Storyboards
your editor can
actually use.Storyboards your editor
can actually use.

1. Brief

   Day 1

   You send the script, the references, the shot list and the date the cut has to be on a deck. By close of play the same day a written reply lands in your inbox with the scope read back, a fixed price, the day-count and a confirmed start. Nothing moves until you have it in writing.

2. Boards

   Day 2 — 3

   The first-pass black-and-white frames go up in sequence over two working days, every panel numbered scene · shot the way an edit list reads. Reshuffled scenes, late references or extra shots that surface after kick-off slot straight into the run without resetting the clock or the price.

3. Revisions

   Day 4

   Camera, timing and composition notes come back however suits the room: typed in a thread, scribbled across a printed sheet, or talked through on a half-hour call. A single revised pass goes out the same day, with one full round of amends included in the day rate so the budget reads the same on Friday as it did on Monday.

4. Delivery

   Day 5

   The final file lands in the shared drive on your invoice address before the close of Friday: flat JPEGs as the standard delivery, named to the agreed convention and ready to walk straight into pre-pro, the animatic or the edit. Layered PSDs are included on animatic jobs and on specific request — flagged in the brief, not assumed. No final-day chase, no surprise invoice the week after.

Tighter deadline? Most projects compress to three working days without lifting the rate. Send the script and you’ll get the same hour’s answer on whether the date is doable.