Image - 2026-09-15 21:17

A traditional hand-drawn FILM STORYBOARD SHEET for scene 3: one page divided into a clean 3x3 grid of NINE separate rectangular panels, three rows of three, each panel a 9:16 rectangle with a thin ruled black border and a small hand-written panel number in its top-left corner from 1 to 9. Thin white gutters between panels. Off-white paper background with faint tooth. MEDIUM, STRICT: rough graphite pencil drawing only. Loose confident director's sketch, visible pencil strokes, hatching and smudged shading for shadow, some construction lines left in. Monochrome grey graphite, NO colour anywhere, NO paint, NO digital rendering, NO photorealism. It must look drawn by hand on paper in a few minutes per panel. No named characters — stage the action with anonymous figures. This scene is already cut into 4 shots. Draw NINE panels covering them in strict chronological order, distributing the panels across the shots in proportion to each shot's length: a long shot gets several panels showing how it develops, a short one gets a single panel. Every panel must respect the camera position and framing written in its shot — that is the staging, not a suggestion. Where a shot says the camera is on one side of the action, do not draw it from the other side. SHOT 1 [0.0-3.0s]: SHOT 1 — CU — 50mm. CAMERA: HIGH and ahead, looking steeply DOWN over the module slot onto Mira's gloved hands and tilted-up face. MOVE: STATIC with faint HANDHELD MICRO-SHAKE. ACTION: MIRA's fingers pry the black-iron panel edge fully open screen-forward, then grip the glowing memory module and ease it out of the slot; cyan and red fibre light bleeds up onto her pale downturned face; icy vapour curls from the cavity. EYELINE: MIRA down and screen-forward into the slot. SHOT 2 [3.0-5.5s]: SHOT 2 — MCU — 40mm. MIRA, facing screen-forward, framed head and shoulders, camera ahead at slightly-high angle dropping toward eye level, still on the panel side of the axis. MOVE: SLOW TILT DOWN from high toward eye level over T=3.0-5.5. ACTION: Mira slots a fresh glowing module home; the whole rack HUMS to life, fibre threads surging brighter cyan then flaring red; her hands freeze on the panel. EYELINE: MIRA screen-forward into the brightening cavity, brow tightening. SHOT 3 [5.5-8.0s]: SHOT 3 — MS — 35mm. MIRA — restate: she faces SCREEN-FORWARD toward the panel, camera ahead at eye level now on the panel side of the axis. MOVE: SLOW DOLLY OUT over T=5.5-8.0 revealing a hologram igniting above the panel. ACTION: a flickering holographic FACE — Mira's own face — snaps into being in the vapour just screen-forward and above the cavity; Mira jerks upright and stops breathing, a frost-plume caught mid-exhale. EYELINE: MIRA screen-forward and up at the hologram face; the hologram's eyes glow faint red toward her. The whispered line comes here. SHOT 4 [8.0-10.0s]: SHOT 4 — MS — 35mm. MIRA — restate: still facing SCREEN-FORWARD, eye level, camera ahead on the panel side. MOVE: SLOW PUSH-IN over T=8.0-10.0. ACTION: Mira slowly lifts a trembling hand SCREEN-FORWARD toward the glowing holographic face of herself, fingertips entering the light, the projection rippling where her hand nears it. EYELINE: MIRA screen-forward at her own holographic face. Draw camera arrows and simple motion lines in pencil where movement matters, and keep every panel's staging consistent with the one before it — this sheet is a shooting plan, so a person standing screen-left in one panel stays screen-left in the next unless the action moves them. NO text or captions anywhere except the small panel numbers 1 to 9. No title block, no handwriting in the margins, no speech bubbles, no subtitles, no watermark, no logo.