Welcome, my name is Alenz,
Storyboarder and AI Cinematographer with formal audiovisual
production training and a controlled AI production pipeline.
Experienced in blending traditional artistry like drawing & directing with modern prompting techniques. Backed by years of international work
with global clients.
Alenz Atman
Storyboarder & Film Director
Introduction
STORYBOARDS
Dad, tell me a story.
What kind of story?
A story inside a story!
The big point of a storyboard is that a human that is not you goes over, hard, onto the visual language you are developing for your film. So you can see the frames you do not need and the ones you assumed you had asked for (but never commanded). A few frames out, days of shooting are not wasted. A few frames in, days of reshooting are never called for. Storyboarding is not editing on paper, it is smartening up your checklist manifesto.
GALLERY OF RESULTS
From faster to richer
The boards presented above have permision of the client to be shown in full in this website. Below you have a non-extensive gallery of the possible results you can get. All of them start with a thumbnail or a rough session. Some takes stylistic shortcuts or follow other enhancement techniques that serve to diferentiate the board intentions from all the rest.
The point is to make feel the client in the world of the brand (in commercials). Or to have the right emotional temperature (in cinema). Click on each to get the name of the style or copy paste a screenshot of the above into an email so we can discuss it. Also, allow yoursefl to ask a mix or the style of somebody else. I love work differently each time.
Not one frame here has been done or colored with artificial intelligence.
PROCESS FLOW
LIST OF STYLES
Non-extensive
The styles you see here are:
Fast Sketch: Just to get the point across.
Fast & Bold - Art Brush: Apparent definition with lots of movement.
Fast & Bold - Blunt Lines: Thick, pressure-sensitive lines that focus on clarity over detail.
Fast & Bold - Fat Lines: Definition focused on strong, fast clarity.
Fast & Bold - Texture Brushes: A multiplicity of texture brushes expresses special VFX (fire, ice, etc.).
Defined Line: An equilibrium of detail and simplicity.
Defined Line with Ink: Shadows with increased contrast give weight to the figures.
Defined Line with Ink + Multiple resemblances: To be able to recognize the cast stars.
Defined Line with color highlight: Direct attention to one point in your frame.
Defined Line - Arrow Flight: Perspective drawing with notation of camera path.
Defined Line - Camera Movement: Use of the special inner frame to narrate camera moves.
Defined Line + Lens Distortion: Perspective volumetric calculation to approximate lens effects.
Defined Line + Hatching: Volume and light, hinted by some extra lines.
Defined Line - Ghost Touch: Soft pressure lines to express the delicacy of a subject.
Defined Line + One layer of greys: One direction of light can be expressed.
Defined Line + Spirit Light: One layer of greys erased in a way that simulates abundant light.
Defined Line - Real pencil with real watercolor highlight, mounted in Photoshop.
Cinematic - Rage Pencil: Drawing done through "attacks" (hard, intense lines in an A3). Shadows are done through hatching in the same directionality of movement.
Cinematic - Ink and greys: Fast Sketch, inked with loose greys. Cinema board workhorse.
Cinematic - Real Ink and greys: Ink on paper + digital greys. For a stronger presence.
Cinematic - Grainy Darks: When dark atmosphere is of the essence.
Cinematic - Misty Blurs: When motion blur tells the story.
Cinematic Sauvage: Inks done with Art Brush plus loose greys. Fast iteration with atmosphere.
Simple Greys + Spirit Light: Enough greys to understand light plus strong light effects.
Simple Greys + One Color Highlight: Enough greys to understand light plus one accent in color.
Light and Shadow: From deep inks to very soft greys. The most adaptable to all terrains. Camera path can have shading indicated too.
Duotone: Greys used to indicate light and shadow, confronted by another color with its own
scale of values. Ideal when the color of the product is the theme but fast iteration is needed.
Flat Colors: Palette is more important than light directionality. However, light directionality can be more than hinted within.
Flat Colors with Art Brush: Color applied with texture allows more detail of independent colored elements. Ideal when small color forms need to be present in color.
Simple Volumetric Color: A selective palette with a light direction.
Volumetric Color: Light direction and colors worked alike.
HOW I WORK
I call you on Google Meet, share my screen, and quickly draw all the thumbnails to clear any doubts and avoid surprises down the road.
If that's not possible, I'll send you thumbnails first.
We follow up either on WhatsApp or by email. WhatsApp is for
tight control, email for batches and continuity.
You can call me at any time during the process.
WHAT CAN I DO IN AN HOUR?
I work 10 hours to offer my clients 8 hours of pure work.
Each hour of pure work is easily divisible.
In an hour, I can do:
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Three sketchy frames, ideal for getting the idea across without detail.
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Two frames with defined lines and a bit of hatching, for commercial boards.
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Two cinematic frames for cinema boards. I will ink over the loose sketchy line and add spatial greys.
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One frame with light and shadow, or one frame with flat colors, for a commercial presentation board.
HOW DOES THE ROUGH SESSION WORK?
Once I get the shot list, I draft it in front of you as we talk. I will do a series of
elevations and improvised blueprints to get the camera at the right angle.
I thumbnail ten to twelve images per hour. Explaining things takes some time,
but it's all for the best. You get the best control over your imagery.
At the end of the session, I'll send you the drawings. Later, at your own pace, you can check everything before confirming. Call me to add anything we missed, or to delete what you think is unnecessary.
When you're sure, you give me the green light to move on to the next stage.
TIME CONTROL AND HOUR VALUE
Hourly rate varies according to a private deal between you and me.
Factors that affect that deal are: the speed of the exchange, the deadline,
and if you have a new company. The quicker the exchange, the further the deadline ahead in time and the newer the company, the more economic compression it can have.
Every hour spent can be justified. I log everything with the Clockify app.
I charge for time, not for frames.
Easy frames will cost you little. The ones with foreshortening, multiple likenesses, complex lens effects, or long perspective will take a bit more. My system of work is designed to count as if all frames were hard. This way, there's always a comfortable margin for revisions. Still, time budged but not used is not charged.
IP CLEARANCE
Generative AI does not replace intellectual property law. For agencies building pitch decks with AI-generated frames, that creates a real problem: copyright requires a human author behind a work, and a text prompt alone does not meet that bar. Under current law in both the US and the EU, purely AI-generated content belongs to no one. Anyone can copy it.
A hand-drawn storyboard does not have this problem. Every frame is authored by a person, from the first thumbnail to the final line. There is no question about who made it, or whether it can be protected.
Starting a project this way, before any AI generation stage, means the creative foundation is never in dispute. Whatever happens later in the process, that first layer of work is unambiguously yours.