The same screen — the reel Editor — pitched three ways, at wireframe fidelity. Same publication palette, three different points of view on density, chrome, and where the reel itself sits. Pick one to develop, or steal across them.
Cream ground, serif headings, generous air. The storyboard is a row of paper cards you read left-to-right like a contact strip; a quiet inspector sits to the right. Optimised for writing and shaping copy — the reel-as-manuscript.
Strengths: reads beautifully for copy work; the palette's editorial roots shine. Trade-off: the reel preview is a click away, not always on screen — less "video tool", more "manuscript".
The reel is the hero. A dark charcoal room puts the 9:16 preview centre-stage, a timeline scrubber with an amber playhead runs along the bottom, and produce controls float to one side. This is the direction a video tool wants — and the one krites only mocked but never shipped.
Strengths: you're always watching the actual reel; scrubbing + timing feel native; dark canvas flatters video. Trade-off: heavier chrome for pure copy edits; needs the most build (scrubber, playhead, live preview).
A structured control surface. A compact timeline sits above a card grid, and a right-hand column keeps produce state, spend/quota meters, and per-platform token health in view at all times. For driving a reel from draft to published without hunting for status.
Strengths: everything's visible — timing, per-card assets, spend, token health; great for the produce→publish end. Trade-off: densest of the three; the reel preview is a panel, not the stage.