A storyboard is a sequence of drawings that shows what the camera will see, shot by shot, before anyone films anything. A shot list is a written inventory of those shots for the crew. An animatic is a storyboard timed to sound, so you can watch the film in rough form before it exists. All three belong to pre-production, and each answers a different question: what will it look like, what do we need to shoot, and does it play at the right pace.
If you draw for a living and are curious about video, the good news is that your skills transfer directly. If you commission storyboards, the better news is that you rarely need beautiful ones. You need clear ones.
Storyboard, shot list and animatic: the differences
| Storyboard | Shot list | Animatic | |
| What it is | Drawn frames in sequence | A numbered list of shots | Boards edited to timing and sound |
| Who uses it | Director, client, animators, crew | Director, camera, assistant director | Director, editor, client |
| Main question it answers | How will each moment look? | What exactly must we capture? | Does the timing and flow work? |
| Format | Images with notes | Text or spreadsheet | Short video file |
| When it is made | After script approval | After the storyboard, before scheduling | After the storyboard, before production |
They feed one another. The script becomes a storyboard, the storyboard becomes a shot list, and the shot list becomes a schedule. For animation, the storyboard often comes first and the animatic locks the timing before costly drawing or rendering begins. For live action, the animatic is optional, but the shot list is essential.
What a useful frame contains
A frame can be rough and still useful if it answers a fixed set of questions. Every panel should communicate:
- Framing. Is this a wide shot showing the whole scene, a medium shot from the waist up, or a close-up on a face or object?
- Action. What is happening in the frame, and what changes within the shot?
- Camera movement. Is the camera still, panning, tilting, following a character or pushing in? Arrows on the drawing do this well.
- Dialogue or voiceover. The line that plays during this shot, written beneath the frame.
- Timing. An approximate duration in seconds, so the total length can be added up.
- Notes. Location, props, lighting mood, transitions, graphics that appear later.
A panel without a note on camera movement or timing is a drawing, not a storyboard frame. The note is what the crew and editor actually use.
How much drawing do you need?
Less than most people expect. Match the level of finish to the purpose.
Stick figures for live action. If the board’s job is to settle where the camera goes, simple figures and boxes are enough. The director, the director of photography and the producer need to agree on framing, not admire the art. A board drawn in an afternoon on paper or a tablet can save a day of discovery on set.
Polished frames for client sign-off. When approvers are not used to reading rough sketches, cleaner frames reduce misunderstandings. If your client may reject a rough drawing because it “doesn’t look like the final,” invest in clearer boards or show an animatic instead.
Detailed, production-ready frames for animation. In animation, the storyboard is a working document for the animators. Character poses, backgrounds and effects need enough definition to guide the next stage. Changes after animation starts are expensive, so this is the place to spend time.
Photos and frame grabs as an alternative. For live action, photographing the location with a phone and marking the camera positions on the images can substitute for drawing. It is faster, and it shows what the location actually offers.
From storyboard to shot list to schedule
Converting boards into a shot list is mostly a matter of sorting and numbering.
- Number each panel and give each one a scene and shot code, such as 3A, 3B.
- Write each shot in a single line: scene, location, shot size, camera movement, subject, and a short description.
- Add technical notes: lens preference, special equipment, lighting needs, whether sound is recorded.
- Group shots by location and setup, not by story order. Filming is rarely done in sequence, because moving the crew and lights costs far more than reordering the edit.
- Estimate time per setup. Include the lighting and camera set-up, not just the takes.
- Place the groups on a schedule, with the highest-priority shots early in the day and with buffer for problems.
The result is a shot list the whole crew can follow and a schedule that reflects real working time. The assistant director typically owns the schedule, and the director owns the list. If you commission the video, you should be able to read both.
Common mistakes
- Boarding every shot in detail when only key moments need it. Focus on transitions, reveals and action. Routine coverage, such as a seated interview, needs a diagram, not a panel by panel drawing.
- Forgetting timing. A gorgeous board for a 30-second spot can describe 90 seconds of action. Add durations early.
- Ignoring continuity. If a character holds an object in one panel, it should appear consistently in the next ones.
- Skipping the reverse angle. Conversations need both sides of the scene, and boards that only show one leave the crew guessing.
- Treating the board as a contract. Boards guide the shoot, and good directors will improve on them when the location or performance suggests a better shot. Agree in advance which elements must stay and which can flex.
- Drawing impossible shots. A move that requires a crane or a drone should be flagged for the producer before the client falls in love with it.
How a client should review a storyboard
Reviewing boards is a different skill from reviewing a finished film. A few habits help.
- Read them in order, with the script beside them, and check that every line of the script has a corresponding image.
- Ignore the drawing style. Judge the content: does the sequence tell the story and show the product the way you intended?
- Check the sequence for clarity. Would a viewer who knows nothing about your product follow the logic from frame to frame?
- Look for missing information. Is the product visible? Is the call to action on screen long enough?
- Mark changes on the board, and consolidate feedback from all reviewers into a single list before it goes back.
- Approve in writing. Once the board is approved, changes become scope changes, so a written sign-off protects both sides.
Where storyboards fit in a production workflow
LV Productions says everything from pre-production through final color is handled in-house, with script, director and editor working as one team and no subcontracting on creative. That setup is relevant to storyboards: when the person who writes the script and the person who cuts the footage are on the same team, the board does not have to be translated between departments, and the animatic or shot list reflects the editor’s needs. The studio also states that its Essential Launch tier, which starts at $20,000, includes script and art direction, while its Base Launch tier at $10,000 does not include a script. Whatever studio you work with, ask which pre-production documents are part of the price and which are extras.
FAQ
Do I need a storyboard for a simple interview video?
Usually not. A shot list and a lighting diagram are enough, and a few notes on cutaways and B-roll complete the plan. Spend your effort on the questions.
What is the difference between a shot list and a shooting script?
A shooting script is the script divided into scenes with technical notes, while a shot list inventories the individual camera setups. Many productions use both, and some combine them in one document.
Can I make an animatic without animation software?
Yes. Place your drawings in any video editor, set each to its planned duration, and add the scratch voiceover or a rough soundtrack. The result is a simple timed slideshow, which is exactly what an animatic is.
How long does a storyboard take?
It depends on length and detail. A short spot with a dozen panels can be done in a day or two. A longer animated piece takes longer, and revisions follow the review rounds.
Your next step
Take one script you have, or a short idea of your own, and break it into ten shots. Draw each as a rough frame with a note for framing, movement and timing. Then convert the ten frames into a numbered shot list, group the list by location, and see how long the shoot day would run. You will learn more from that exercise than from any template.