Welcome, my name is Alenz,

Storyboarder and AI DoP 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 & AI DoP

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 presentation boards above are shown with express permission of the client. Below is a non-exhaustive gallery of possible results. All boards begin with a thumbnail or rough session. Some employ stylistic shortcuts or enhancement techniques to differentiate the board's intent from the rest. Most stylistic variations serve presentation boards, offering faster detailed results instead of cheap, commoditized work.

The goal is to immerse the client in the brand's world (in commercials), or to establish the right emotional temperature (in cinema). Click on each to see the style name, or copy and paste a screenshot into an email to discuss. You can also request a hybrid approach or reference another style. I relish working differently each time.

Not one frame here has been done or colored with artificial intelligence.

PROCESS FLOW

Checkpoint

STORYBOARDING LIST OF STYLES

Non-exhaustive list

The styles you see here are:

Fast Sketch: Just to get the point across.

Fast & Bold - Open Lines: The fastest first level of definition.

Fast & Bold - Blunt Lines: Thick, pressure-sensitive lines that focus on clarity over detail.

Fast & Bold - Art Brush: Apparent definition with lots of movement.

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.

Shooting Boards - Inks done with Art Brush plus loose flat greys. Fast iteration with atmosphere.

Shooting Boards - Clean Ink and greys. Fast Sketch, inked plus loose greys and grain. Cinema board workhorse.

Shooting Boards - Grainy Darks: When dark atmosphere is of the essence. Allows photobashing for fast pseudo realistic results.

Shooting Boards - Misty Blurs: When motion blur tells the story.

Shooting Boards - Real Ink and greys: Ink on paper + digital greys. For a stronger presence and a classical feel.

Shooting Boards - Rage Pencil: Drawing done through "attacks" (hard, intense lines in an A3). Shadows are done through hatching in the same directionality of movement.

--All Shooting Boards include "Arrow Flight", "Lens Distortion" and "Camera Movement". Done faster.--

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 gradients: Creates a feeling while remaining simple.

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 STORYBOARDS

For Commercial Presentation Boards: 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.

For Shooting Boards: We have a call initially to discuss your intentions and references. We set up the scope and quality of frames you need per day. Then I start optimizing to give you that number till I surpass it. It depends heavily on the level of light and lens distortion you are aiming for.

You can call me at any time during the process. At any moment of my day
or evening.

WHAT CAN I DO
IN AN HOUR OF
STORYBOARDING?

I work 10 hours to offer my clients 8 hours of pure work. Each hour of pure work is easily divisible.

For Commercials:

In an hour, I can do:

Four fast sketch frames
Three fast and bold frames.
Two frames with defined lines and a bit of hatching.
One frame with light and shadow or one frame with flat colors.

For Shooting Boards:

In a day, I can do:

48 Thumbnails. Six minutes each, ten per hour approximately. Heavy ink process indicates light. We understand narration flow.
40 Fast sketched drawings with one layer of grays, five per hour approximately. Light direction is understood..
32 Fast sketched drawings with two layers of grays, four per hour approximately. Bouncing light can be better understood.
16 Inks with digital grays, shadows and grainy grays, two per hour approximately. More depth and detail onto everything. Still fast and loose.
8 Inks with digital greys. Very detailed work, ideal for complex VFX.

Can I go faster?

Yes, but I do not know the project yet. Speed can increase as I get to know your characters, your demands and yourself. It is not the same after drawing the main hero or villain thirty times. Some scenes are also simpler than others, even in draft mode. A full scene with a wide lens distorting everything is not a conversation with lots of regular close-ups and some establishing shots. Take these parameters as a "mid speed" instead. Assume it can go faster, but have those numbers as a gravitational force.

HOW DOES THE ROUGH SESSION WORK?

For commercials:

Once I receive the shot list, I draft it in front of you as we talk. I produce a series of elevations and spatial blueprints to establish the correct camera angle for each shot.

I deliver ten to twelve thumbnails per hour. Explanation takes time, but it ensures you maintain full control over your imagery.

At the end of the session, I send you the drawings. You then review everything at your own pace before confirming. Call me to add anything we missed or to remove what you think is unnecessary.

When you approve, you give me the green light to move to the next stage.

For shooting boards:

Shooting boards are never produced all at once or at the very beginning. We schedule an initial meeting to discuss visual objectives, themes, and narrative approach. Then I work through the script in reasonable detail.

You receive batches of boards and send feedback via email, WhatsApp, or whatever channel the production prefers. At key moments, we jump into a rough session so you can correct specific scenes or reinforce moments that need your direct attention. Since I'm working continuously, you can interrupt anytime to orient me or verify I've captured your vision in real time.

There is a difference between capturing intention and translating it into frames that work. The first is conceptual; the second is craft. Both are essential, one follows the other, and everyone on set must understand both once I've finished. That clarity prevents costly mistakes during production.

TIME CONTROL
AND HOUR VALUE
IN STORYBOARDING

For Commercials:

Hourly rate varies according to a private agreement between you and me. Factors that affect this rate are the speed of exchange, how far ahead the deadline sits, and whether you're an emerging company. The quicker the exchange, the further ahead the deadline, and the newer your organization, the more economic flexibility the agreement can accommodate.

I prioritize emerging companies because I understand how difficult it is to launch.

Every hour spent is logged and can be justified. I track everything with Clockify. I charge for time, not for frame count.

Simple frames cost less. Frames with foreshortening, multiple likenesses, complex lens effects, or deep perspective require more time. My workflow is structured to budget generously, which means there is always comfortable margin for revisions. Unused budgeted time is not charged.

For Shooting Boards:

Day rate plus frame-count agreement. Both are negotiated at the project start. Price adjusts according to work intensity (quality), frames per day, project duration, and payment timeline.

Lower intensity, fewer frames per day, faster payment, and shorter duration all create room for
economic flexibility. I'm not seeking easy work, but I'm pointing out the levers available to
reach a better agreement.

IP CLEARANCE WITH STORYBOARDING

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.

GOOD CAUSES

Every service on this page is offered at its lowest fee if the project serves a good cause. Film direction included.

Alenz Atman