Coming soon · macOS
Paper Cut is the story stage before the edit. It works beside you as you build — quietly surfacing the next piece that fits, honest about what’s there and what isn’t. You open your NLE with the arc already in place, and spend the edit refining instead of searching for it.
Coming to macOS first, then Windows — we’ll email you when it ships.
First frames first
The problem
You can’t hold a hundred hours in your head — so Paper Cut does. It surfaces what’s in the footage and organizes it by theme, scene, collection, and through-line, so you start with a leg up instead of a blank timeline.
The principle
Paper Cut works beside you, not instead of you. As you build, it reads what you’re making and offers the next piece — quietly, and only when it’s a real fit. It proposes; you decide. Every call stays yours.
What it does
Working together
As you build, Paper Cut offers what might come next — a scene to open with, a clip for the moment you’re on. Quiet suggestions, never auto-everything. Promote what lands, wave off the rest — and it learns your taste with every call.
✦ Here’s what I’m seeing — Day 6
Intimate moments, reflective drives, and the practical rhythm of RV life — strong emotional beats, a mix of verité and context.
Establishes the dynamic between Brian and his subjects — the human connection, the Americana setting.
A more intimate, artistic portrait — widens the range of subjects in the project.
The landing
Every clip clustered by what it’s actually about — theme, region, shoot day, visual quality. Your strongest material rises to the top. Filter, and the whole board recomputes on the spot.
Top picks — your strongest material
By theme
By region
By visual quality
The memory
Every clip watched, rated, and transcribed down to its moments — that’s the memory Paper Cut draws on. Layered like your own, it connects a feeling to the exact place it lives, which is how it knows what to suggest next. The more you build, the more it connects.
Highlights
00:00 Opening close-up — masked Elvis, full glitter. The image is the thesis.
00:21 “So that’s why the king’s wearing the mask.”
Transcript
brian You live in Vegas?
subject Twenty years. First time I’ve put the suit on in a month.
The hand-off
Cut at the story level — arrange scenes on the node canvas, even edit by transcript inside a node — without the ticky-tacky frame-trimming of an NLE. It’s an approximation, not the final cut. When the shape holds, send it to Premiere, Avid, or Resolve and spend that time refining, not rebuilding the arc.
If the footage isn’t there, Paper Cut says so. It never pads results or oversells a clip to look busy.
Bookmark a scene, branch it, revert in two clicks. Every version lives side by side — nothing’s ever lost.
Run fully private on-device, or switch on managed cloud AI with Sync. Either way, the footage stays yours.
Collaboration
A cut is a conversation — between you and the footage, and between everyone with a stake in the film. Paper Cut keeps that conversation in one place, wherever the work happens.
With Sync, every project lives where you do — the edit bay, the hotel room, the kitchen table. Open any machine and pick up on the exact frame you left.
Invite a director or producer in as a collaborator. They shape a scene, hand it back, leave a note on a clip — the story moves between you, instead of living in one person’s head.
When a cut is ready, load it onto your active Premiere or Avid sequence from the in-app panel. No exports to chase, no round-trips to untangle.
Questions
It is — just not an NLE. You edit in Paper Cut, but on a node canvas instead of a timeline: expand a node and it opens an edit-by-transcript view, where you highlight the passages you want and it sequences them for you. It handles the story-level cut and skips the ticky-tacky frame-trimming. When the shape holds, hand it to Premiere, Avid, or Resolve for the fine cut.
No. Paper Cut runs locally. Only AI requests — thumbnails plus a small set of frames per clip — are sent to Anthropic during analysis, using your own API key. Your original media stays on your drive. When cloud sync ships, it’s opt-in and encrypted, and you choose what to share.
Paper Cut runs on simple monthly plans — from $12/mo Standalone (local-only, fully private) up to the Sync tiers with managed cloud AI and remote collaboration. See Pricing for the full breakdown.
Paper Cut ships with dedicated Premiere and Avid panels that load your stringout straight onto the active timeline — no round-tripping. It also exports AAF and FCPXML, covering Avid, Premiere, Resolve, and Final Cut. The catalogue itself is editor-agnostic — you can use Paper Cut purely as a logging tool even if you cut elsewhere.
Anything ffmpeg reads — ProRes, H.264, H.265, BRAW, R3D, DNxHR, ARRIRAW (via proxies). Mixed-framerate projects are handled. The catalogue tracks source timecode so AAF relink is reliable.
Paper Cut is the first software product from Supergiant — a documentary post-production specialist and software label. Built by a working editor, for anyone who has to find the story in a mountain of footage.
macOS first. Windows is on the table once 1.0 ships. Linux later, maybe.
Plans
Standalone
$12/mo
Everything runs on your machine.
Sync Solo
$20/mo
Managed cloud AI + your projects, anywhere.
Sync Teams
$50/mo
Bring the whole room into the project.
Enterprise
Let’s talk
For large teams and companies.
Need more hands? Add remote collaborator seats to any Sync plan — $8/mo each.
Paper Cut · coming soon to macOS, Windows to follow