AI Storyboard

AI Storyboard Generator: plan your story shot by shot.

Start with a product idea, a scene or a short story. Build an editable storyboard, then carry each shot into image, video and narration generation.

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SHOTTIDE / AI Storyboard01 — 03

01Describe the story

02Refine the storyboard

03Make each scene

Your direction. Every step.

THE WORKFLOW

From an idea to a result you can use.

Describe the story

Include the subject, audience, setting and desired mood. Choose 2–6 shots and a landscape or portrait format.

Refine the storyboard

Review the title, synopsis and individual shot prompts. Rewrite a scene, add or remove a shot, and reorder the story before generating media.

Make each scene

Generate images and video for each shot. Select your preferred versions, add narration and export the sequence as an MP4.

A STARTING POINT

Try this direction.

An editable prompt example, ready to make your own.

A three-shot coastal perfume launch: the bottle beside sunlit sea glass, a close-up of water on the glass, then a slow reveal against the evening ocean. Quiet, tactile, cinematic. No on-screen text.

Use this example

WORKED EXAMPLE

Break the perfume brief into three shots.

This is an illustrative shot plan, not a claim about a generated result. Keep the same bottle, coastal setting and warm palette in each prompt, then review the images before spending credits on video.

Establish the setting

Wide shot: a perfume bottle beside sea glass on a pale stone surface. Late afternoon light, distant ocean, locked camera. Leave space around the bottle so the opening establishes its shape.

Show one detail

Close-up: water droplets on the same bottle, with one slow push-in. Check the label and glass edges before keeping a version. Simplify the prompt if reflections distort the product.

Resolve the story

Medium shot: the bottle against the evening ocean, with a gentle pull-back. Select a frame that leaves room for a closing message added during editing. Review the cuts for changes in bottle shape or lighting.

How to review a storyboard before producing the shots

Give the board a question to answer

Before you write a camera direction, finish this sentence: “At the end of this film, the viewer should understand …” For a bag demonstration the answer might be how a laptop fits through the opening. For a story it might be why someone missed a train. Those answers call for different pictures. A wide view of the station can establish where a character is, but it cannot show the unread message on their phone. Put the message in its own shot if the audience needs to read it. When a scene looks attractive but does not help answer the question, take it off the board for now. You can save the idea for a different film.

Write a frame that another person could draw

Replace “a dramatic arrival” with a subject, an action and a point of view. For example: the passenger stops at the painted line as the train leaves the left side of the frame. The camera stays behind her shoulder. That instruction tells a collaborator where to put the person, what moves and what stays still. Save the next action for the next panel. If the same prompt also asks her to run down the stairs, open a map and call a friend, it becomes hard to tell which moment the image is meant to represent. Read the descriptions without their titles; each one should still point to a different, recognizable picture.

Check the cut between two panels

People often review each frame on its own and miss the problem in between. Put the end of one action beside the beginning of the next. If a passenger reaches for a phone with her right hand in the wide shot, decide where that hand enters the close-up. Keep the platform on the same side unless you intend the audience to reorient themselves. For an object, compare the lid, label and direction of light across the cut. A reference image gives the generator a guide, but it does not guarantee those details will match. Fix the written direction first if two panels disagree about what the scene is showing.

Decide where the voice should stop

Write the spoken line beside the image it belongs to and read it at a normal pace. If the sentence is still going after the action is over, shorten it or move the explanation to the next shot. Do not ask the viewer to read a label, follow a moving hand and absorb a second instruction at the same time. In the train example, the sound of a departing train can carry an empty platform shot; a narrator does not have to describe an empty platform as well. When you do add narration, listen to the selected take before exporting. A written pause and a spoken pause do not always land at the same moment.

Review a draft before paying for another take

Use the editable plan as the cheap place to change your mind. If the audience does not know what the product is, move the identifying shot earlier. If the product is clear but the action feels wrong, keep the order and revise only the movement instruction. Generate a still when your question is about composition; a moving clip is a better test of a camera move or performance. Label the change you are testing before comparing versions. Two good-looking clips are hard to choose between if you have forgotten why you requested a second one. Review the displayed credit cost for each generation and keep takes that already serve their purpose.

Hand the sequence to someone who has not read the brief

Show a colleague the panels in order without the synopsis. Ask them to tell you what happened, where they lost the thread and which image gave them the answer. A useful note is specific: “I thought the phone belonged to the person behind her.” You can resolve that with a different angle or an earlier shot of her holding it. A note such as “make it more cinematic” needs a follow-up question before it becomes a production instruction. Once the sequence reads clearly, choose the takes and voice lines that match the approved plan. The storyboard is the record of those choices; the exported MP4 is the film the audience actually watches.

Carry the right details into episode two

For a recurring character, write down the few features an audience must recognize from one episode to the next. A red coat and a scuffed suitcase are more useful directions than a long paragraph about personality. Keep location notes separate from the action: the ticket office stays on the far wall even when the next episode follows a different traveler. Use the shared references in Drama Studio for those recurring elements, then review each episode in Canvas. If a suitcase changes hands between episodes, put the handoff on a board. A reference can remind the model what an object looks like; it cannot explain a missing story beat.

Plan one action per shot

A short clip works best with a clear subject and a single camera movement. Split a complex action into separate shots.

Keep the look in the brief

Repeat essential lighting, palette and subject details across prompts. Reference images help guide the look, but perfect identity consistency is not guaranteed.

Before you create

Is this an editable storyboard?+

Yes. The project stores shot titles, prompts, order and selected media. You can revise the plan before or after generating individual clips.

Does planning also generate every video?+

No. Planning creates the written storyboard. Start each image, video or narration generation separately so you can review the direction first.

Can I plan episodes with shared characters?+

Yes. A storyboard plan contains 2–6 shots. For an episodic story, open Drama Studio in the studio sidebar to plan 1–6 episodes and save shared characters, locations and props. Choose up to three shared image references for an episode, then open its storyboard in Canvas. Review and generate each episode separately; references do not guarantee identical appearances across shots.

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