Storyboards

A storyboard tells a project as a sequence: arriving at the entrance, crossing the courtyard at break, leaving at dusk. Drawn one by one, images drift: a window grid changes, a coat changes colour, the entrance moves. A storyboard keeps them consistent. It plans the sequence first, keeps an image of every place and subject that recurs, and draws each frame from the ones that frame needs.

Open the Image Studio in the Wrengler panel and switch the header from Image to Storyboard. Storyboards are part of Pro, like the rest of the studio.

1. Write the brief

Describe the story in a sentence or two: who, where, and what happens in what order. Choose how many frames you want, from 2 to 12, and press Plan the storyboard.

A good brief names the moments, not the camera work:

A pupil in a red coat arrives at the brick primary school in the morning, pauses at the glazed entrance, crosses the planted courtyard at break, and leaves along the street at dusk.

Planning takes about half a minute. Nothing is drawn yet, and nothing counts against your images.

2. Edit the plan

The plan is what every frame is drawn from, so it's worth a minute. Everything in it is yours to change.

When a frame is in the same place as the one before it, it continues from that frame. Untick continues to cut to a new view of the same place instead.

Editing a place, a subject or a frame clears the frames drawn from it, so what you see always matches the plan.

3. Pick one style

The genre, style and choices shown above the plan apply to every frame, so the sequence reads as one set of drawings. Pick them as you would for a single image. Styles that need their own reference image, such as photomontage, aren't offered: a storyboard's anchors take that role.

4. Set anchors

An anchor is the image that keeps a place or a subject the same in every frame. Each place and each subject in the plan has a slot for one.

• A place: capture the Rhino view. Frame the view in Rhino and press the camera on the place. The building's real geometry then holds from frame to frame. Set the view up as you would for a single image: a clean display mode, nothing selected.
• A subject: attach an image. A figure, a material sample, a tree, a photo of the client's car.
• Any frame can become an anchor. Press the pin on a drawn frame to anchor its place to it, or the pin beside a subject's name to anchor that subject to it. A subject takes only its appearance from the frame, not the frame's composition or camera.

Without an anchor, a place is held by the first frame drawn there, and a subject by the first frame it appears in. An anchor you set is usually better: it is chosen, not inherited.

5. Draw

Choose 1 to 3 candidates per frame and press Draw. Frames are drawn in order, because each one can depend on the frames before it:

A frame takes up to six reference images. When a frame needs more, the place (or the previous frame) comes first, because the setting carries the most. Each reference is sent with a sentence saying what to take from it, so an earlier frame lends a subject's look without its composition or camera.

Choosing between candidates

With two or three candidates, each is checked against the plan. The checks are yes/no questions taken from the plan: does it show the action, is it the right place, is each subject as described, does each condition hold, is it one consistent style, does each anchor match. The candidate that passes the most is offered first; the number on each thumbnail is the share it passed.

The check is a guide, not a verdict. Pick whichever candidate you prefer: the one you choose is what later frames continue from. Press the arrow on a frame to draw it again.

What it costs

Every candidate is one image of your monthly allowance. The line above Draw shows the total before you start, and what you have left:

Planning and checking don't count. Failed attempts don't count. If the image service is busy, the studio waits and carries on rather than stopping the storyboard.

Getting consistent frames

• Anchor the building with a Rhino view. It's the one thing Wrengler knows exactly. Capture each place from the view the frames will be seen from.
• Give people and props their own anchors. A figure drawn once and pinned holds better than a description alone.
• Keep one scene continuous. Consecutive frames in the same place continue from each other. Break the chain (untick continues) only for a real cut.
• Choose early frames with care. Later frames inherit from them. If frame 1 is off, redraw it before drawing the rest.
• Two candidates is usually the right trade. Three rarely does better than two.

What to expect

• Frames are drawn one at a time by a model that follows its references closely but not exactly. Consistency between frames is likely, not guaranteed: check each subject in every frame before you share the storyboard.
• Every frame carries the AI-generated — not a simulation result label, and its provenance note records its place in the storyboard and what it was drawn from. Export saves each chosen frame with both. See labels and provenance.
• When the Rhino file is linked to a project, Save to project keeps each chosen frame in the project's files, numbered by frame, with its provenance note beside it.
• The plan and the frames live in the studio until you close it. Save or export the frames you want to keep.

Privacy

Your brief goes to the assistant's model to write the plan. To check candidates, the plan's questions, the candidates and their anchors go to it too. The plan and the anchors go to the image model with each frame. Every request goes only to providers that don't train on it. No study results, project documents or project facts are sent. See the privacy notice.

If something goes wrong