index 0, 1, 2 — so the order of the list is the order of the cards. Drag to reorder, and hide a card without deleting it when you want to try the clip without it.
When a motion places more cards than you have files, it cycles the set across the field rather than leaving gaps — which is how six photos fill a gallery wall of a hundred cells.
Video is a live texture, not a still
A video card decodes into a texture that updates every frame, on both backends. It plays inside the card while the card moves, and it is captured that way in the export too.
A video shorter than the clip has to do something when it runs out, and that is a choice: loop restarts it, hold freezes on its final frame. The setting applies to the preview and the export identically, so what you watched is what you get.
Card shape and the crop
Cards are not the shape of your files — they are the shape the scene asks for, and your image is cropped to fill it. The scene-level choice is auto plus 6 explicit ratios: 1:1, 4:5, 3:4, 4:3, 9:16, 16:9.
auto is the one worth understanding. It defers to the shape the template itself declares, falling back to a 4:5 portrait. That is why picking one family gives you square cards and another gives you portrait ones without you touching anything — and why the ported families set auto on purpose: their presets each declare their own shape, and pinning one ratio for the whole family came out wrong on most of them.
Full-bleed motions ignore all of it and crop to the canvas aspect instead. A part-screen card in a full-bleed field would leave a gap, so the choice is not offered.
Crop focus, per card
Cropping to a shape throws pixels away, and which pixels is your call. Each card carries its own focus point — the middle by default — so a face near the top of a landscape photo survives being squeezed into a portrait card. It is stored per card, not per scene: one badly framed photo does not force a compromise on the rest.
Your uploads survive a reload
Uploaded files are kept in the browser’s own database, not as temporary links that die when the tab closes. Reopen the project and your images come back with it.
Which also means they live in that browser, on that machine. Nothing is uploaded anywhere — that is the point of the tool — so a project moved to another computer needs its files again.
What the demo set is for
A new scene starts with a demo set so the catalogue previews are not empty rectangles. They are marked as demo assets: replace them with your own and nothing of yours is mixed in with them.