Generate a storyboard from a script in three steps: (1) load the full script into the invideo agent so it holds character, theme, and arc context, (2) have it break the script into scenes and a shot list with shot-type vocabulary (wide, OTS, CU, POV), (3) spin up a storyboard agent to generate panel frames per shot, locked to character sheets and a style reference.
Start by uploading the complete screenplay into the invideo agent before generating anything visual — full narrative context (characters, arcs, motifs) makes every downstream shot sharper than scene-by-scene prompting. Then answer four pre-production questions the agent will surface: who's the protagonist, what's the antagonist or entity, what props matter, and what's your delivery format. These four answers, in the invideo team's words, "will change every frame."
Break the script into a scene + shot list. Ask the invideo agent to convert the script into a numbered scene breakdown with shot-type vocabulary attached per panel — wide, OTS, close-up, POV, top-down — plus the lens, lighting source, and emotional register for each. On longer scripts, split into acts (three-act or 25% increments) and complete one act fully before moving to the next; this prevents context loss the agent would otherwise hit on a 7-minute or longer film. For a large project, scene numbering can run past 100 — one documented production reached scene 169 with shot variants 21.1–21.5 logged in the notebook.
Lock characters, world, and style before drawing panels. Spin up a casting sub-agent to generate character portraits (Recraft for photoreal faces with pores and stubble, GPT-Image-2 or Nano Banana for stylized) and then 4-angle character sheets at 4K — front, side, profile, back, plus a face close-up. Generate four options per asset and pick one. Upload a batch of style reference frames in a single message (one production uploaded 64 frames from a target series) and tell the invideo agent to "deeply understand this art style and save it into context for further generations." If references are illustrated, instruct it to read the colours and textures rather than copy the image.
Generate the storyboard panels. Initialize a storyboard agent and ask it to visualize each shot from the shot list, attaching the locked character sheets and style block to every prompt. Request grids (3 grid options per round, 4 panels each) rather than single images — image generation is cheap inside invideo, and grids give you the optionality a real director wants. Iterate on the grid, then extract the winning panel; that extracted panel replaces the original references and becomes the continuity anchor for the matching video shot later. For reverse angles or coverage, ask the agent to apply art-director logic — it will surface undecided production design elements ("that near wall doesn't exist yet — what should it be?") instead of guessing.
Decide panel granularity based on what comes next. This is the decision most workflows skip: how detailed each panel needs to be depends on whether it's feeding straight into AI video generation. If the next step is multi-shot video on Seedance 2.0, Kling, or Veo through the invideo agent, you don't need to storyboard every individual frame — modern multi-shot models cover 15-second sequences from one strong reference, so one panel can drive several beats. For continuous one-takes, generate a separate character sheet per beat (every costume change, every added prop). For tricky shot types — POVs, multi-character physical contact — accept that the panel alone won't be enough and plan to shoot a mock reference on your phone or hand-sketch the arrangement to feed alongside the panel.
Bridge from storyboard to AI video shots. Every approved panel becomes the start frame or reference image for video generation. The invideo agent routes each shot to the right model — Veo or Kling for camera-motion-heavy shots, Seedance 2.0 reference-to-video for continuous takes that need to carry character + location context across segments, Runway where the shot specifically calls for it. Across documented productions, expect roughly 3 generations per usable shot, a 25% selection rate, and 17 of every ~40 final shots stitched from 2+ generations. Budget accordingly: at-scale productions ran $315–$750 per finished minute ($315/min for a 3-minute animated episode, $750/min for a 70-second short, $580/min for a 90-second horror short, $750/min for a 2-minute brand film) — total spends ranged $750–$5,000 across five productions.
As Hridaye, invideo's creative director, frames it: "The real unlock isn't the tech. It's that the skill that makes this work isn't prompting — it's directing." Treat the storyboard agent like a storyboard artist on your crew, the casting agent like a casting director, and brief them the way you'd brief humans on set.
Watch some of these to see what works for you:
The real unlock isn't the tech. It's that the skill that makes this work isn't prompting — it's directing. And that doesn't come from a tutorial. It comes from being on set.
— Hridaye, invideo's creative director