Produces a video storyboard as a shot-by-shot table with shot type, camera movement, subject action, audio notes, and duration for each shot.
How much does it cost?+
Nothing. It ships with Murage, which is open source. Your bots run on the AI plan you already have.
Can I change it?+
Yes. Open it in Settings → Skills to read, edit or duplicate it. Skill Guard scans it again after every edit.
Give your first job to Murage.
Download the app, connect the AI you already pay for, and tell your Chief of Staff what needs doing. Plan on about ten minutes from install to a working team.
User needs a shot list to hand to a director of photography, videographer, or editor who has not yet read the concept
User is preparing a pre-production package and needs a visual planning document to accompany a treatment or script
User wants to pressure-test a video concept for pacing problems, missing coverage, or duration overruns before committing to a shoot day
User is coordinating a multi-camera production (interview, live event, panel) and needs to assign camera roles per shot
User needs to pitch a video concept to a client, brand stakeholder, or producer and wants a professional pre-visualization document
Do NOT use when:
User needs spoken dialogue, on-camera narration text, or scripted voiceover copy -- use video-script-writing instead
User is planning a YouTube video's title, thumbnail, tags, or SEO strategy -- use youtube-video-strategy instead
User needs a hook, caption, or content flow for a sub-60-second social reel or TikTok -- use short-form-video-planning instead
User only wants a single-paragraph video treatment or concept summary -- that is a creative brief, not a storyboard
User is asking for video editing instructions, color grading decisions, or post-production workflows -- this skill ends at pre-production
User needs a podcast or audio-only production plan -- there is no visual component to storyboard
Process
Step 1: Extract the Production Brief
Before designing a single shot, gather all inputs that constrain the production. Missing information at this stage causes structural rework later.
Required inputs: Video concept or script (even a paragraph summary works), target duration, intended platform or distribution format, video style (commercial, narrative, tutorial, documentary, talking-head, montage, explainer/animation), and intended audience
Equipment constraints: Single vs. multi-camera, availability of stabilization (gimbal, dolly, slider, crane/jib, drone), lighting setup (natural only, studio, on-location), and lens availability -- these dictate which shots are physically possible
Subject count: Number of on-camera people, products, or objects that need to appear. More subjects per scene means more coverage shots needed
Location count: Each physical location requires its own scene block. More locations add logistical complexity and setup time that affects the shot count per scene
If inputs are incomplete: Do not stall. Build the storyboard based on reasonable assumptions for the stated video style, then flag each assumption explicitly in a "Production Assumptions" block at the top of the output. Ask the user to confirm or correct them.
Identify the single most important visual moment: Every effective video has one "hero moment" -- the shot the whole piece builds toward. Identify it early and protect it in the structure.
Step 2: Establish Scene Architecture
Scenes are continuous sequences in a single physical location or a contiguous time block. Breaking the concept into scenes before designing shots prevents coverage gaps.
Scene count benchmarks by duration: A 60-second commercial typically has 3--5 scenes; a 2--3 minute product demo has 4--7 scenes; a 5--8 minute tutorial or documentary-style video has 6--12 scenes. More scenes than these benchmarks means fragmented storytelling -- fewer means insufficient visual variety
Assign a narrative function to every scene: Set-up/problem, product/solution introduction, feature demonstration, social proof or testimonial, benefit summary, and call-to-action are the standard commercial narrative blocks. Documentary and narrative fiction use: establishing, inciting incident, rising action, climax, and resolution. Every scene must earn its place by advancing one of these functions
Label each scene with: Scene number, location, lighting condition (natural/artificial, time of day, quality: hard/soft), and narrative purpose (what the viewer learns or feels by the end of this scene)
Estimate scene duration in proportion to narrative weight: Introductory and CTA scenes are typically 10--20% of total duration each. Core demonstration or story scenes carry 50--60%. Don't allocate equal time to all scenes -- that creates flat pacing
Flag location-change transitions early: Moving from a controlled studio environment to a natural location mid-shoot requires a wardrobe, prop, and continuity plan. Note these dependencies before designing shots
Step 3: Design Individual Shots Within Each Scene
Each shot is a single continuous recording from one camera position. Design shots to serve the scene's narrative function -- not to show off technique.
Shot type vocabulary -- use these exact terms:
EWS (Extreme Wide Shot): Full environment, subject is small or absent. Used to establish geography or scale
WS (Wide Shot): Subject full-body visible with significant environment. Used to establish location and body language
MS (Medium Shot): Waist to head. Used for conversational scenes and product context
MCU (Medium Close-Up): Chest to head. The workhorse shot for interviews and dialogue -- most broadcast news uses MCU as default
CU (Close-Up): Face fills frame, or a product feature fills frame. Used for emotional peaks and critical detail
ECU (Extreme Close-Up): Single feature: eyes, hands, a button, a texture, a label. Used to isolate detail that a CU cannot isolate
Insert: A cutaway shot of an object or action directly referenced in the scene. Not a character shot -- a thing shot (a phone screen, a key turning, a signature on paper)
OTS (Over-the-Shoulder): Camera behind one subject's shoulder looking at another. Standard for two-person interactions
POV (Point of View): Camera placed where the subject's eyes would be. Creates first-person immersion
Aerial/Drone: High-angle shot establishing geography from above. Requires specific equipment and permits in many jurisdictions
Camera movement vocabulary -- use these exact terms:
Static: Camera locked on tripod. Zero movement. The default for interview and product shots
Pan left / Pan right: Horizontal rotation on a fixed axis. Used to reveal environment or follow lateral movement
Tilt up / Tilt down: Vertical rotation on a fixed axis. Used for reveals and to convey scale
Track forward / Track back: Camera physically moves toward or away from subject on a linear path. Requires dolly, slider, or gimbal. Distinct from zoom -- perspective changes
Dolly left / Dolly right: Lateral physical movement of the entire camera. Creates parallax depth
Handheld: Camera operator holds camera without stabilization. Introduces organic movement and energy. Use deliberately for tension, not as a default
Gimbal: Motorized 3-axis stabilization. Allows movement without shake. The modern substitute for a dolly on smaller productions
Crane / Jib up / Jib down: Camera rises or descends on an arm. Creates dramatic reveals and authority
Subject action must be specific and active: "Person speaks" is not an action. "Person picks up bottle, reads the label, then sets it down" is. Every shot should describe what is physically happening in the frame
Assign duration in whole seconds, minimum 2 seconds per shot: Wide establishing shots typically run 4--6 seconds. Dialogue or demo shots run 3--8 seconds. ECU and insert shots run 2--4 seconds. CTA end cards run 4--8 seconds
Handle time: Add 1--2 seconds to every shot's duration estimate as buffer for editing. A 4-second shot should be filmed as 6 seconds. Note handle time in the Production Summary, not per-shot
Step 4: Apply Shot Construction Rules for Visual Grammar
These are not aesthetic preferences -- they are the established principles of visual continuity and pacing that professional editors and directors use to keep audiences oriented.
The 180-degree rule: In any scene with two subjects or a moving subject, pick one side of the action and never cross it with the camera. Crossing the axis reverses left-right spatial relationships and disorients the viewer. Note the axis in the scene header for complex scenes
Shot size jumps: When cutting between two shots of the same subject, the shot size must change by at least two levels (e.g., MS to CU, not MS to MCU). Cutting between similar framings of the same subject creates a "jump cut" that reads as a mistake unless it is an intentional stylistic choice (music video, talking-head energy)
The rule of thirds: Subjects should be framed so their eyes (or the primary visual element) are on the upper third intersection, not dead center. Note this as a framing instruction in the shot's Notes column when it matters for the shot type
Shot variety rhythm: No more than 2--3 consecutive shots of the same size (e.g., three MCUs in a row flattens energy). Alternate between wider shots for context and tighter shots for detail. A useful default rhythm: WS → MS → CU → Insert → MS is a complete coverage block for one action
Every scene must have an establishing shot: The first shot of a new location must orient the viewer geographically. This is non-negotiable. The only exception is an intentional mystery reveal where location ambiguity is a narrative device
Eye-line matching: If subject A looks screen-right in Shot X, subject B (who A is looking at) must look screen-left in the next shot. Mismatched eye-lines break spatial logic
Lead room and head room: In moving subjects, camera framing must leave space in the direction of movement (lead room) and appropriate space above the subject's head (head room). Note framing adjustments in the Notes column
Step 5: Write Audio Notes for Every Shot
Audio design happens in pre-production, not in post. Every shot needs an audio annotation that guides both the production shoot and the editor.
Audio source types: Sync sound (live microphone recorded on location), voiceover/VO (narration recorded separately), music (background or featured track), ambient/nat sound (room tone, environment noise), SFX (specific sound effects: notification ping, mechanical click, crowd murmur), and silence (intentional audio absence for impact)
Voiceover timing: If a shot carries VO, quote the first and last word of the VO that plays over it (e.g., VO: "Most people forget to..." → "...until it's too late."). This links the storyboard to the script and lets an editor know what line the shot must support
Music notes: Specify the emotional quality needed (driving, uplifting, tense, sparse, warm) and the structural moment in the music (music begins, music builds, drop, peak, music fades out). Do not name specific songs -- describe the function
Ambient sound: For location shots, always note "record room tone for 30 seconds at start of scene setup." This is a production instruction that prevents dead silence in the edit
Sync dialogue: If a subject speaks on camera, note the first few words of their line so the storyboard is linked to the script. If dialogue is unscripted, mark as "improvised dialogue" and note the topic (e.g., "improvised: subject describes their morning routine")
J-cut and L-cut flags: When audio from the next scene should begin before the visual cut (J-cut) or continue past the visual cut (L-cut), mark this in the Transition block between scenes. These are some of the most powerful editorial decisions and they must be planned, not discovered in post
Step 6: Calculate Duration and Flag Coverage Risks
A storyboard that runs 40% over target duration is not production-ready. Duration math is part of the deliverable.
Sum all shot durations and compare to the target. Report both figures
Acceptable tolerance: Within ±15% of target is production-ready. 15--25% over: mark lowest-priority shots as "OPTIONAL CUT" in the Notes column. More than 25% over: restructure scenes, not just individual shots
Coverage ratio: Every scene should have enough shots to give the editor meaningful choices. A 10-second scene with one 10-second shot gives the editor zero flexibility. Plan a minimum of 3 shots per scene. Documentary and interview scenes should have 2x coverage (enough shots to edit down to 50% of raw duration)
Estimated shoot time formula: Total planned video duration × 6 to 10 = realistic shoot time in minutes. A 90-second video requires a 9--15 minute shooting window of actual recording time, but total production hours (travel, setup, direction, retakes, teardown) are much longer -- estimate 3--5 hours per location for a small crew, 6--10 hours per location for a full crew
Per-shot setup time benchmark: Simple static talking-head shots take 5--10 minutes to set up per setup. Product shots on a controlled surface: 15--30 minutes. Multi-light setups or camera movement rigs: 30--60 minutes per setup. Use these benchmarks to produce the "Estimated Shoot Time" figure in the Production Summary
Flag missing coverage types: If no B-roll or insert shots exist in a scene that will require editing, flag it. A talking-head interview with no insert shots or cutaways cannot be edited -- the editor has no way to cut around mistakes or pauses
Step 7: Define Scene Transitions and Overall Flow
The transitions between scenes are pre-production editorial decisions. They define pacing and tone.
Cut (hard cut): Immediate jump from last frame of one scene to first frame of next. The default for commercial, tutorial, and high-energy content. Implies continuity of time or a sharp shift
Dissolve (cross-dissolve): Gradual blend between two scenes. Signals passage of time, memory, or a softer emotional transition. Overused in amateur work -- use deliberately
Match cut: The outgoing and incoming shots share a visual or conceptual element (a spinning wheel dissolves to a spinning gear; an open hand reaches toward camera and the next scene opens with a hand extending in greeting). The most sophisticated transition and should be planned at storyboard stage
J-cut: Audio from Scene 2 begins before the visual cut from Scene 1. Pulls the viewer forward emotionally. Very effective for documentary and narrative work
L-cut: Audio from Scene 1 continues over the first frames of Scene 2. Creates reflective, contemplative pacing. Common in interview documentaries
Wipe / Graphic transition: A stylistic transition (a brand color wipe, a logo reveal). Note the direction (left-to-right, top-to-bottom) and style
Smash cut: An abrupt, unexpected cut used for comedy or shock. The outgoing and incoming shots have maximum tonal contrast
Step 8: Write the Production Summary
The Production Summary converts the storyboard into a production logistics brief. This is the document a producer uses to schedule, budget, and staff a shoot.
Total shots and total planned duration
Estimated shoot time per location (using the formula from Step 6)
Equipment list: Camera body type (mirrorless, cinema camera, phone), stabilization needed (tripod, gimbal, dolly, drone), lens requirements (wide angle for EWS, standard for MS/MCU, macro or telephoto for ECU/Insert), lighting (natural, portable LED panel, softbox, practical)
Props and set dressing per scene
Wardrobe continuity notes: If a subject appears across multiple locations in a single-day shoot, note whether they must maintain the same outfit for continuity
Talent notes: Number of on-camera subjects per scene, any doubles or stand-ins needed
Permits and access notes: Outdoor locations, public spaces, and aerial shots often require permits. Flag these risks explicitly
Output Format
## Video Storyboard: [Video Title]
### Production Assumptions
[List any assumptions made where inputs were missing or ambiguous]
---
### Brief Summary
**Target Duration:** [MM:SS]
**Platform / Format:** [broadcast | social | web | internal | pitch]
**Style:** [commercial | narrative | tutorial | documentary | talking-head | montage | explainer]
**Total Scenes:** [count]
**Total Shots:** [count]
**Total Planned Duration:** [MM:SS] ([over/under/within] target by [X]%)
**Audience:** [one-sentence description]
---
### Scene [N]: [Scene Title]
**Location:** [specific location]
**Lighting:** [natural/artificial, quality: soft/hard, time of day or color temperature]
**Narrative Purpose:** [what the viewer learns or feels by the end of this scene]
**Scene Duration:** [estimated seconds]
| Shot | Type | Movement | Subject Action | Audio | Duration | Notes |
|------|------|----------|----------------|-------|----------|-------|
| [N]A | [type] | [movement] | [specific action] | [source: content] | [X]s | [framing, prop, continuity] |
| [N]B | [type] | [movement] | [specific action] | [source: content] | [X]s | [framing, prop, continuity] |
| [N]C | [type] | [movement] | [specific action] | [source: content] | [X]s | [framing, prop, continuity] |
**Scene [N] Total:** [X]s
**Transition to Scene [N+1]:** [transition type] -- [description of how the transition works visually/aurally]
---
[Repeat Scene block for each scene]
---
### Production Summary
**Shot Totals**
- Total shots: [count]
- Total planned duration: [MM:SS]
- Handle time buffer: +[X]s per shot ([total] seconds total)
- Estimated raw footage duration: [MM:SS]
**Schedule Estimate**
| Location | Shot Count | Setup Type | Estimated Shoot Time |
|----------|------------|------------|----------------------|
| [location] | [count] | [static/movement/product] | [X hours] |
| [location] | [count] | [static/movement/product] | [X hours] |
| **Total** | [count] | -- | [X hours] |
**Equipment Requirements**
- Camera: [type recommendation based on style and shot requirements]
- Stabilization: [tripod / gimbal / dolly / slider / handheld rig / none required]
- Lenses: [focal lengths needed based on shot types specified]
- Lighting: [natural / portable LED / softbox / practical / mixed]
- Audio: [on-camera mic / lavalier / boom / no sync audio needed]
**Assets and Props**
- Props: [itemized list per scene]
- Set dressing: [per scene]
- Screen/UI assets: [phone mockups, app screenshots, screen recordings if needed]
**Talent and Wardrobe**
- On-camera subjects: [count and description]
- Wardrobe continuity: [same outfit across scenes? changes flagged?]
- Continuity risk shots: [shots where matching is critical]
**Coverage Risks**
- [Flag any scenes with fewer than 3 shots]
- [Flag any scenes with no B-roll or insert coverage]
- [Flag any required permits, location access, or equipment not yet confirmed]
- [Flag optional cut shots if duration exceeded target by more than 15%]
Rules
Never design a shot that cannot be physically executed. If the user has stated "no dolly," do not specify a dolly shot. If natural-light-only is the constraint, do not specify a softbox or studio light setup. Every shot in the storyboard must be achievable with the stated equipment
Never place two shots of the same size back to back unless a jump cut is intentional. Consecutive WS → WS or MCU → MCU of the same subject creates an editing dead end. The shot size must jump by at least two levels or the camera angle must change by at least 30 degrees
Every scene must open with an establishing shot. The only valid exception is when location ambiguity is a deliberate narrative device -- and that intent must be noted explicitly in the scene's Narrative Purpose field
Every shot must have a specific, active subject description. "Person stands" or "product is shown" are not acceptable actions. Describe what physically changes during the shot: movement, gesture, interaction with an object, facial expression shift, or a process step
Audio must be annotated for every single shot. Silence is a valid audio note but must be written as "Silence (intentional)" -- not left blank. A blank audio field means the storyboard is incomplete
Duration minimums are enforced: 2 seconds minimum for any shot. ECU and insert shots are typically 2--4 seconds. If a shot duration is under 2 seconds, the shot exists only as a stylistic flash cut -- mark it as such and justify it
The 180-degree rule must be respected across the entire storyboard. In scenes with two subjects or a moving camera following a subject in one direction, note the axis. Crossing the axis without flagging it as intentional is a production error that creates an unusable edit
Scene transitions must be specified with enough detail to execute. "Cut" is sufficient. "Dissolve" needs a duration note (fast 12-frame dissolve vs. slow 48-frame dissolve). A match cut must identify the shared visual element in both the outgoing and incoming shot descriptions
The Production Summary is mandatory, not optional. A storyboard without a Production Summary is an incomplete pre-production document. The summary must include shot counts, duration math, estimated shoot time, and equipment requirements
Optional cut shots must be marked explicitly when total duration exceeds target by more than 15%. Marking them "OPTIONAL CUT" in the Notes column allows the production team to film everything but gives the director and editor a clear first-cut priority. Never silently drop shots -- always flag and explain
Do not include color grading, motion graphics specs, VFX instructions, or editing software directions. This is a pre-production planning document. Post-production decisions belong in a post-production brief, not a storyboard
Voiceover references must quote specific lines from the script when a script exists, or describe the specific topic and tone when VO will be written later. "VO plays here" is not an acceptable audio note
Edge Cases
Talking-head video with no b-roll assets identified: A single-subject talking-head video with no insert shots or cutaways is un-editable -- the editor has no way to cut around stumbled lines, long pauses, or pacing problems. When a user provides a talking-head concept with no B-roll, generate insert shot suggestions based on the subject matter (screen recordings of tools mentioned, product close-ups, relevant environment details, animated text overlays). Label each insert as "B-roll suggestion" with a note that these shots require either additional filming or stock footage sourcing. Plan a minimum of one insert per 15--20 seconds of total duration.
No script provided -- concept-only brief: When a user provides only a high-level concept ("a 2-minute video about our new app"), build the storyboard from narrative beats first. Map the beats: problem → solution → feature 1 → feature 2 → social proof → CTA. Then assign shots to each beat. Mark all VO audio notes as "VO [TOPIC]: to be scripted" so the storyboard is clear that copy has not been written. Flag this prominently in the Production Assumptions block. Do not block the storyboard -- proceed with the beat structure and make the assumption explicit.
Multi-camera production (interview, panel, event): Add a "Camera" column to every shot table. Assign each shot to Camera A, Camera B, or Camera C. Flag shots where multiple cameras roll simultaneously -- these are marked "ALL CAMS" -- and note that simultaneous rolling is essential for any unscripted interaction that cannot be re-performed. In interview setups, Camera A is typically the MCU of the primary subject, Camera B is the OTS from the interviewer's position, and Camera C (if available) is a wide two-shot. Multi-camera setups require an additional column in the Production Summary for camera operator assignments.
Animation or motion graphics (no physical camera): Replace physical camera terminology with animation equivalents throughout: "Track forward" becomes "virtual camera push in," "Pan right" becomes "viewport pan right," "Handheld" becomes "subtle camera shake (2--3px oscillation)." Add a "Visual Style" column specifying the animation technique per shot: 2D flat animation, 3D render, kinetic typography, whiteboard/explainer, screen recording composite, or mixed media. Duration is more critical in animation than in live action -- every second of animation represents 4--8 hours of production time depending on complexity. Flag shots with complex movement or transitions as "HIGH PRODUCTION COST" in the Notes column.
Documentary with unscripted subjects: Divide shots into two categories and mark each explicitly: "PLANNED" (the camera position, framing, and general action can be set up in advance) and "REACTIVE" (the shot describes a type of moment to capture, not a scripted action). Reactive shots should describe: the emotional or behavioral quality sought, the minimum shot size, and the audio source. Example: "REACTIVE | CU | Subject's face during emotional memory -- capture natural reaction, no direction." Add 30--50% more shots than a scripted production of equal duration would need, because documentary ratio (ratio of shot footage to used footage) is typically 10:1 to 20:1.
Very short video (under 30 seconds): At sub-30-second duration, every shot carries enormous weight. Reduce total shot count to 5--10 maximum. Each shot should be between 2--5 seconds. Prioritize product or subject over environment -- establishing wide shots can often be eliminated when time is this constrained. Every audio note must be tight: VO lines over these shots must be 3--7 words maximum per shot. Flag any shot over 5 seconds as potentially too slow for the format.
Vertical format (9:16 aspect ratio for mobile): Vertical framing changes every composition rule. Add a "Format" note in the Brief Summary: "9:16 Vertical -- all framing instructions are for vertical composition." In vertical format, head room shrinks significantly, full-body WS shots become difficult (subject fills too much of the vertical frame), and text/graphic overlays typically occupy the bottom third rather than lower third. OTS shots are often replaced with side-by-side vertical framing. Flag any shot type that is difficult to execute vertically -- drone/aerial shots in vertical format require specific equipment settings and planning.
Product launch video requiring legal review: When the video includes product claims, before-and-after comparisons, testimonials, or competitive comparisons, add a "Legal Review Required" flag in the Notes column for those specific shots. Include a note in the Production Summary: "The following shots contain claimable content and require legal or compliance review before production: [list shot numbers]." This is particularly important for health products, financial products, and regulated industries. Flag that specific language in VO annotations must be pre-approved.
Example
Input: "Create a storyboard for a 2-minute SaaS product demo video for a project management tool called Taskframe. The video should show how it reduces team confusion in remote work. Target audience is mid-sized tech company managers. We have a 2-person crew, one mirrorless camera, a gimbal, a softbox kit, and access to a real office space and two actors."
Output:
Video Storyboard: Taskframe -- "No More Chaos"
Production Assumptions
Voiceover will be recorded separately in post -- VO lines are drafted here as placeholders linked to the narrative beat; final copy to be written using video-script-writing
Phone/laptop app UI will be screen-recorded separately and composited as insert shots in post
Two actors are the primary subject (manager) and secondary subject (team member in a separate location, shown via a video call on screen)
No drone equipment listed -- no aerial shots included
Music will be licensed separately -- described functionally here
Brief Summary
Target Duration: 2:00 Platform / Format: Web (company website, sales deck embed) Style: Commercial/product demo hybrid Total Scenes: 5 Total Shots: 18 Total Planned Duration: 1:58 (within target, -1.7%) Audience: Engineering and product managers at 50--500 person tech companies
Scene 1: The Problem -- Remote Team Confusion
Location: Open office space, desk area Lighting: Natural light from windows (morning/midday quality), supplemented with softbox positioned off-camera left to fill shadows Narrative Purpose: Establish the relatable pain point -- tasks falling through cracks in a remote team -- so the viewer self-identifies before the product is introduced Scene Duration: 28s
Shot
Type
Movement
Subject Action
Audio
Duration
Notes
1A
WS
Static
Manager at desk surrounded by open browser tabs, sticky notes on monitor, phone and laptop both showing notifications
Ambient: open office, keyboard sounds, distant conversation
5s
Establish location and chaos visually before VO begins; rule of thirds -- manager left of frame, desk chaos fills right
1B
CU
Tilt down
Starts on manager's tense face, tilts down to reveal hands hovering over keyboard, not typing -- frozen, overwhelmed
VO: "Your team is working. Tasks are moving."
4s
Convey cognitive overload through stillness, not action; shot begins on eyes
1C
Insert
Static
Laptop screen showing three different apps open: a chat tool, a spreadsheet, a calendar -- all showing different "urgent" flags
VO: "But nobody knows who's doing what."
3s
Screen content must be legible -- use large font mockup. Record screen at 1080p minimum
1D
MCU
Static
Manager picks up phone, squints at it, sets it back down without responding -- small frustrated exhale
Ambient: notification ping sound
4s
Small, grounded performance -- no exaggeration. Eye-line matches existing screen position
1E
OTS
Static
Over manager's shoulder, laptop screen shows a group chat message: "Who's handling the Mercer deadline?" with no replies
VO: "Sound familiar?"
3s
Camera is behind manager's right shoulder. Screen must fill the frame -- use macro or 85mm+ lens
1F
CU
Zoom in slow
Manager's face -- slight look of resignation, then determination
Music begins: sparse, slightly tense, building -- single piano
4s
This shot ends the problem block. Zoom is slow and subtle (5% increase) -- signals a shift is coming. Hold 1 extra second on static after zoom completes
Scene 1 Total: 23s (VO begins at shot 1B and carries through 1E) Transition to Scene 2: Match cut -- manager's hand reaches toward the laptop trackpad, and Scene 2 opens on a hand clicking to open Taskframe on a clean desktop. The reaching motion is the shared visual element.
Scene 2: Product Introduction -- First Look at Taskframe
Location: Same office desk -- cleared and clean (set dress change between scenes) Lighting: Same softbox setup -- desk is now clean and ordered to contrast with Scene 1 Narrative Purpose: Introduce the product as the solution in a visual-first, feature-second way. Viewer sees the interface before hearing what it does. Scene Duration: 22s
Shot
Type
Movement
Subject Action
Audio
Duration
Notes
2A
Insert
Static
Laptop screen: Taskframe dashboard opens -- clean, color-coded project view. Cursor moves naturally through the interface
Music: brightens slightly, tension resolves
5s
Screen recording composite -- plan 30-second screen recording to allow edit flexibility. App UI must be final version or high-fidelity mockup
Natural lean should be directed -- ask actor to feel like they are reading something interesting for the first time
2C
MS
Gimbal slow track left
Camera moves slowly from laptop screen to reveal manager's full upper body -- creates reveal of person behind the tool
VO: "One place for every task, every deadline, every person."
5s
Gimbal track is slow and deliberate -- 3-foot lateral move over 5 seconds. This is the hero shot of this scene
2D
Insert
Static
Laptop screen: zoom into a specific task card -- shows owner name, due date, status badge ("In Progress")
VO: "No emails. No spreadsheets. No guessing."
4s
Three claims = three visual elements must be on screen. Design the task card UI to show all three
Scene 2 Total: 17s Transition to Scene 3: L-cut -- VO line "No guessing" from Scene 2 continues over the first 2 seconds of Scene 3's establishing shot. Audio bridges the scenes; visual cuts hard.
Scene 3: Feature Demonstration -- Assigning and Tracking Tasks
Location: Office desk (same setup) and video call on screen showing remote team member Lighting: Softbox maintained. A second small LED panel (or bounce card) should be added to eliminate shadows on the laptop screen during insert shots Narrative Purpose: Show the manager using Taskframe to assign a task to a remote team member -- demonstrate the core workflow in real time Scene Duration: 32s
Shot
Type
Movement
Subject Action
Audio
Duration
Notes
3A
MCU
Static
Manager types in Taskframe, creating a new task card
VO: "Assign a task in seconds."
4s
Show hands on keyboard in this shot -- framing should capture both face and keyboard action. Consider slightly low angle to capture screen glow on face
3B
Insert
Static
Screen recording: task card creation -- field fills: task name, assignee selected (team member's name), due date set, priority marked
VO: "Set the owner, the deadline, and the priority."
5s
This shot must be timed to sync with VO -- each UI action happens on the corresponding VO word. Plan screen recording to hit these beats
3C
MS
Static
Manager leans back slightly, confident -- clicks "Assign"
SFX: satisfying soft click sound
2s
The click is a micro-moment of completion. Keep this shot short -- it is a punctuation shot
3D
WS
Static
Pull back to show manager at desk with laptop open -- the room now feels ordered, in contrast to Scene 1
Ambient: office sounds return, calmer now
4s
This is the first WS of Scene 3. Place manager left of frame, clean desk visible. Use the same desk position as Scene 1 for visual continuity -- the contrast should be obvious
3E
Insert
Static
Laptop screen: notification view in Taskframe shows team member has accepted the task and marked it "In Progress"
VO: "Your team gets notified instantly."
4s
Screen recording -- team member's avatar/name must appear clearly
3F
MCU
Static
Manager nods slightly, moves to next item on dashboard -- calm, in control
VO: "And you can see every update in real time."
4s
Performance note: this is the "relief" shot. The actor should feel like a weight has lifted. No exaggerated smile -- a quiet confidence is more believable
Scene 3 Total: 23s Transition to Scene 4: J-cut -- music from Scene 4 (warmer, more energetic) begins 1 second before the visual cut. The audio energy shift signals the move to social proof.
Scene 4: Team Perspective -- The Remote Team Member
Location: Separate home office or second desk setup (different visual environment from Scene 1--3) Lighting: Natural light from window, single LED panel fill to match exposure to Scene 1--3 footage Narrative Purpose: Shift perspective to the team member to show that Taskframe works for both sides of the manager/contributor relationship -- doubles the audience identification Scene Duration: 22s
Shot
Type
Movement
Subject Action
Audio
Duration
Notes
4A
WS
Static
Team member at their own desk, phone buzzes -- they pick it up
Music: warm, upbeat
4s
Establishing shot for new location. Different visual environment is critical -- wardrobe should also differ from manager
4B
ECU
Static
Phone screen shows Taskframe mobile notification: "New task assigned: Mercer Proposal -- due Friday"
SFX: notification sound
3s
This is a callback to the unanswered message in Shot 1E. Connecting these two shots creates narrative payoff
4C
MCU
Static
Team member taps notification, opens app, reviews task card -- nods
VO: "Your team always knows what's next."
4s
Match eye-line: team member looks slightly left and down (at phone). Keep camera on their right side to maintain 180-degree consistency with the manager's right-of-axis position
4D
MS
Gimbal slow track right
Team member sets phone down, opens laptop, begins working -- calm and focused
VO: "No confusion. No missed deadlines."
5s
Mirror the gimbal track from Shot 2C for visual symmetry between manager and team member scenes -- this is intentional parallel construction
Scene 4 Total: 16s Transition to Scene 5: Hard cut. Music hits a new phrase. The pace increases for the CTA.
Scene 5: Benefits Summary and Call-to-Action
Location: Clean product surface or office backdrop -- minimal, brand-focused Lighting: Softbox hero lighting, clean background, no environmental clutter Narrative Purpose: Crystallize the three core benefits, then deliver the CTA. This is the conversion scene. Scene Duration: 25s
Shot
Type
Movement
Subject Action
Audio
Duration
Notes
5A
MS
Static
Manager stands (not seated) in front of clean background -- confident posture, faces camera directly
VO: "Taskframe gives your team clarity..."
4s
Direct address -- manager looks at camera for the first time. This breaks the fourth wall intentionally to create direct connection with viewer
5B
Insert
Static
Screen recording: Taskframe dashboard with three projects, all tasks assigned, all statuses green/complete
VO: "...on every project, every day."
4s
Dashboard must show realistic volume of tasks -- at least 3 projects with 5--8 tasks each. Fake-looking UI breaks trust
5C
MCU
Static
Manager speaks: "We cut our status meetings in half."
Sync audio: manager's direct testimonial line
4s
This is the only on-camera sync-audio line. Record with lavalier mic. Keep take options -- aim for 3 clean takes
5D
WS
Slow gimbal push fwd
Camera moves slowly toward Taskframe logo displayed on a screen or printed backdrop
Music: builds to peak
4s
Gimbal push is subtle -- 2 feet forward over 4 seconds. End on logo filling center of frame
5E
CU
Static
Tagline appears on screen: "Taskframe. Your team, in sync." Below it: URL and "Start free for 14 days"
VO: "Start your free trial at taskframe.io"
4s
End card. Graphic overlay. Hold for full 4 seconds -- viewers need time to read the URL. Audio fades under. Music resolves
Scene 5 Total: 20s (graphic hold on 5E may extend to 6s if viewer engagement data supports it) Transition: N/A -- final scene
Production Summary
Shot Totals
Total shots: 18
Total planned duration: 1:47 on-screen (under 2:00 target with 13 seconds of buffer for VO timing adjustments, music transitions, and end card extension)
Handle time buffer: +2s per shot = 36 seconds additional raw footage
Estimated raw footage duration (screen-recorded inserts excluded): approximately 6--8 minutes of live-action footage
Schedule Estimate
Location
Shot Count
Setup Type
Estimated Shoot Time
Office desk (Scene 1 chaos setup)
6
Static + insert
2.5 hours
Office desk (Scene 2--3 clean setup)
8
Static + gimbal + insert
3 hours
Remote/home desk (Scene 4)
4
Static + gimbal
1.5 hours
Clean CTA backdrop (Scene 5)
5
Static + gimbal
1.5 hours
Screen recordings (all insert shots)
7 inserts
Screen record/composite
1 hour (separate session)
Total
18 + 7 inserts
Mixed
~9.5 hours
Equipment Requirements
Camera: Mirrorless camera with 24--85mm zoom and 85mm prime for ECU/insert shots (confirmed available)
Stabilization: Gimbal (confirmed) for Shots 2C, 4D, 5D; tripod for all static shots
Lenses: 24--70mm f/2.8 (primary), 85mm f/1.8 or longer for insert/ECU shots
Lighting: 2-light softbox kit (confirmed) for desk scenes; secondary small LED panel needed for Scene 4 location -- confirm availability or use available natural light with reflector
Audio: Lavalier mic required for Shot 5C (only sync audio shot). All other shots are VO or ambient -- lavalier can be single unit
Laptop: Must be functional with Taskframe UI displayed -- confirm final UI is screen-recordable before shoot day
Assets and Props
Scene 1: Sticky notes on monitor, 3--4 browser tabs open with realistic content, phone displaying notifications
Scene 1 (chaos): Taskframe does NOT appear in Scene 1 -- no product branding visible
Scene 2--3: Clean desk, laptop with Taskframe open (full dashboard view), water glass (set dressing)
Scene 4: Second actor's personal desk setup, phone with Taskframe mobile UI
Scene 5: Printed or displayed Taskframe logo backdrop, or clean wall with logo overlay added in post
Screen recordings: Taskframe dashboard (desktop), Taskframe task creation flow, Taskframe mobile notification -- all must be filmed separately before shoot day and provided to editor as composite assets
Talent and Wardrobe
On-camera subjects: 2 actors -- Manager (primary), Team Member (secondary)
Manager: Business-casual, neutral colors (avoid busy patterns -- softbox lighting will accent texture). Same outfit across Scenes 1, 2, 3, and 5 for continuity
Team Member: Casual professional, visually distinct from Manager's outfit color palette
Continuity risk: Shot 1A to Shot 2A -- desk must be reset from chaos to clean between takes. Allow 10--15 minutes between these scene setups. Photograph Scene 1 setup before striking it.
Coverage Risks
Scene 3 has 6 shots but 2 are screen recording inserts -- if inserts are not available on shoot day, the scene has only 4 live-action shots. Confirm screen recordings are completed before the shoot date
Shot 5C (sync dialogue) is the only line-dependent shot in the video. Plan 3--5 takes minimum. If actor performance is inconsistent, this shot can be replaced with an additional insert + VO, but the testimonial format is strongly preferred
Scene 4 location lighting must be scouted before shoot day -- if natural light is inconsistent, a second LED panel should be added to the equipment list
No permits required for interior office locations. Confirm location access agreements are signed before scheduling
The text of SKILL.md is shown as it downloads, under the Apache-2.0 license, by Ferrox Labs. The license is the one in the file's own frontmatter.
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