Commercial Storyboarding
I build storyboards by hand, with AI, or with both, depending on your deadline and budget. AI produces frames in minutes. It does not decide which frames your film needs, or question the logic of the sequence. That judgment is the same at any speed, and it is the part I bring.
AI PREVIZ FOR LUXURY CAMPAIGNS
AI is Borges' Library of Babel. Every book written and every book that betrayed itself unwritten. Together they are not wisdom. They are its blander, more persistent obstacle. To find art, one does not master the infinite. One refuses it. This word. Not that word. Where babble was... silence. The noise that was there before and is no longer, and whose absence is the whole point. Only this. Only now. Only once.
The main objective is, in general, that AI does not look like AI. To get there, we have to simulate photography bit by bit. It is not immediate, nor can it be automated. It is the result of rigorous work and disciplined thinking.
To ensure both superior output quality and legal defensibility, I have developed a system that works exclusively with hand-crafted elements and plates, operating independently of any generative model or AI system. This guarantees that all production values remain easily curated, revised, and modified. Thereby preserved for future rights claims, regeneration with emerging models, and archival integrity.
This method is described below.
INTENTION PLATE
I begin with hand-drawn sketches that establish the visual intent. I then give an LLM the full photographic specification: exposure, shutter speed, ISO, color temperature, camera body, lens and focal length, filters, surface reflectance, film stock or sensor emulation, and specialized technique. The LLM turns it into a generation prompt ordered by hierarchy, and I review and correct that prompt until every parameter is exact. The same specification carries into a Blender scene, which I can also build by hand.
PENCIL PLATE
Pencil is not better than Photoshop in expressing degrees of light. But it is far better at explaining our
"light intention." There is also the size factor: big drawings let us carefully craft the blocking with exactitude.
DEPTH MAP PLATE
Generative AI combined with reasoning models can be instructed to interpret depth maps—which are essentially a form of hand-crafted chiaroscuro. The advantage of this technique is massive. These are not depth maps extracted from existing material; they are created from scratch with intention.
CHARACTER PLATE
Character sheets must be built with meticulous care. The format must be large to preserve fine detail, particularly skin texture and subsurface characteristics. Skin detail is the first element lost in compression and the most critical for photorealism. Without precise reference for micro-texture, light diffusion, and color variation across facial planes, the generated image will read as synthetic, not human.
MACRO TEXTURES PLATE
Models have to know intrinsically what they are doing. Slop is not just a lack of information on our part, but not knowing how much of it to give. The prompt is an orchestrator of elements, not a list to be illustrated.
ENVIRONMENT PLATE
Realistic results depend on how light interacts with the texture of a real place. Everything has to be brought into alignment. Light direction reveals texture. It is much better to align our characters' own textures with the
same source of light and directionality that affects the environment.
SYNTHETIC
PHOTOGRAPHY
Orchestrating all the data I have created is a significant step. The prompt follows hierarchies that sometimes need to be reevaluated. Iteration is unavoidable, so I create a "library of errors," through which I can indicate to the model how close it is to getting it right and what it is missing. I do not use Photoshop for this. If anything, I use red-pen techniques. Then I regenerate the imagery until it reaches 4K quality.
The process can stop here if only still images are needed.
SYNTHETIC FILM
Keyframes, 3D mockups, or filming actors are the main techniques to guide movement. There is no single path to it. However, I do not use animated characters as references. People simply do not move the way 3D animators have learned, imitating Pixar or Dreamworks. To achieve natural movement, I use silences, breaths, or processes of thought within the prompt. If working with an actor, I never "tell them" what to do. I give them context and
help them to believe.
Better than having an actor "acting" is having a human "living."
AI Directorial Control
I offer a middle ground between the soulless automation of ComfyUI prompts with unpredictable results, and the excruciating labor of drawing every shot by hand, including depth maps. This is what I offer in this tier, whether directed by me or under someone else's direction.
