Published 2026-05-01 · 10 min read · By Mitch (Freelance Storyboard Artist UK)

Storyboard Formats Explained

Thumbnail, rough, clean, shooting board, animatic — the practical differences between the four main storyboard formats used in UK production.

The four core formats

Storyboards aren't one thing. Working UK storyboard artists routinely move between four formats depending on what stage of pre-production the project is in, who's looking at the boards, and how much budget is in the room. Knowing the difference saves money — clients often pay for "clean" when "rough" would have done the job.

1. Thumbnail storyboards

Thumbnails are the smallest, fastest, cheapest format — typically postage-stamp-sized sketches, two-to-eight per page, used to test composition ideas before anything is committed. Thumbnails are usually private working drawings: the artist's own scratchpad, rarely shown to clients.

When used: Earliest pre-production phase. Director and artist exploring whether a sequence works.

Polish level: Minimal. Often a few lines per frame. Stick-figure characters acceptable.

Frame count: A full sequence might thumbnail at 50-100 frames in an hour.

Cost: Usually folded into the bigger commission as preparatory work. Some artists offer "thumbnail only" at a low rate (~£15-£25 per frame in the UK) for projects that genuinely just need them.

2. Rough storyboards

Roughs are the most common deliverable in UK pre-production. Pencil-and-ink (or digital equivalent) frames sized to the deliverable — usually 16:9 around 1920×1080 digitally or sized for a printed A4/A3 board. The frames are legible, blocked correctly, with characters drawn enough to identify, but they're not "finished."

When used: First version sent to director / agency for review. Most TV drama boards stay in this format. Most film pre-vis lives here.

Polish level: Medium-low. Lines confident; tonal shading optional.

Frame count: A 30-second commercial might rough at 15-30 frames.

Cost: £25-£60 per frame in the UK, depending on detail. Full pricing guide here →

3. Clean storyboards

Clean boards are roughs that have been tightened. Lines re-drawn cleanly, tonal shading applied, sometimes colour added. The frames look like they belong in a presentation deck rather than a working sketchbook.

When used: Client-facing reviews in advertising. Pitch decks. Anything heading to a paying client who hasn't been part of the creative conversation.

Polish level: High. Each frame would stand alone as a printable image.

Frame count: Same as the rough — typically a clean is a polished version of an existing rough.

Cost: Tonal £55-£120 per frame; full colour £100-£250.

4. Shooting boards

Shooting boards are the format that goes to set. They're not necessarily more polished than rough or clean boards — they might be either — but they have additional information layered on: shot numbers, focal length notes, camera moves, action descriptions, dialogue lines, and sometimes lens-specific lighting indications.

A shooting board is the most useful document a storyboard artist creates. It's the version that the AD references on shoot day, the DOP plans lighting from, and the producer uses to track what's been shot.

When used: Final delivery for production. The board that survives shoot day.

Polish level: Same as the rough or clean it's built on, plus annotations.

Cost: Usually included in the per-frame rate when the artist knows it's heading to set. Some artists charge a small uplift for the annotation overhead.

Animatic — the fifth format

An animatic isn't a storyboard format per se — it's storyboards with time added. The static frames are sequenced into a video file, timed against the script (or scratch VO), with simple in-frame motion (push-ins, pans), music or sound effects.

Animatics are particularly useful for: comedy (timing is half the joke), music videos (sync to track), VFX-heavy spots (testing transitions), pitch decks (clients respond to motion), and focus-group testing.

UK animatic pricing in 2026 typically lands at £35-£90 per finished second on top of the underlying board cost. More on animatic services →

Which format do you actually need?

Most UK producers default-spec for clean colour boards. In maybe 30% of cases this is right. In 70% of cases, the production would be better served by rough boards plus, if needed, a few hero clean frames for the pitch deck. Here's a working rule of thumb:

If you're unsure for your specific project, send the brief and I'll recommend the format that does the job for the lowest cost.

FAQ

Can I upgrade rough boards to clean boards later?

Yes — usually cheaper as a single workflow than commissioning each separately. Most artists offer "roughs first, clean later" as a single commission.

Do clean boards need to be in colour?

No. Tonal clean (greyscale with shading) is often what clients actually need; colour adds cost without adding clarity for many uses.

Are shooting boards the same as continuity boards?

Continuity boards (or continuity sheets) are a different document — they track wardrobe, props, blocking for continuity across the shoot. Some artists do both; the formats serve different teams.

What format is best for an investor pitch?

Tonal or colour clean. The aim is to communicate vision, not the technical shot list.

Can I print storyboards small for a binder?

Of course — 16:9 frames usually print well at four-to-a-page on A4 landscape.

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Written by Mitch — UK freelance storyboard artist with 20+ years in film, TV and advertising. Get a free estimate · Browse portfolio · All posts