Built by a working storyboard artist who got tired of the blank page.
StoryboardTemplate.net was founded in 2017 by Marcus Chen, an IMDb-credited storyboard artist with credits on 40+ commercials. After a decade of redrawing the same shot-by-shot frames for every pitch, Marcus began publishing his working templates — and the library hasn't stopped growing since.
Today, 34,200+ filmmakers and 2,100+ creative agencies use those same frames to pitch, plan, and shoot faster.
Stop drawing storyboards from scratch. Ship with a director-tested frame in hand.
The library was started at 3 a.m. the night before a pitch. Marcus had a clean board, a clear vision, and zero hours to redraw the same ten frames he'd already drawn for the last three agencies.
He started keeping a private folder of his working panels — camera angles already blocked, shot durations already noted, the small annotations a director actually reads on set. That folder became StoryboardTemplate.net.
Every template in the library is built shot-by-shot, not panel-by-panel. Each one ships with a companion shot list, and exports cleanly to Final Draft, PDF, PowerPoint, Keynote, and Figma from a single source file.
No blank page. No redrawn frames. No 11 p.m. "where's the wide shot" panic. Just the template a working artist would hand you if you were sitting next to them at the studio.
CHAPTER 03 — TEAM
A 9-person curation team in Brooklyn. Three of them still draw for a living.
Every template passes through working hands. Our curation team includes three active storyboard artists who currently draw for commercials and episodic — they vet every frame for blocking, lensing, and the small craft details that make a storyboard readable on set.
Founder · Lead Artist
Marcus Chen
IMDb credits on 40+ commercials. Drew his first Super Bowl spot in 2014.
Working storyboard artist
Senior Artist
Priola Adeyemi
12 years on episodic TV boards. Leads narrative-short curation.
Working storyboard artist
Commercial Lead
Daniel Voss
Spent eight years agency-side at Wieden+Kennedy. Heads commercial curation.
Working storyboard artist
Editorial Director
Elena Ruiz
Former Filmmaker Magazine editor. Runs the curation review pipeline.
Editorial
Plus five additional curators across production, archive, and partnerships — including rotating agency-side fellows from BBDO and Spotify's internal creative departments.
CHAPTER 04 — COLLABORATIONS
Co-designed with directors credited on Emmy- and Oscar-nominated productions.
When a director with a deep filmography opens one of our templates, the panels should already feel blocked the way they'd block them. Four categories of working-director collaboration shape every release cycle.
01
Narrative shorts
Working with directors credited on Oscar-nominated shorts, our narrative category ships 22 templates per release — each built around a festival-paced 8–12 minute runtime. Every frame is blocked for the 1.85:1 / 2.39:1 theatrical ratios a festival programmer expects.
22 templates / release · 2.39:1 theatrical
02
Episodic & prestige TV
Co-designed with directors credited on Emmy-nominated episodic seasons, the episodic category ships 18 templates per cycle, with shot-list companions mapped to the multi-camera blocking language a TV director already reads.
18 templates / release · shot-list built-in
03
High-end commercial
Working with directors whose Super Bowl and global brand spots are already in heavy rotation, the commercial category produces 28 templates per release — including the 16:9 pitch-deck variants our agency clients actually present from.
28 templates / release · 16:9 pitch decks
04
Music video & documentary
Co-designed with directors credited on Grammy-nominated music videos and IDA-listed documentary work, these 19 templates per release treat storyboarding as a research tool — built for run-and-gun shoots and observational blocking.
19 templates / release · run-and-gun blocking
87 new templates released every year through the Pro tier. Free tier ships 38 starter templates — downloaded a combined 412,000+ times in 2024.
CHAPTER 05 — VOICE
“A good storyboard frame tells the DP exactly where to put the lens, tells the actor exactly where to land the beat, and tells the editor where the cut is going to live. If your panel can't do all three by 7 a.m. — redraw it.”
Senior Artist
Commercial Lead
Editorial Director