Storyboarding is the process of turning a script into a sequence of sketched frames, one per shot, that show what the viewer will see and hear before any animation starts. In an animated explainer it sits between the script and the style frames, usually takes 1 to 2 weeks with 2 rounds of revisions, and is the cheapest place in the whole project to change your mind.
Storyboard definition: A storyboard is a sequence of sketched panels, one per shot, that shows what a video will look like before it is made, with the voiceover, action and camera notes written beside each frame.
So what is a storyboard in practice? Think of it as a visual script. Each panel is a rough sketch of one shot, paired with the voiceover line that plays over it and a short note on the action: what moves, what draws on, where the camera goes. Read panel by panel, it plays like a comic strip of your video.
Storyboarding is the process of building that board. Disney's animators made it standard in the early 1930s by pinning sketches to the studio wall, and it is still the backbone of every animated video, because in animation nothing exists until someone draws it.
For an animated explainer video, the storyboard is the moment your script stops being words and starts becoming pictures. It is where you and the studio agree on what every second of the video will show. At Broadcast2World, no explainer goes into animation until its storyboard is signed off.
These four get mixed up a lot. Here is what each one is and what you are approving when you sign it off.
| Stage | What it is | What you approve |
|---|---|---|
| Script | The words: voiceover and on-screen text | The message and the story |
| Storyboard | Rough sketches, one per shot, with voiceover and action notes | What each scene shows and how it flows |
| Style frames | 2 or 3 key frames designed in the final look | Colours, characters and illustration style |
| Animatic | The storyboard edited and timed to a scratch voiceover | Pacing and timing before animation |
Storyboarding helps an animation project by locking the story, the visuals and the pacing while changes are still cheap. Every frame of an animated video has to be designed, drawn and moved, so a scene cut at storyboard stage costs a few sketches. The same cut after animation costs days of rework.
A line like "seamless integration" can be shown a dozen ways. The board picks one, so nobody is imagining a different video.
If a panel has nothing worth showing, the script line behind it is usually weak too. Storyboards expose that before production.
Pans, zooms, transitions and 3D camera angles are decided on paper, so animators are never guessing.
Marketing, product and legal review the same panels and sign off on one version of the story.
Each panel maps to a voiceover line, so you can spot where the video drags or rushes.
Animation is the most expensive stage. The board makes sure you only animate scenes that earned their place.
Effort to change one scene
That is why we spend 1 to 2 weeks getting the board right before a single frame is animated.
Here is a real panel from our whiteboard explainer for the Transportation Authority of Marin, made with Reach Strategies. Every panel we share with clients follows the same four-part layout.

Notice the small red arrows in the frame. They show the direction of movement, which is how a still drawing describes motion. If you can read the arrows and the action note, you can picture the shot.
In a typical 4 to 6 week explainer project, the storyboard stage takes 1 to 2 weeks and includes 2 rounds of revisions. It comes right after the script is approved and right before the visual style is designed. For the full production picture, see our guide on how to make an explainer video.
We learn your audience, the one thing they must remember and where the video will live.
Voiceover and on-screen text, about 130 to 150 words for 60 seconds. Approved before any drawing starts.
Our artists sketch every shot with its voiceover line and action notes. You review the board in Basecamp, comment panel by panel and get 2 rounds of revisions.
Two or three key frames designed in the final look, often in two style options, so you choose the visual direction before animation.
A professional voice artist records the approved script, which sets the exact timing for animation.
Animators bring the approved panels to life. Because every shot was planned, this stage runs without surprises.
Music, sound effects and the final mix, then delivery in every format you need.
Where is the animatic? For most explainers we skip it. The annotated storyboard plus the recorded voiceover give animators everything they need. We add an animatic only for high-end animated commercials, where frame-perfect timing for broadcast justifies the extra step.
Whether you sketch a rough board yourself or brief a studio, the steps are the same. This is how our storyboard artists build every explainer board.
Start from an approved script. Each line or story beat usually becomes one shot.
Mark where the picture changes. Number every shot and add letters, like 3a and 3b, for moves inside a shot.
Sketch tiny, rough options for tricky shots first, then pick the clearest one before drawing it properly.
Draw every panel in 16:9 and keep it rough. Show characters, key objects and where on-screen text will sit.
Put the script line beside each frame and describe what moves, draws on or transitions, with arrows for direction.
Read the board aloud against the script, gather feedback, revise, then lock it before style frames begin.
Storyboards look different depending on the animation style. Here are three real storyboard examples from Broadcast2World projects, each shown with the finished video, so you can see how panels become motion.
Whiteboard, 2D character and 3D explainers, from first sketch to finished film.
A whiteboard animation board is drawn the way the final video will look: hand-sketched lines on paper. The action notes focus on what gets drawn when, because in whiteboard animation the drawing itself is the motion. Red marks flag colour accents and movement.


An 89-second whiteboard explainer, made with Reach Strategies, that walks public agencies through rebates of up to $5,000 per electric vehicle and up to $3,000 per charger.
The storyboard turned a dense rebate policy into road signs, trucks and chargers, so every number lands on a picture.
Give every key number its own panel. If it cannot be drawn, it probably needs simplifying.
Character-led boards spend more effort on people: expressions, gestures and how the hero changes over the story. Bowling Green State University's Life Design video follows a student from campus life to a coaching session to an internship, and the board tracks her journey shot by shot. The purple arrows show where characters walk and turn, and transition notes like "the frame completely expands out" tell animators how one scene becomes the next. This is the kind of work our 2D animation team storyboards most.



A character-driven explainer for Bowling Green State University's Life Design program, following a student named Maya from campus life to her first internship.
One relatable hero carries the whole program, so students see themselves instead of a list of services.
Storyboard your hero's emotion in every panel, not just their position. Expressions are what make 2D characters feel real.
In 3D, the storyboard doubles as camera blocking. Every object will be modelled, so the panels describe where the virtual camera sits, where it moves and where it stops, like the note on Shot 12: "The camera stops at a certain angle." Boards also plan transitions, such as shapes from one shot becoming a floating screen in the next. Getting this right on paper matters more in 3D animation, because moving a camera later means re-rendering whole scenes.



A 3D explainer for CDL Nuclear Technologies, showing how its mobile imaging trailers come with the technologists who run every scan, so hospital staff can focus on patient care.
Realistic 3D equipment builds trust with clinical buyers, while a planned camera path keeps a technical subject easy to follow.
In 3D, approve camera angles at storyboard stage. Moving a virtual camera later means re-rendering whole scenes.
Once the board is approved, a few key panels are designed in the final look. These are style frames. For the Marin EV rebates video, the same opening shot went to the client in two style directions.



The storyboard decided what the shot says: trucks, road signs and a promise of cleaner fleets. The style frames decided how it looks. Splitting the two keeps feedback focused, with story notes at storyboard stage and colour and texture notes at style frame stage. Scroll back to example 01 to see where it landed.
You will see these terms in action notes. Knowing them makes your feedback faster and more precise.
| Term | What it means | How explainers use it |
|---|---|---|
| Wide shot | Shows the whole scene and setting | Opening the story or showing a system at a glance |
| Close-up | Fills the frame with one subject | A product detail, a face reacting, a key number |
| Pan | The camera slides left, right, up or down | Moving from problem to solution in one scene (Marin Shot 6a) |
| Push-in or zoom | The camera moves closer | Pulling focus to the feature that matters |
| Transition or morph | One shape turns into the next scene | Linking ideas without a hard cut (CDL Shot 26) |
| Draw-on | Lines appear as if being drawn | The signature move of whiteboard animation |
| Camera stop | A 3D camera move ends on a set angle | Letting viewers read a detailed object (CDL Shot 12) |
You do not need to draw to review a storyboard. Read it like a comic, out loud, with the voiceover, and check these points. The first one matters most: as our guide to video storytelling explains, the story should follow your customer as the hero, raise the stakes, show the struggle and end on an emotional high.
Sketching a rough board yourself before you brief a studio is a great way to get your ideas across. These tools make it easy. Studios like ours draw boards by hand or in digital painting tools, then share them as PDFs for review.
| Tool | Best for | Skill needed |
|---|---|---|
| Storyboard That | Drag-and-drop scenes with stock characters | None |
| Boords | Shared boards with comments and quick animatics | Low |
| Canva | Fast boards from templates | None |
| StudioBinder | Shot lists linked to storyboards, mostly live action | Low |
| Milanote | Mood boards and loose visual planning | None |
Storyboards plan the shots, but the production needs a map too. To visualise the whole sequence, from script breakdown to final delivery, and manage dependencies, production managers often use an AI flowchart generator to map the full animation process.
Storyboarding is planning a video as a series of sketches, one for each shot, with the words and actions written beside each one. It lets everyone see the video before it is made.
A storyboard is a sequence of drawn panels that shows the shots of a film, animation or video in order, with notes on the voiceover or dialogue, the action and the camera movement.
It locks the story, visuals and pacing before animation, the most expensive stage. Animators work from approved panels, camera moves are planned, stakeholders sign off on one version, and changes cost a sketch instead of days of re-animation.
At Broadcast2World, the storyboard stage takes 1 to 2 weeks within a typical 4 to 6 week explainer project, including 2 rounds of revisions.
A storyboard is a set of still panels. An animatic is those panels edited together and timed to a scratch voiceover to test pacing. We use animatics only for high-end animated commercials; explainers move straight from storyboard to style frames.
Usually one panel per shot, with extra lettered panels such as 3a and 3b for complex moves. A 60 to 90 second explainer often runs 20 to 40 panels, more for character-heavy stories.
No. Panels are deliberately rough. Your job is to check the story, the message and the facts, and the studio handles the drawing.
The studio designs style frames in the final look, records the voiceover and starts animation. Changes after approval are still possible but cost more, which is why the 2 revision rounds matter.
Marcus is a distinguished artist with a deep-rooted passion for visual storytelling. Graduating with a degree in Art from a prestigious institution in the USA, he has seamlessly blended his artistic prowess with the digital world, specializing in video marketing and animation. His innovative approach in these fields has seen him contribute to several renowned platforms, where he elucidates on the nuances of effective visual communication. Outside of his professional sphere, Marcus is an avid biker, often taking to the open roads to find inspiration and reflect on his creative ventures. Merging artistry with strategic insights, Marcus continues to shape the landscape of video marketing, one animation at a time.
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