1- Listen, I am making a short film that will be around 5 to 6 minutes long
maximum 8 minutes. The theme is psychological, based on the idea that
external change can reflect internal change.
The story follows a man who hasn’t had a haircut in about 3 to 4 months.
He hasn’t trimmed his beard or cut a single hair during this time. As a
result, he begins to imagine himself as a serial killer. As the story
progresses, he walks down a road and notices a barbershop. He goes in,
gets a haircut, and transforms into a clean, decent-looking man.
After the haircut, he feels good he sees himself differently, no longer as
someone dangerous, but as a normal, good person. This shift in his
appearance triggers a shift in his self-perception. The core message is:
external transformation can influence internal transformation.
I’ll be sharing the script with you in PDF format. With your help, I need to
develop the storyboard. While doing this, I want to ensure that I put full
effort into every element lighting, costume, props, and character behavior.
Everything should be intentional and meaningful because there’s very
little dialogue in the film only about 10%. The focus must be on visual
storytelling and a strong visual narrative.
Got it!?
2 - I have clicked photos of the locations from different angles, according
to the shots I am planning in my mind. I will directly give you the location
photo and tell you what type of shot I want—like a master shot, over-the-
shoulder shot, or a mid shot. I will let you know, and you have to design
the shot according to my instructions and the location details.
3 – gave script file to chat bot (link or file)
Review the whole script and use it as a reference while generating the
storyboard. And remember one thing: while generating, make the frames
in a 16:9 ratio, as it is the film ratio. Remember this forever during
generation.
4- Scene by scene, I will tell you what type of shot I want as a storyboard.
I will also describe each shot and provide some reference shots that I’ve
done in a proxy shoot. Additionally, I will give you the location photos. You
have to generate the storyboard using all these references and sources
that I will provide.
5- And actually, since it’s a psychological genre film, I want to set a
specific mood throughout the film that clearly communicates its
psychological tone. I plan to do this through lighting and all the elements
of mise en scène.
I’m referring to the concept of mise en scène, which includes lighting,
props, actor behavior, costume, setting, and many more components
involved in filmmaking.
Using all of these, I want each shot and each storyboard frame to be
perfect highly detailed. Every frame should reflect the right kind of
lighting according to the genre, the right kind of props, costumes, and
behavior everything tailored to set the perfect mood. From the beginning
to the end, I want everything executed in a deeply detailed and well-
thought-out manner.
6–
(4S585A) This is the colour palette, and I have already given the colour
code I’ve planned for my character’s shirt. He will wear black pants.
The photo I will shared above with you will be the character reference for
the storyboarding, so you have to use this character and maintain
consistency in the colour palette of the shirt and pants throughout the
costume. And do your best always.
I already share all the profiles of my character in one image which I
Attached above. Are you able to analyse the image can you tell me what
are you seeing in image
7 – (Re- instructions)
I want to reinstruct you: you have to maintain and properly use mise en
scène and all its elements. Keep proper lighting, proper props, proper
colour palettes, mood tones, costume consistency, hair consistency, and
full character consistency throughout.
“ And also Remember to make it in 16 : 9 ratio “ , got it ?
8–
To ab tu taiyaar hain na bata muje ache se, aur ab ham 1st scene ka
storyboard karne ja rahe hain, …..yehhhhhh. Pehle ye bata muje ki 1st
scene kya hain aur bata ki kitne shots hone chahiye ?
9–
First of all, I’m going to begin. I have already planned the first shot. But
before that, can you give me what you think the first shot of the film
should be for the opening? If I like it, I will keep it. If I don’t like it, I will
share my references and then ask you to enhance it. Got it? So, make it
yours.
Results :
10 –
These are good shots. Now I will share some references with you from the
proxy shoots I did for our story. I’ll provide a screenshot from my shoot,
and you have to recreate that image with proper lighting, just like it is in
the original shot.
However, the frames have some mistakes. You need to improve all of
them, like correcting the eye trace, and making sure that from the
audience's point of view, there is no distraction and no visual noise. I want
the frame to be clean, focused, and visually precise. You also have to add
these points to our instruction list.
11 –
This is a reference image for you. It is a screenshot from our proxy shoot
of this story, so you have to improve it. I already told you the elements of
that term (mise en scène) proper lighting and a well-prepared frame. I
want you to improve it accordingly.
Result :
12 –
One thing I forgot to tell you is that I don't want glasses on my character,
so remove them. The photo I will share with you is in a 16:9 ratio, but I
have applied cinemascope to it. The image generated by you also seems
to maintain those black bars at the top and bottom of the frame, so don’t
assume those black bars are part of the actual composition. They are
there only because of the cinematic look. Regenerate the frame in a
proper 16:9 ratio.
Result :
13 –
And one more thing to include in our instruction list: first of all, now give
me all the instruction points throughout this chat which I told you. Also,
add one more point to that list—that you are not generating the frame
properly in the cinematic format. It is not maintaining the proper 16:9
ratio. So, try to make it a little bit wider according to my suggestions or
references, because it is not accurately fitting the 16:9 ratio. Try to keep it
slightly wider and place the main element of the frame in the center.
14 –
This is for the next frame you have to generate, so follow all the
instructions properly and make it a good frame.
Result :
Other next generatios of story boarding (scene 1) :
15 – (scene 2 from here)
Now we have to move to scene number two. Can you tell me what is in
that scene and explain it to me? Also, what type of shot are we going to
plan? I will share the screenshots and references with you from my proxy
shoot, and some additional references as well. You have to take help from
them too.
16-
In the recent generation, you forgot to keep consistency. I told you to
make the photo using the colour palette and the colour code I shared with
you. We have to maintain consistency with that, but you made a mistake
recently. So I’m telling you again, don’t make any mistakes from now on.
REM:INT - this will be the code word for our instruction list. If by chance
you forget any instruction from our list, I will give you this code word, and
you have to immediately recall and follow all the instructions strictly.
17 –
In this shot, there is a light jump and a mood jump, so you have
to enhance it. The shot is of the character coming out from the
bathroom and entering his room. This is a single shot, so you
have to enhance it properly with the mood and all the
instructions according to my film’s genre. Keep consistency
with the mood and colour palettes. I’m trying to maintain
consistency in my character detailing, so don’t forget about the
colour palette, clothes, and all other elements.
Result :
18 –
Now in this shot, our character is in front of a mirror—it’s like a dressing
table. He is wiping his face with a towel. This is the shot description. Use
proper lighting according to the mood. Don’t forget the colour palette of
our character’s shirt. Create a proper eye trace frame—meaning from the
audience’s point of view, the eye trace should stay on our main subject
and what he is doing.
In the screenshot I’m sharing with you, we currently cannot see him in the
mirror, but I want him to be visible in the mirror. Our focus should be on
the mirror. The foreground should be the character, but our visual focus
must be on the mirror where we are seeing the character’s reflection.
Result :
19 –
So this is our next shot. This is a mid shot, and just like the previous one,
our character is wiping his face in front of the mirror. But in this shot, you
have to make it perfectly—our character should be standing in front of the
mirror, and we should also clearly see his reflection in the mirror. You have
to make it accurately and perfectly, without any mistakes. Keep
consistency with our shirt’s colour palette, you are forgetting that.
I’m reminding you of the full REM:INT code word instructions.
Result :
20 –
Now I want an insert shot of a knife with a fruit, which you already
planned during the shot division of scene number two. This is shot three,
so can you generate it according to your vision with all the proper code
word instructions and everything else followed accurately?
21 –
And we have also planned shot number 4, which is a phone insert. Make it
properly and in detail—the phone should show the time clearly as 9:30
PM, and the wallpaper must be a disturbing image. You have to create this
properly. I don’t remember exactly where the phone is placed, so refer to
the script, read it, and then tell me whether the phone is on the bed or on
the table. Find that and create the shot accordingly.
Result :
22 –
So this is our next shot. In this shot, the description is: after getting a
phone call, he receives the phone and is speaking on the phone. This is
just a normal shot description, so you have to follow all the instructions
from our code word and make it properly and well. You are forgetting our
colour palette for the shirt. Don’t forget that. *(Shirt: exact 4d585a dark
green)*. Make it properly.
Result :
23 –
So this is the next shot in our storyboarding process. The character of our
story, after having a conversation on the phone, is now leaving his home.
This is the short description. He is near the. It’s a simple shot.
Result :
23 –
The shots I have planned are done. According to you, if there are any
additional shots you would like to suggest, then suggest them to me. You
can also generate that image as part of the storyboard.
Scene 2 also done !
From next page there is scene 3
24 –
For the next scene, you already know what it is. First of all, can you tell me
what that scene is? I just want to check if you know or not about scene
number three.
After having all the checks and confirming, I will give you the next
command for the generation.
Result :
Scene Description (as previously outlined):
Karan walks alone through dimly lit streets.
The environment feels distant, alienating.
He notices subtle things: a flickering streetlight, a shadow that moves strangely, or a sound that doesn’t match its source.
His internal discomfort is reflected in the world around him.
🎥 Planned Shots (tentative):
1. Wide Establishing Shot – Karan walking alone under a streetlight, long shadows, empty road.
2. Tracking Shot from Behind – Slow follow as he walks, head slightly down, tension in posture.
3. Insert Shot – A flickering streetlight or a strange sound cue (e.g., a dog barking, but no dog in sight).
4. Close-Up – Karan’s face reacting subtly—he’s not scared, but something’s gnawing at him.
5. POV Shot – What he sees: a figure in the distance? A car passing too slowly?
25 –
For the next scene, I have already clicked the photo of the locations. I'm
focusing on the photo of the empty street, which is a location already
planned. I will share it with you during the storyboarding. I have already
shared the character with you, along with the proper colour palette and
dress code. I also gave you the colour code for the outfit, so you have to
place the character correctly in the storyboard.
Got it?
So I have attached a photo above. First, tell me what you are seeing in
that location. I will show you more photos of the location—like the street
light, the saloon, and all the other elements.
26 –
So I am going to share the other photos of the location. There is one issue,
I can’t share all the photos of the location at once, so I will share them one
by one. There are a total of three angles, and I will share them one by one.
( These are the the other 3 photos )
27 –
Just before starting the storyboarding of scene three, I want to take a
quick review and confirmation from you—have you remembered our code
word, which is REM:INT? Can you quickly tell me all the instructions in
short?
28 –
So now we are going for the storyboarding. The first shot is a wide shot I n
scene 3 is of the road, like the photo of the road I already showed you. I
want that type of shot where, a wide shot where our character is walking
down the road. Just ahead, there is a saloon shop, and our character is
looking forward and walking in that direction. That’s the type of shot I
want.
So make it , 19: 9 ration, And use my character which I already gave you
Result :
29 –
Okay, so the next shot is from the right side of the character—like from
behind him. We should be able to see the saloon in the frame. I want it to
be a wide mid shot.
Also, one more thing—the frame is going too dark and too greenish. I want
a greenish tone, but not too dark. It should be slightly visible with a subtle
greenish mood.
Result :
30 –
I want a proper side-angle shot, where the character is walking forward,
and the shot is taken from his right side. This should match the direction
and framing like in the first master shot. I’ve also attached a rough sketch
made in the Microsoft Paint app—you can use that as a reference and
place my character accordingly in the frame.
Result
31 -
So, according to you, you already know the shots and the location. What
type of shot division should I do? First of all, based on your understanding,
do a shot division and start the storyboarding. You can go ahead with the
first shot for scene number 3—which you already know. You have to make
at least 6 shots for the entire scene, according to your vision.
32 –
Now I want a shot where he is looking toward the saloon. It should be a
mid shot, and he appears to be thinking about something in his mind.
The shot should be from the perspective of the saloon, so behind
him, we see the street road and a sense of emptiness throughout the
frame. That’s the type of mid shot I want.
And I think you have forgotten about our character—at the beginning of
the chat, I already shared the profile of my character, including the shirt
colour, the colour code, his hairstyle, and all the proper details. So I am
again sharing that photo above, which I’ve attached. You have to maintain
my character properly from now on.
Result :
33 –
Now I want a shot from the perspective of my character, who is currently
watching and observing the saloon and thinking about something. So I
want this shot as a POV shot of the character. We should see the saloon
clearly, and inside it, just a barber—cleaning his barbershop or doing
something inside.
Result:
34 –
Okay, so our next shot is: after observing the saloon, he starts walking
toward it to get inside. Just in between, he notices a bottle and kicks it
toward the dustbin. This is the shot description.
The shot is from the side of the saloon—a wide shot, like from the saloon’s
perspective. He is walking toward the saloon, and there is a bottle or a
can in front of his foot. At the corner of the frame, there is a dustbin. This
is the shot.
The shot is, again, a wide mid shot. In the frame, we should see the full
character from head to foot, with a little space above the head and below
the foot. On the ground, there should be a can or a bottle, and the dustbin
should be placed at the corner of the frame. Just a simple composition.
And avoid a dark green tone. I only want a slight green mood—not too
dark. I’ve already told you to reduce the green tone, so make the frame
properly according to that. :Result
35 –
The next shot is after he has kicked the can. The can is now near the
dustbin—just beside it. In this shot, we see a close shot of the dustbin, like
a mid shot. The dustbin is clearly visible in the frame, and the can is lying
nearby.
There is no character in the frame—only the dustbin and the can. The
dustbin should be placed at the corner of the frame. Also, make sure to
maintain the tone—do not make it too dark. Just a subtle greenish mood,
not too intense.
Result :
36 –
The next two shots I’m going to tell you are:
The first one is of him entering the barbershop. In this shot, he is just
opening the door. The door is made of glass, so we can see through it into
the saloon from outside. This shot is from the backside of the character.
The second shot is the same moment, but from the front side of the
character—facing him as he enters. So these are two shots of the same
action from two different angles.
Both shots should be in a proper 16:9 film ratio. And don’t add too much
greenish tone—keep the colour subtle.
37-
Now I want a shot that is a low-angle shot, with the camera placed almost
on the ground. Our character is facing it—his look is directed toward the
can, but visually he is facing toward the camera. This shot should
represent the point of view of the can, right before he kicks it.
So the angle is looking up toward his face from ground level, and he
should be clearly facing the camera. This is the type of cinematic shot I
want.
Make sure it is a proper 16:9 film ratio and reduce the green tones—keep
the mood subtle and balanced.
‘proper low-angle shot, where the camera is placed very close to his feet—
almost touching the ground. He is watching the can and facing toward the
camera. His face and posture should clearly show that he is looking down,
and from the camera’s point of view, we see him from below, with a
strong low-angle perspective.’
Result :
38 –
Okay, got it. Now I want a shot from our character Karan’s point of view.
He is watching the can, so the shot should reflect that.
The shot description is: he’s looking at the can, and in the frame, we
should see only the can on the floor. Just around 10% of his foot should be
visible at the bottom edge of the frame—enough to show that it’s his POV.
This is a point-of-view shot of my character, and I want it composed
exactly in that way.
Result :
(Scene 3 – donn )
39 –
So now we are moving to the next scene, scene number 4, and we have to
do the storyboard. I am giving you the scene again from the script, so you
have to analyse it and tell me, according to you, how many shots and
what type of shots we should plan.
Result :
(All of these are not exactly as per my perspective or the location I have
scouted, but some frames are okay. However, this is good for
understanding the mood, and it will help to explain to the
cinematographer what kind of mood I want.)
(Now we are going towards scene 5, the last scene)
40 –
Our scene number 4 is done. Now we are moving toward scene number 5,
which is the last scene. Below, I am also sharing the script for it. You need
to analyse it, and then I will tell you what kind of shots and how many
shots I want in it. According to that, you have to design the shots.
Get a help from refrence image,
Result :
41 –
So the next shot is the same as above, but this time it’s a mid shot of my
character looking toward the right side of the frame. The point is that he’s
glancing at the dustbin—this is actually an over-the-shoulder (OS) shot.
He’s observing something, as if he’s noticing something unusual or paying
attention to a detail. This is the type of shot I want next, so make it
accordingly. :
42 –
So the next shot is again a shot of the dustbin, and nearby there is a can—
similar to what we already generated earlier. But as per our script, this
moment happens after the character comes back from the haircut. He
notices it again, so this shot should be from his point of view.
It should be an insert-type shot, showing the dustbin clearly, with the can
lying near it—framed from his perspective as he observes it.
Result :
43 –
The next shot is after he notices the can near the dustbin. His mindset has
changed, he is now thinking clearly, like a good human being. So, as per
our script, he goes to put the can into the dustbin. Now I want a cinematic
wide shot. I will also share a reference image with you. In this shot, we
should see the entire saloon shop. Your only task is to place the character
in the frame, showing him putting the can into the dustbin. Make sure not
to change the angle , I’m giving you a reference image, and you must
keep the Exact same framing and angle, from the front side of the saloon
shop.
Result :
44 –
So the next shot is of our character talking on a phone call in front of the
saloon. He has a sense of peace and happiness on his face, and we should
clearly see all his expressions. This is the type of shot I want. I’m also
sharing a reference location image.
In that image, the shop appears closed, but in our version, you have to
keep the shop open. The character should be standing in front of the
saloon, talking on the phone, with a calm and satisfied expression. Frame
the shot just like that.
Result :
45 –
So the last shot is of our character walking—he is now happy and simply
heading down the road. I’m also giving you a reference image of the
street. You have to place the character in the middle of the frame, and he
should be walking away.
This should be a very, very wide shot, showing the empty road with a
sense of peace and closure, and the character placed at the center,
walking forward.
Result :
