Music video storyboards by Seb Antoniou for directors, labels and production companies. You get 20–25 black and white frames per day, timed to the track with bar counts and beat markers where they affect the cut, plus animatic compilation if the director wants the music aligned to the visuals before the shoot. Quote turnaround within 24 hours on weekdays. Based in London, working with agencies and production companies in the UK and globally.
Music videos board differently from TVCs
The shot list is rarely the spine. The track is. A music video lives or dies on whether the cut hits the beat, which means the boards have to carry timing in bars and beats, not just seconds. If the director’s pitched a one-take performance against a drop, the boards have to show where the camera is at bar 16 and where it has to be by bar 20.
I’ve drawn music video boards in-house at Redknuckles Animation Studio in collaboration with director Markus Lundqvist for Nero’s “Into The Night,” and across multiple director-led commissions for label and production-company work.
How a music-video job runs
Music videos scale from a single-day “performance against a green screen” shoot to a two-week multi-location narrative piece.
- Day 0 — quote. Send director’s treatment and a link to the track (or rough mix). Quote and start date back within 24 hours on weekdays.
- Day 1 — first pass. 20–25 B&W frames against the track. Bar counts and beat markers on every frame where cut timing matters.
- Days 2–3 — revisions and animatic. Same-day amends on smaller notes. Animatic compilation is an add-on: I take the locked frames into a single MP4 timed to the track, so the director, label and choreographer can see whether the cut works before the shoot day.
- Final delivery. Flat JPEGs, layered PSDs, plus the animatic MP4 if commissioned.
For a 3-minute performance video with a tight concept, 30–50 frames over two days is typical. For a narrative video with multiple set-ups, locations and a story arc, 60–120 frames over a week is closer.
Animatic compilation
The animatic is the bridge between boards and shoot day. I compile the locked frames into an MP4 timed to the track — frames cut against the beat where the director’s planned a hit, frames held against a sustained note where the camera is sitting still.
Useful for: label sign-off before the shoot, choreographer briefing, DP planning of camera moves against tempo, and pre-vis of complex one-take sequences.
What’s on every frame
- Scene + shot number against the director’s treatment.
- Bar count and beat marker where the cut is on the music.
- Camera direction (pans, dollies, crane moves, whip pans, racks) with arrows.
- Performance notes — where the artist is in frame, where the eyeline goes.
- Transitions where they’re part of the music-driven cut.
Pricing summary
£480/day for 20–25 B&W frames. Animatic compilation costed on the brief — typically half a day to a day on top of a locked board. Colour frames as an add-on, roughly one day per 10–12 frames. Full breakdown on rates.
Got a music video to board?
Send a treatment and the track — quote within 24 hours on weekdays. Start a project.