Film and TV drama storyboards by Seb Antoniou for directors and producers. You get block-bookable, scene-and-shot-numbered boards drawn with character and location continuity locked from pre-pro, in a style we agree against the volume. Block availability quoted within 24 hours on weekdays. Based in London, working with agencies and production companies in the UK and globally.
Why drama boards work differently from ads
A 30-second TVC needs 20 frames, locked in three days. A 90-minute feature needs hundreds of frames over weeks, with consistent characters, costumes and sets across every scene. The deliverable shifts. Sketchier blocking-led frames for volume sequences; tighter rendering reserved for the key sequences a director wants to lock visually before the camera rolls.
I’ve drawn colour boards for Jeff Wayne’s The War of the Worlds for Amazon Audible — example of long-form serialised drama with consistent character continuity — alongside short-film work (sample: Beached, 2025) and key sequences for broadcast drama.
How a block booking runs
Most drama work runs on a block of consecutive days or weeks rather than a per-frame quote.
- Pre-pro setup (Day 0). Characters, locations, costumes, key props locked. Reference sheets ideally supplied; if not, I’ll sketch them on Day 1 against the script.
- First scenes (Days 1–3). 20–25 looser B&W frames per day on volume sequences. Tighter rendering on the key sequence we’ve flagged.
- Mid-block (rest of week). Same daily target. Continuity sheets updated as new locations and characters enter.
- Lock and key frames. The last day or two of any block we tighten the hero sequences — the ones the director wants to show the DP, the producer or the financier.
For a feature, three to six weeks is typical. For a TV drama episode, one to two weeks. For a short film or key sequence, three to five days.
What’s on every frame
- Scene + shot number against the script.
- Camera direction (pans, dollies, zooms, cranes, drone moves) with arrows.
- Action notes for blocking, performance beats, key props.
- Continuity flags where a costume or prop has to match a later scene.
- Transitions, where a cut or dissolve is part of the storytelling decision.
For complex action — stunts, vehicle work, VFX plates — I’ll draw a denser sub-sequence at higher frame count, broken out of the main timeline as a separate set of pages. Easier for the DP and stunt coordinator to work from than a long flat sequence.
Colour, keyframes, and the look
Most drama boards stay B&W for the same reason as TVCs: the value is in the blocking, the timing and the camera. Where colour serves the script — atmospheric sequences, a hero moment, a director’s vision deck — we render keyframes in colour, costed as an add-on (roughly one day per 10–12 colour frames).
Keyframes can also be fully rendered for moments or scenes the director wants to lock visually before the shoot. Useful for financier decks, location scouts, and DP conversations. Pricing on request.
Pricing summary
£2,400/week for a block booking, 100–125 B&W frames at the volume daily target. £480/day for shorter blocks. Colour and keyframes are add-ons. Fixed project fees available for whole-script or whole-episode commissions — get a quote in 24 hours. Full breakdown on rates.
Got a film or drama to board?
Send a script or treatment — block availability quoted within 24 hours on weekdays. Start a project.