Image - 2026-09-15 21:17

A traditional hand-drawn FILM STORYBOARD SHEET for scene 4: 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 [0.0-3.5s]: SHOT 1 — WS — 20mm. CAMERA: side-on, LOW near the grating, looking up the aisle at both figures. MOVE: SLOW DOLLY IN over T=0.0-3.5 down the aisle. ACTION: the hologram unfurls from the flickering face into a FULL-BODY COPY screen-left-centre, translucent with long loose hair and burning red eyes, standing level on the grating and facing SCREEN-RIGHT; MIRA stands screen-right-foreground, lower, facing SCREEN-LEFT, frozen; vapour churns in the aisle between them. EYELINE: COPY screen-right at Mira; MIRA screen-left at the Copy. SHOT 2 [3.5-6.5s]: SHOT 2 — MCU — 50mm. THE COPY, facing screen-right, framed on her glowing translucent face and red eyes, camera side-on eye level on the near side of the axis. MOVE: SLOW PUSH-IN over T=3.5-6.5. ACTION: the Copy's red eyes flare brighter; her lips move in a cold digital whisper; vapour drifts through her translucent form. EYELINE: COPY screen-right, piercing, at Mira. She speaks here. SHOT 3 [6.5-9.0s]: SHOT 3 — MWS — 28mm. MIRA — restate: she faces SCREEN-LEFT toward the Copy, camera side-on on the near side of the axis, eye level. MOVE: HANDHELD MICRO-SHAKE with a fast TRACK RIGHT following Mira's stagger. ACTION: Mira lurches backward SCREEN-RIGHT and slams her back into the RIGHT RACK; on impact the red diodes on both racks STROBE violently; her hands scrabble at the iron. EYELINE: MIRA screen-left, wide-eyed at the Copy. An off-screen line from Father Ilarion begins here. SHOT 4 [9.0-12.0s]: SHOT 4 — CU — 50mm. MIRA — restate: pinned against the right rack, facing SCREEN-LEFT, camera side-on eye level on the near side of the axis. MOVE: SLOW PUSH-IN over T=9.0-12.0. ACTION: Mira's terrified face fills the frame, red strobing diodes flashing across her pale skin, breath bursting in frost-plumes; behind her screen-left the Copy's glow flickers as a deep paternal voice speaks off-screen. EYELINE: MIRA screen-left, then flicking screen-right toward the off-screen voice. 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.