AI-ENHANCED STORYBOARDING
CASE STUDY
STORYBOARD:
NANO BANANA PRO+ CLAUDE +BLENDER 3D
STORYBOARD: PENCIL & PAPER
BUT IF
Continuity is challenged at every step, the camera axis is off almost all the time, size relations fail, and the story gets dampened by mistakes.
You make a finite, fast, and eloquent real storyboard that locks in production value from the start.
AND:
YOU
GET
Use a decent array of techniques to guide the
generative model to the results you really want.
An enhanced storyboard.
AND SO
You get a result you can actually control
My commercial offer is flexible enough to meet the needs of these rough times. I work with the people and studios who need control over AI generation for their diverse purposes. It is a process with more than one part, it has to be done thoroughly, and it is fast but not immediate. I aim to give my client a legal paper trail of everything done, so they are in the best position to claim the rights to the work. The work comes out of my hands and has my direct supervision.
Fair Questions
Why storyboard? Seedance 2.5 does it in long video blocks. Can’t you just edit the best cuts together?
Seedance’s legal standing is still contested, and what it generates may not be protectable as yours. It also tends to struggle with anything precise and complex, which is usually what you need. And every retry costs money.
Why not use agents, an LLM added to Blender 3D (plus assets), and reprompt until I get it right?
You will pay more, spend more time, and take on more hassle, especially at the fine detail that matters for your narrative or the client’s product. You end up settling for what you can get “this time.” And any path you take puts one of your blind spots in the spotlight.
I already know 3D. I can do this on my own.
You can, and you start with an advantage: whatever medium you come from gives you a head start, as drawing does for me. What you may lack is a system to exploit it. I spent the last 11 months building, testing and validating one.
Tomorrow this will be commoditized, and in a few months it will all be done by voice.
The lowest level of this work, probably. But a model does not know what your story needs. My thinking is what gives the work its quality, and commoditization only raises the bar for what is worth delivering. Remember, big companies have the incentive of making you dependent on them.
Isn’t that your incentive too?
Yes, but it compounds. I depend on many tools too (I did not invent Photoshop), and my experience raises what they can do. I am not a subscription. I finish the work, move on to the next client, and I hope you return happily and willingly.
It is still very expensive to hire a person these days.
Doing it yourself is not necessarily cheaper: it costs time and quality. Sometimes I matte paint elements in Photoshop by hand, a level of craft inpainting won’t reach. If the price is a problem, I am open to special budgets.
PREVIOUS WORK
Introduction
STORYBOARDS
A storyboard puts someone other than you through the visual language you are developing for your film. That is how you find the frames you do not need, and the ones you assumed you had asked for but never specified. Cut a few frames and you save days of shooting. Add a few and you avoid days of reshooting.
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.