Image - 2026-09-08 17:29

A traditional hand-drawn FILM STORYBOARD SHEET for scene 1: 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 — WS — 24mm. — CAMERA: side-on, low angle near ground, looking slightly up at the apricot house; framing the truck rear and the whole path. ACTION: The MOVING TRUCK rocks gently to a stop bottom-right. Lulu, screen-RIGHT on the truck's rear lip, hugs the BIG CARDBOARD BOX tight against her chest, ears perked, eyes bright. She lifts one back paw and steps SCREEN-LEFT down onto the first cobblestone of the DOORSTEP PATH, wobbling slightly under the box's height. Warm pollen motes drift through the sunbeam. EYELINE: Lulu — SCREEN-LEFT and up — at the arched front door of the apricot house. SHOT 2 [3.0-6.0s]: SHOT 2 — MWS — 35mm. — CAMERA: side-on, eye level, on the grass/front side of the axis, tracking to keep Lulu centre as she advances SCREEN-LEFT along the path. ACTION: Lulu, still FACING SCREEN-LEFT, hurries two steps along the path toward the house. The towering BIG CARDBOARD BOX suddenly overbalances and CRENELS SHARPLY to screen-RIGHT, leaning away from her chest; her front paws slip on its side. Her eyes go huge and round, mouth opening in a silent comic gasp, whiskers flaring, back arching as she fights the tilt. The box's top corner dips toward screen-right and down. EYELINE: Lulu — SCREEN-RIGHT and up — at the tipping top corner of the box. SHOT 3 [6.0-8.5s]: SHOT 3 — MS — 50mm. — CAMERA: side-on, slightly low, static-ish on the front side of the axis, framing Lulu and the box from the waist up. ACTION: Lulu, FACING SCREEN-LEFT, whips her long cream tail UP and around to screen-RIGHT, curling its tip firmly under the box's tipping corner. The tail flexes, straining; the BIG CARDBOARD BOX swings back from its screen-right lean and rights itself square and upright against her chest with a tiny bounce. Her front paws re-grip the sides. Her huge eyes squeeze in effort then pop wide with astonished relief. Pollen motes swirl in the warm light around the recovery. EYELINE: Lulu — SCREEN-RIGHT then FORWARD — at the box corner, then ahead down the path. SHOT 4 [8.5-11.0s]: SHOT 4 — CU — 65mm. — CAMERA: ahead of Lulu, eye level, on the front side of the axis, framing her face and the box top just above her head at the arched doorstep of the apricot house. ACTION: Lulu reaches the DOORSTEP at the arched door, plants both back paws on the cream cobblestone, and lets out a big visible relieved exhale — shoulders dropping, whiskers relaxing, a soft happy smile spreading, eyes warm and shining with catchlights. The box sits safe and upright, steadied in her arms; her tail gives one small satisfied flick. The apricot house rises warm and friendly behind her. EYELINE: Lulu — FORWARD, slightly down then up — from the box to the friendly house door before her. 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.