FAQ
The questions producers ask before they brief.
Rates, turnaround, revisions, colour, working remotely, AI use, IP, usage. Every answer below is written out in full — no panels, no toggles, no scrolling around.
Rates, day rates and how a quote is built.
- How do you bill — day rate or fixed fee?
- Both. Day rate is the default for TVCs and shorter work, currently £450 per day or £2,250 for a week block. Fixed project fees are available on hero campaigns, features, episodic and whole-script commissions, and on pitch visuals. A first quote comes back inside 24 hours on weekdays.
- How many revisions are included?
- One round of amends on a day-rate job. Same-day amends are standard on TVCs. Bigger creative pivots — a re-cut of the spot, a new scene order, a wholesale change of direction — get quoted separately as additional days at the same rate.
- Do you charge a rush rate?
- Same-day or overnight delivery is quoted on a project basis. The typical rush uplift sits in the 25–50% range against the standard day rate, depending on the frame count and how the deadline lands against the rest of the week.
- What about usage rights and buy-out?
- Standard rates assume single-campaign use — internal pre-pro, the pitch deck, the production company archive. Wider usage rights — agency case-study reels, multi-year reuse, training datasets — are quoted as a separate line on the PO.
Turnaround, format and what shows up in your inbox.
- How fast can you turn boards around?
- 15–25 black-and-white frames per day on a single-day brief. A quote comes back within 24 hours on weekdays. First frames are typically inside 48 hours of brief sign-off, sooner on TVC weeks.
- Colour frames or black-and-white?
- B&W as standard — it is what the pre-pro room expects and what the DP reads fastest. Colour is a separate add-on at roughly 15–25 colour frames per day, costed alongside the B&W board. Used for keyframes, financier decks and pitch visuals where the brief calls for colour.
- Can you work from a script alone, without a shot list?
- Yes. Send the script and any references and the boards come back scene- and shot-numbered with a working interpretation of the cut. We tighten on the revision pass. Shooting boards still need the shot list — those are drawn against it, frame by frame.
- Can you draw in a specific house style?
- Yes within reason. Default style is a clean B&W line with light shading — the reference page on /storyboards/ shows the standard look. Tonal, marker-rendered or fully painted approaches are available; rendering time per frame goes up and the daily frame count comes down.
Remote, in-house and out-of-UK briefs.
- Do you work outside the UK?
- Yes. Remote is the default and most work runs that way. The London base is time-zone-friendly for EU briefs and East Coast US briefs — most calls fit inside a 14:00–18:00 GMT window. Briefs from APAC are taken; turnaround timelines reflect the time difference.
- Can you work in-house at the agency or production company?
- Yes. Remote is the default, but I'm in London and can sit in at the agency or production office for pre-pro work if that's what the brief needs.
- Are you covered for NDAs and confidentiality?
- Yes. Agency, production company and brand NDAs are signed as a matter of course. Work in progress is not posted publicly. Case studies on this site are only published after the work has aired and the client has cleared it.
- Who owns the boards once they are delivered?
- You do, for the agreed usage. Ownership of the artwork transfers on final invoice. Copyright in the underlying drawings is retained by Seb Antoniou for portfolio and case-study use unless a specific contract overrides that — wider rights are priced separately.
The question producers are asking in 2026.
- Do you use generative AI to draw the boards?
- No. Every frame on this site is drawn by hand in Photoshop. The position is set out in full on the AI in storyboarding guide — for brand-led TVCs, generative imagery carries IP and training-data risk that hand-drawn boards do not.
- Will my brief be fed into an AI tool?
- No. Scripts, shot lists and reference material stay inside Photoshop and the file system on a single workstation. Nothing is uploaded to a third-party generative tool. NDAs are honoured as written.
- Why does that matter on a commercial?
- Because broadcasters and ad clearance bodies in 2026 are starting to ask whether reference materials were AI-generated, and because training-data provenance is now a live legal question in the UK and EU. Hand-drawn boards keep the chain of authorship clean.
Editorial and covers.
- Do you take editorial illustration commissions?
- Yes. Editorial, book covers and large-format print are an active part of the practice — recent work includes covers for Intersentia and large-format pieces for Celtic Football Club. Briefs go through the contact form on this site.
Question not here?