From Pitch to Production: Winning Clients with Storyboards

Walk into a pitch room and you can feel the temperature shift. It is not nerves, not quite. It is more like standing in the wings before a play begins. The agency team has rehearsed their lines, polished their deck, and synced their timing. But none of it matters until the client buys in.

Advertising pitches are battles disguised as meetings. Everyone is smiling, but the stakes are enormous. Agencies are competing for millions of dollars in business, and the client has been courted by five other shops that all claim to understand their brand better than anyone else. In that environment, words only get you so far.

That is where storyboards become the secret weapon.

A Visual Shortcut to Trust

A script is a promise. A storyboard is proof. When an agency puts illustrated frames in front of a client, it transforms a fragile idea into something with weight. Suddenly the concept is not hypothetical. It looks like a finished spot waiting for cameras to roll.

Clients do not want to gamble on a hunch. They want certainty. They want to know that the agency is not asking them to imagine a vague future but showing them exactly what the audience will see. Storyboards do that in seconds. They take the leap of faith out of the equation.

In pitch rooms, that certainty is priceless. Everyone has insights. Everyone has taglines. Everyone has strategy decks printed on heavy paper stock. The agency that shows the story already breathing on the wall is the one that earns the nod.

Pitch Rooms Are Theater, Not Boardrooms

Think of an agency pitch as a Broadway audition. You have a short window to convince the casting director that you belong on stage. The lights are bright, the room is tense, and you cannot afford to stumble.

Agencies know this, which is why they choreograph every move. There is the warm opening, the clever slide transitions, the obligatory nod to consumer research. Then comes the creative reveal, the moment that either lands or dies in the room.

When storyboards are part of that reveal, the odds shift. Instead of handing the client a script and saying “imagine this,” the agency shows them a storyboard where the shots are already framed, the pacing is clear, and the tone is unmistakable. It is no longer theory. It is a vision ready to shoot.

That is the difference between getting polite nods and getting the account.

Clients Are Not Just Buying Ideas

A common mistake in pitches is assuming that clients are buying ideas. They are not. They are buying confidence. They want to walk out of the room believing that the team they choose will not just think creatively but execute flawlessly.

This is why storyboards carry so much weight. They are visual evidence that the agency can deliver. They shrink the distance between concept and execution. A clever script might make clients smile, but a storyboard makes them picture their brand already on television, on streaming platforms, or going viral online.

It is one thing to say, “Imagine the hero walking through the chaos while the product saves the day.” It is another to lay down six frames that capture the camera angle, the expression, and the payoff in crystal detail. The second version feels real. And real is what wins pitches.

The Tempo of Modern Pitches

The clock is never on the agency’s side. In many cases, a pitch brief drops and the team has less than a week to respond. Strategy must be written, scripts drafted, decks designed, and creative pulled together at breakneck speed.

That compressed timeline is brutal, but it also explains why storyboards are indispensable. They condense the entire production pipeline into something you can show on paper. They tell the client: this idea is more than words, it already lives in images.

It is a shortcut that saves agencies from drowning in explanation. Instead of spending twenty minutes describing tone and pacing, you flip through frames and let the client feel it immediately.

Storyboards as Deciders

Every pitch is competitive. Agencies walk in knowing the client has seen variations of the same insight from four other shops. Everyone knows that trust, chemistry, and price will all factor into the decision. But when ideas are neck and neck, storyboards often tip the scales.

They act as tie-breakers. They transform “interesting” into “convincing.” If a client leaves the room still thinking about specific frames instead of abstract phrases, that agency has an advantage that survives long after the meeting ends.

Why Agencies Keep Coming Back to Boards

It would be tempting to believe that storyboards are just window dressing, a pretty way to decorate a pitch. The reality is more practical. Agencies know that boards streamline internal alignment before the client ever sees them.

When creative directors, producers, and account teams sit down with storyboards, they are forced to confront how the script actually plays. Gaps appear. Awkward transitions reveal themselves. Strong moments shine brighter. The boards refine the pitch as much as they sell it.

By the time they reach the client, the storyboards have already been pressure-tested inside the agency. They are battle-ready, which makes them even more persuasive when they hit the table.

Beyond Winning the Pitch

The value of storyboards does not end once the client signs. In fact, that is when their second life begins.

Winning a pitch is one thing. Producing the campaign is another. Storyboards bridge that gap. They become reference points for directors, cinematographers, and editors. The same frames that sold the client become guides that shape the shoot.

This continuity is part of why clients trust them. The storyboard is not just a sales tool. It is the first step in production, proof that the agency can carry an idea from pitch to screen without losing the thread.

The Human Element

AI-generated images are fast, cheap, and tempting for agencies on a tight budget. But speed comes at a cost. AI struggles with continuity, often changing character features from frame to frame. Emotional nuance gets flattened, and subtle gestures or expressions can read as stiff or off. It cannot anticipate camera angles, lens choices, or how shots will cut together to tell a story.

Clients may not name it, but they feel it. A human-drawn storyboard captures the rhythm between frames, the tilt of a camera, and the emotional beats that make a story land. It signals care, craft, and intentionality. That precision is why human boards remain essential, even in an age of instant AI visuals.

Final Frames

Advertising pitches are high-wire acts. Agencies juggle strategy, creativity, and performance under the pressure of limited time and stiff competition. Words and slides will always be part of the process, but storyboards are what turn fragile ideas into persuasive visions.

They cut through the haze of promises and make the campaign real before a camera rolls. They give clients confidence, they sharpen creative teams, and they bridge the gap from pitch to production.

In a pitch room where the difference between winning and losing often comes down to a single spark of belief, storyboards are the match.

📩 Reach out: paul@paultemplestudios.com
🎨 Explore more: www.paultemplestudios.com

Want more blog posts on this topic?
1. The Art of the Pitch Starts with the Right Visuals
2. Why Animatics Aren't Just for Animation

Commercials Are Short Films: Why Storyboards Matter Even More in 30 Seconds

When people talk about storyboards, they often imagine them in the context of a feature film or a big episodic production. But I have always believed that commercials are short films in disguise. The same rules of cinema apply. The only difference is that instead of two hours or six episodes, you get thirty seconds. Sometimes fifteen. And in that sliver of time, every frame has to pull its weight. That is where storyboards become essential, not optional.

The Compression Problem

A commercial is about compression. You have to take a brand message, build a story, introduce characters, set a tone, land an emotion, and close with a call to action. All in less time than it takes to make a cup of coffee. Storyboards make this possible because they let you see how the message survives once you start cutting away everything that is not absolutely necessary.

In film, you can let a moment breathe. In commercials, you have no such luxury. The timing of a reaction shot, the framing of a logo, or the pause before a laugh can make or break the effectiveness of the spot. The boards map out those beats. Without them, directors and agencies are working blind, hoping that all the puzzle pieces will magically align.

Timing Is the Punchline

I have worked on plenty of commercials where the difference between funny and flat came down to a fraction of a second. Storyboards allow you to lock that rhythm early. For example, when I worked on comedic ad campaigns, the timing of the reaction shot was everything. Cut too soon, and the joke feels rushed. Hold too long, and the gag dies on screen. The board establishes that rhythm before a single actor steps onto set.

The same goes for emotional ads. Think about a heartfelt commercial that tries to squeeze a tear out of you in under a minute. If the moment of connection is not perfectly staged and paced, the emotion feels fake. Storyboards give directors a way to measure those beats, making sure the audience feels something real in the time they have.

Clarity Under Pressure

Another reason boards are indispensable for commercials is clarity. On a film set, you have time to debate how a scene plays. In commercial production, time is money at a much higher rate. Every crew member, from the cinematographer to the client standing at video village, needs to understand the plan immediately.

A storyboard turns abstract concepts into shared language. Everyone can point at the same frame and know exactly how the shot is supposed to look. It avoids confusion, saves hours, and prevents costly mistakes. If the brand logo is supposed to be center frame at the exact moment a character smiles, the board makes that expectation visible long before the cameras roll.

Selling the Idea

Boards are not just for production. They are also for selling the idea in the first place. Agencies rely on storyboards to pitch campaigns to clients. The client needs to see the joke, the emotion, or the dramatic turn in order to trust that it will work. A script alone cannot always do that.

When I create boards for ad pitches, my job is not only to draw what is described in the script. It is to elevate it. To add the nuances of performance, camera movement, and staging that make the idea come alive. A client is not going to buy into a pitch if they cannot visualize it. Storyboards bridge that gap.

Commercials as Short Films

When I say commercials are short films, I mean it literally. Every tool of cinematic language applies. You still have establishing shots, close-ups, inserts, reaction shots, transitions, and reveals. The only difference is scale. Instead of multiple acts, you are dealing with a single arc that has to land with force and clarity.

This is why commercial directors often come from film backgrounds. They understand that even a lighthearted thirty-second comedy spot requires the same attention to visual storytelling as a feature. And they know that without boards, the production risks wandering off-message or wasting precious shooting time.

Avoiding the Trap of “More is More”

One of the traps I have seen in commercial storyboarding is the temptation to make the boards portfolio-ready illustrations. Clients and agencies sometimes push for over-rendered boards because they look impressive. But there is a danger in this. If the boards look too polished, clients may assume that the final commercial will look identical. And when real-world limitations enter the picture, disappointment follows.

The trick is balance. I aim to deliver boards that capture performance, timing, and cinematic language without pretending to be the final product. They are tools, not fine art pieces. Their purpose is to serve the production, not hang on a gallery wall.

Storyboards vs. Shooting Boards

It is worth distinguishing between general storyboards and shooting boards. Storyboards often capture the broad strokes of an idea for a pitch or internal alignment. Shooting boards drill down into the technical execution. They anticipate lenses, blocking, and camera movement.

In commercial work, both are often needed. Storyboards sell the idea to the client. Shooting boards keep the production on track. Together, they make sure that a thirty-second spot comes together without wasted effort.

Real-World Stakes

The stakes in commercial production are high. A single day on set can cost as much as an independent short film. Clients are often standing just a few feet away, watching every detail. Agencies are juggling multiple voices. Directors are trying to execute under immense pressure. Storyboards are the thing that keeps everyone aligned and focused.

I have seen productions without boards descend into chaos. Shots get missed. Timings get confused. Clients start to panic because they cannot see how the spot will come together. Storyboards prevent that. They provide a map that everyone trusts.

Why Thirty Seconds Demands More Discipline

Ironically, it is the brevity of commercials that makes storyboarding so important. In a feature film, you can recover from a weak moment because the audience has invested in the story. In a commercial, if one shot falls flat, you have lost your chance.

That is why I approach every commercial storyboard with the seriousness of a short film. The message, the beats, the performances, and the brand all have to align. There is no room for improvisation or hoping it will work out on set.

Closing Thoughts

Commercials are not lesser forms of storytelling. They are concentrated ones. They demand discipline, clarity, and precision. Storyboards are the tool that makes that discipline possible. Without them, thirty seconds of screen time can feel like thirty seconds of confusion. With them, a commercial becomes a perfectly crafted short film that entertains, convinces, and sticks with the audience.

📩 Reach out: paul@paultemplestudios.com
🎨 Explore more: www.paultemplestudios.com

Want more blog posts on this topic?
1. The Art of the Pitch Starts with the Right Visuals
2. Why Animatics Aren't Just for Animation
3. From Pitch to Production: Winning Clients with Storyboards

Storyboard Revisions: Knowing When to Refine and When to Simplify

Revisions are inevitable. If you work in advertising or film, you already know this. A storyboard rarely sails through untouched, and honestly, that is part of the job. Clients, directors, and creative teams have ideas to test, details to tweak, and sometimes whole scenes to rethink. The real skill is not just in drawing the first draft but in knowing how to handle revisions. Do you push harder and add more detail, or do you strip back and keep it simple? That choice can make or break the usefulness of your boards.

I have spent years working with agencies, production houses, and directors who all bring different styles of feedback. Some want to see every frame polished like a finished illustration. Others want quick adjustments to staging or timing so they can test ideas without getting stuck in the weeds. Over time, I have learned that revisions are not just corrections. They are opportunities to decide how much the storyboard should carry and how much should be left open for the director and crew to interpret.

Why Revisions Happen

Before talking about how to handle them, it helps to acknowledge why revisions exist in the first place. Advertising campaigns change because clients are weighing brand identity, legal clearances, and sometimes personal taste. Film boards change because story beats shift, a line of dialogue gets cut, or the budget forces a different approach. None of this is unusual.

A storyboard is a conversation. It is a tool for testing how ideas will look and feel before money is spent on production. Revisions are a sign that people are engaging with your work. The challenge is figuring out how far to take each round of changes.

Knowing When to Push

Pushing a storyboard means leaning in with more detail, more nuance, and more cinematic intention. These are the moments when you add shading, refine expressions, lock down camera angles, and clarify staging so no one misreads the plan.

I push harder when:

• The timing is critical. Comedy spots, action beats, or visual reveals often need exact framing. If a gag depends on a half-second pause or a glance timed just right, the boards must show it clearly.

• Talent is involved. When the client is paying for a big-name actor, the boards need to capture likeness and gesture. The team wants to imagine how the star will look in the scene. Vague sketches will not cut it.

• The production scale is large. If there are stunts, special effects, or expensive set pieces, clarity is everything. You cannot leave the director or cinematographer guessing. Pushing detail here prevents expensive mistakes later.

• The director asks for it. Some directors are highly visual. They want boards that feel almost like a graphic novel so they can pitch confidently to the client or communicate with the crew.

When I push, I think of the board as a tool that has to do heavy lifting. It is not just about selling the idea but ensuring that timing, scale, and intent are crystal clear.

Knowing When to Simplify

On the other hand, sometimes the smartest move is to strip things back. A storyboard does not always need to be a finished illustration. In fact, too much detail can distract from the conversation. When the boards look too polished, clients might argue over the color of a jacket instead of the flow of the story.

I simplify when:

• The concept is still evolving. If the creative team is still exploring big-picture ideas, fast sketches are better. They show intent without locking the director into specifics that may change tomorrow.

• Speed is more important than polish. In pitches or early client meetings, the priority is getting ideas in front of people quickly. Spending hours rendering shadows and textures is wasted time if the whole idea is about to shift.

• The revision is minor. If the only note is to change the angle of a hand or swap the background setting, there is no reason to redraw the entire frame with full detail. A simple fix communicates just as well.

• The director prefers flexibility. Some directors like to keep things open so they can explore on set. For them, storyboards are guidelines, not mandates. Simpler boards encourage creativity rather than boxing them in.

Simplifying is not about doing less work. It is about respecting the process. Sometimes the most efficient path forward is a clean, readable sketch that gives space for ideas to keep breathing.

Reading the Room

The trickiest part of revisions is reading the room. Not every client wants the same level of detail, and not every director communicates in the same way. Some teams need every beat spelled out, while others just want reassurance that the story holds together.

Part of my job is figuring out who needs what. If I am working with a comedy director, I know timing is going to be everything, so I lean into precision. If I am working with an agency team still shaping their pitch, I focus on speed and clarity rather than polish. If the creative director wants boards that feel like finished artwork to impress a client, I adjust for that too.

Good storyboard work is not just about drawing. It is about listening and adapting. Revisions are signals, and if you read them well, you can figure out how far to push or how much to simplify.

The Danger of Overworking

One mistake I see often is overworking boards. It is tempting to polish every frame until it looks portfolio-ready, but that can be a trap. The more detail you pour into the drawings, the easier it becomes for clients to nitpick things that do not actually matter at that stage. Suddenly the conversation shifts from storytelling and shot flow to “why does the actor’s jacket look that color” or “can the background be more detailed.” Those are production questions, not storyboard questions.

I learned this the hard way. On one project, the boards were so polished they looked like finished illustrations. The client fell in love with them as if they were the final look of the film. Once production began, the reality of the budget, the lighting, and the set design could not possibly match the illustrated perfection. Instead of being excited by the shoot, the client felt let down because they had already “seen” a version of the film that was too ideal. The boards had set the wrong expectation.

That experience taught me something important: storyboards are not supposed to be the final product. Their job is to map the rhythm of the story, the flow of shots, the timing of the beats, and the placement of the camera. When boards get too detailed, they distract from that role. Clean, readable drawings are often more effective because they focus everyone’s attention on the sequence, not on the surface polish.

The truth is, a board only needs enough detail to communicate the action, mood, and framing. Anything more risks pulling energy away from what matters most.

The Value of Efficiency

Every revision is a negotiation between clarity and speed. The goal is not to make the prettiest drawing but to make the clearest communication tool. That means balancing effort with impact. If a change will make the story flow better, it is worth pushing. If a change is cosmetic, simplify.

Efficiency also builds trust. Directors and producers do not want to feel like revisions are going to slow down the process. If you can show that you can pivot quickly, keeping the boards useful without burning through time, you become an asset to the team.

Collaboration Through Revisions

The best revisions are not battles. They are collaborations. A director who sees you adjusting boards to support their vision will trust you more. An agency that knows you can deliver changes overnight will keep calling you back.

Revisions give you a chance to show that you are more than just an illustrator. You are part of the storytelling team. Sometimes that means pushing detail to help everyone see the scene more vividly. Other times it means simplifying so the idea stays flexible. Knowing the difference is what separates a technician from a collaborator.

Final Thoughts

Revisions are not the enemy. They are part of the process, and how you handle them can make a huge difference in how useful your boards are. The art is in knowing when to push and when to simplify. Push when the timing, talent, or scale demands it. Simplify when the idea is still forming or when polish will only slow things down.

After more than a decade of drawing for agencies, directors, and studios, I have learned that revisions are where the real value of a storyboard artist shows. Anyone can draw a first pass. It takes experience to know how to adjust, how to listen, and how to keep the boards serving the story.

At the end of the day, the measure of a storyboard is not how pretty it looks on a wall. It is how well it communicates the vision and keeps the production moving forward. That is why revisions matter. They are not setbacks. They are the fine-tuning that makes sure the train runs on time.

📩 Reach out: paul@paultemplestudios.com
🎨 Explore more: www.paultemplestudios.com

Want more blog posts on this topic?
1. From Pitch to Production: Winning Clients with Storyboards
2. Commercials Are Short Films: Why Storyboards Matter Even More in 30 Seconds
3. Storyboards and Cinematography: Speaking the Same Language

Landing the Laugh: Storyboarding Pepsi Zero Sugar’s Super Bowl Spots

Super Bowl commercials come with massive pressure. Millions of viewers, huge budgets, and A-list talent all waiting for the perfect joke to land. For the 2023 Pepsi Zero Sugar campaign, “Great Acting or Great Taste,” my job as the storyboard artist was to make sure every punchline, every comedic beat, and every subtle visual gag translated perfectly before cameras rolled.

The concept was simple in words but tricky in execution: challenge viewers to question whether they were enjoying the soda because it tasted great or because the actors were selling it so convincingly. The ads featured Ben Stiller and Steve Martin, two legends of comedy, and the campaign leaned into absurd humor that required precise timing and carefully planned visuals.

Working on this project, I was especially excited about the inclusion of Zoolander references. Anyone who knows me knows that movie is a personal favorite. Stiller’s over-the-top facial expressions and gestures, along with the nods to the fashion world, gave me plenty of material to craft storyboards that were both clear and playful.

Translating Humor to the Page

Comedy on-screen isn’t just about dialogue. It’s timing, body language, reaction shots, and subtle gestures. As a storyboard artist, my challenge is to take the written script and make sure the humor reads visually before the first take.

For example, in one spot, Ben Stiller’s hesitation before delivering a line needed to look awkward but intentional. The pause had to feel natural, yet exaggeration would make the gag hit harder. My storyboards broke down each frame, showing exact gestures, facial reactions, and camera framing.

Steve Martin’s comedic timing is famously understated, which presents a different kind of challenge. His reactions often carry the punchline. By mapping his expressions and movements in advance, the boards ensured nothing was lost in translation. This is especially important in Super Bowl spots where every second counts and audiences expect precision.

The Zoolander nods added another layer. One sequence had Stiller glancing at a model on set, mimicking his Zoolander signature moves. Planning these moments visually allowed the director to see the gag unfold frame by frame, making sure the joke wasn’t too subtle for the Super Bowl audience but still clever enough for fans of the movie.

Collaboration with Directors and Talent

One of the coolest parts of this project was seeing how storyboards became a communication tool with the talent. Ben Stiller personally reviewed the boards and provided notes on how he wanted certain gestures, pauses, or expressions adjusted. Getting that level of input directly from an actor of his caliber was amazing and gave me a chance to refine the visuals before production.

Steve Martin’s team also relied heavily on the boards. They helped confirm camera placements, timing of reactions, and how physical comedy would translate to the final cut. The boards weren’t just a blueprint; they were a conversation tool between director, actors, and crew. They allowed everyone to get on the same page before the first camera rolled.

By visualizing these comedic beats in advance, we could experiment with framing and staging options that would have been impossible to tweak on set without adding cost and time. The boards also helped directors see exactly where the humor would land, and where it needed to be exaggerated or toned down.

Scene-by-Scene Humor Breakdown

The first spot with Steve Martin set up the premise: are you enjoying Pepsi Zero Sugar because it tastes good, or because the acting is just that convincing? My storyboards captured Steve in each scenario: the DMV meltdown, disappointment over a tiny plate at a restaurant, his calm precision as a surgeon, and gloating over a board game victory against a child. Every gesture, glance, and expression was mapped so the audience could instantly read his acting while questioning if he was genuinely enjoying the soda. Comedic timing had to be perfect. By planning each frame, the director could focus on performance rather than figuring out the visual setup.

Ben Stiller’s spot featured battling a sci-fi creature, proposing in a restaurant, falling for a robot, and finally reprising his Zoolander character drinking Pepsi Zero Sugar. Each pose, expression, and micro-reaction was storyboarded to balance humor with narrative clarity. Stiller even gave personal notes on the boards, adjusting moments to hit just the right punch, making collaboration a highlight of the project.

Timing was critical in both spots. A millisecond off could ruin a joke, so each frame was plotted to ensure the punchlines landed exactly as intended. Storyboards gave the directors confidence, letting them focus on performance while I handled the precise visual storytelling.

Production Efficiency Without Losing Comedy

Super Bowl productions are high-pressure environments. Budgets are tight, and every second on set counts. By providing detailed storyboards, we reduced the need for reshoots and minimized downtime. The boards clearly communicated camera angles, actor movements, and comedic timing, which meant the crew could anticipate setups and lighting changes in advance.

For a campaign like this, efficiency doesn’t just save money. It preserves the humor. When actors know exactly how a scene will play visually, they can focus on performance rather than improvising or guessing what the director wants. The boards act as a guide for the entire team, keeping everyone aligned without slowing down the energy on set.

Storyboards also prevent miscommunication. A single gesture, glance, or expression can make or break a joke. By illustrating it in advance, we make sure that every visual element contributes to the humor without ambiguity. The director can see the gag, approve it, and move forward with confidence.

Why Hand-Drawn Storyboards Matter

While previsualization software and digital tools are popular, hand-drawn boards bring a level of nuance and clarity that is hard to replicate. A sketch can emphasize exaggeration or subtlety, show exact timing, and convey the intent behind a gesture or expression.

In this campaign, subtle nuances made a huge difference. Stiller’s smirk, a slight tilt of the head, or Martin’s understated reaction all had to be visible to the audience within a second or two. Hand-drawn boards allowed me to control every detail of how the joke would be seen.

Moreover, hand-drawn storyboards are inherently adaptable. As Ben Stiller suggested tweaks, I could adjust the illustrations on the spot, showing new ideas immediately. The human touch allowed us to iterate rapidly without losing the original comedic intention.

Extending the Campaign

After the initial spots aired during the Super Bowl, the campaign extended to include additional ads and tie-ins. Storyboards helped maintain consistency. They ensured that new sequences kept the same comedic timing, character gestures, and tone.

For example, a follow-up spot included more Zoolander references. Having detailed boards from the initial campaign meant we could plan new gags that fit seamlessly, preserving the humor while introducing fresh material. Directors and actors could quickly understand the intended joke without needing lengthy explanations.

Storyboards also assisted with editing. When multiple takes were available, editors could use the boards to choose the version that matched the visual intention. Every decision, from pacing to gesture emphasis, was guided by the storyboard.

Conclusion

The Pepsi Zero Sugar “Great Acting or Great Taste” campaign is a perfect example of how storyboards are essential for landing humor on screen. From Ben Stiller’s hilarious Zoolander nods to Steve Martin’s thoughtful gestures, every comedic moment was carefully mapped, planned, and refined before cameras rolled.

Working directly with the talent, especially getting notes from Stiller himself, was an unforgettable part of the process. It reinforced how storyboards are not just technical tools; they are a medium for collaboration, communication, and perfecting the performance before production begins.

For creative directors and filmmakers, this campaign demonstrates the value of detailed storyboards. They save time, prevent headaches, and most importantly, ensure the jokes land. When humor is the heart of your story, nothing should be left to chance, and that’s exactly where storyboards come in.

Whether you’re planning a Super Bowl spot or a smaller branded content piece, investing in high-quality storyboards gives you a blueprint for timing, gestures, and expressions that keeps your audience laughing and engaged.

📩 Reach out: paul@paultemplestudios.com
🎨 Explore more: www.paultemplestudios.com

Want more blog posts on this topic?
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Why Animatics Aren't Just for Animation

When most people hear the word “animatic,” they immediately think of cartoons. Makes sense. Animation studios use animatics as part of their pre-production process. But animatics are so much more than a step in making cartoons. They’re a powerful tool in live-action filmmaking, advertising, and just about any project that needs a clear visual game plan before cameras roll.

If you’ve ever tried to get a team aligned on timing, tone, or camera movement using only a script or static storyboard frames, you know how easily things get lost in translation. That’s where animatics come in. They give you timing, pacing, and even sound design in a way that brings the whole vision together.

Let’s dig into why animatics deserve a spot in your toolkit, even if you’ve never touched a cartoon in your life.

What is an Animatic?

An animatic is basically a storyboard that’s been edited into a rough video sequence. It’s made from storyboard frames timed out to match the script, with sound effects, music, or voiceover added. The result is a simplified version of your project that plays like a film—no guesswork required.

For example, say you’ve got a 30-second commercial. You can sketch out all the key shots and assemble them in a timeline that shows how long each one lasts, where transitions happen, and how dialogue fits. Suddenly, everyone from your producer to your editor knows exactly what’s going on.

Who Uses Animatics (and Why)?

Filmmakers: For directors, animatics help clarify camera angles, blocking, and pacing before anyone steps on set. They’re especially useful for action scenes, VFX shots, or anything with complex movement.

Agencies: In advertising, animatics are used to pitch and pre-test commercial ideas before production. Clients can visualize the ad without having to imagine what a static frame means. That means fewer revisions and more confidence on all sides.

Production Teams: Editors, cinematographers, and even composers benefit from a well-structured animatic. It sets the rhythm of the piece, showing where to hit emotional beats or transition between ideas.

Animatics vs. Storyboards: What’s the Difference?

Storyboards are the backbone. Animatics are the muscle. Both are vital, but they do different jobs.

A storyboard helps visualize the plan. But an animatic brings the plan to life. Once the storyboard frames are timed out and sequenced, you can start to feel the momentum of the piece. Even a few seconds of music or a subtle pause in dialogue can change how a scene feels—and an animatic is where you spot that.

When to Use an Animatic

You don’t need an animatic for every project. But here are some moments when it can save you time, money, and headaches:

1. Complex Sequences: If your project includes stunts, effects, or tightly choreographed scenes, an animatic can help prevent expensive mistakes on set.

2. Client Approvals: Some clients have a hard time visualizing from boards alone. An animatic gives them something closer to the final product, which can speed up approvals.

3. Pitching a Concept: Whether it’s a commercial, short film, or brand video, showing a moving animatic adds a professional polish that makes your pitch more convincing.

4. Editing Prep: Animatics give editors a sense of timing before footage even exists. That means fewer reshoots and more efficient post-production.

Real-World Example: Commercial Work

Let’s say you’re creating a 60-second spot for a beverage company. There are multiple characters, two locations, and a lot of quick edits to hit. You’ve got great boards, but the pacing is tricky. Should the hero moment last 4 seconds or 6? Should the cut between scenes be hard or dissolve?

With an animatic, you can test all of this before anyone calls “Action.” You drop the boards into a timeline, add temporary voiceover and a music bed, and now the entire flow is visible. You might even discover a scene that feels unnecessary, saving your client time and budget.

The Benefits Go Beyond Clarity

Here’s what animatics bring to the table beyond just visuals:

• Timing and Rhythm: This is huge. Animatics let you fine-tune the flow of your piece. You’ll catch moments that drag or transitions that feel abrupt.

• Mood Setting: Adding sound design or music, even temporarily, completely changes how a scene feels. It sets the emotional tone long before final production.

• Cross-Team Communication: Whether you’re working with agency creatives or a film crew, animatics speak a universal language. Everyone sees the same thing, which cuts down on miscommunication.

• Creative Discovery: Sometimes, once you see things in motion, new ideas emerge. You realize a scene works better in a different order, or that a moment should linger just a beat longer. That kind of insight is priceless.

Don’t Overthink It

You don’t need Pixar-level animation skills to make an animatic. Simple drawings, even rough sketches, can be enough. What matters is how the scenes are cut together and how the pacing supports the story.

In my own work, I’ve used everything from pencil sketches to full grayscale illustrations depending on the project’s needs. The key is making sure the visual intent comes through clearly.

Tips for Making a Strong Animatic

Start with solid boards: The clearer your key frames are, the better your animatic will work.

Keep it moving: Animatics don’t have to include every single frame. Focus on moments that convey action, change, or emotional shifts.

Use scratch audio: A temporary voiceover track or music bed can do wonders. It doesn’t have to be final, but it should represent the tone you’re aiming for.

Test and tweak: Once assembled, watch it with fresh eyes—or better yet, show it to someone who hasn’t seen the boards. What do they pick up on? Where do they get confused?

Animatics as a Confidence Booster

There’s nothing quite like heading into a production day knowing exactly what you’re shooting and why. An animatic gives you that confidence. It helps your team stay aligned, minimizes surprises, and sets the creative tone early in the process.

It’s a tool, yes. But it’s also a mindset. Using animatics shows that you value preparation and storytelling, not just execution.

Final Thoughts

So the next time you’re planning a shoot, whether it’s a brand campaign, a short film, or anything in between, consider adding an animatic to the mix. It doesn’t have to be fancy. Just functional enough to let the story breathe and the visuals land.

If you’re looking for help with storyboards or an animatic that fits your project, I’d love to hear from you.

📩 Reach out: paul@paultemplestudios.com
🎨 Explore more: www.paultemplestudios.com

Want more blog posts on this topic?
1. The Art of the Pitch Starts with the Right Visuals
2. From Pitch to Production: Winning Clients with Storyboards
3. Storyboard Revisions: Knowing When to Refine and When to Simplify