# Filmsers Film Lock workbook Five editable resources · v1 ## Start here Work in this order: Beat sheet → Character → Look → Shot list → Workflow. Read each fictional example, then fill its blank worksheet with your own decisions. Copy shot-row fields for additional shots. Review the checklists, record approvals and keep unresolved decisions visible. Save locally in any text or Markdown editor; nothing here is uploaded or automatically applied to the demo. --- # Cinematic workflow Filmsers · Film Lock pack · Worksheet v1 Leave with a scene preparation plan that connects the story turn, locked references and five purposeful coverage shots before any frames are made. ## How to use 1. Complete the beat, character and look sheets first. Give each approved reference a version so the coverage points to a specific decision, not a changing mood board. 2. Choose one scene with a visible change. Assign the five starter shots below a story purpose; replace any shot that does not help the scene rather than adding coverage for its own sake. 3. Download and fill the worksheet. If you want to explore the graph, the optional Cinematic short stamp adds one scene and five shot nodes to the shared Mojave demo. It does not import this worksheet or create a private project. 4. Compare the storyboard to the completed sheet. Record unresolved decisions before ordering or importing media. A planning lock is an approval decision, not a guarantee that an external engine will preserve identity. ## Fictional worked example — The Last Signal An original teaching example, not a customer result. Referenced images are illustrative filenames, not included media. ### Scene promise The Last Signal / CS1 / INT. RELAY ROOM. Mara stops trying to call for rescue and chooses to warn the valley instead. ### Reference versions Mara character v1; relay-room look v1; beats v1. Director approves revisions before a new board is built. ### Five-shot spine CS1A: empty valley through relay window. CS1B: Mara reaches the radio. CS1C: she hears no reply and decides. CS1D: her thumb switches RESCUE to ALL. CS1E: she holds the microphone as valley lights answer. ### Continuity dependencies Mara faces screen right toward the radio throughout. Microphone begins in its cradle, moves to her right hand in CS1D, and stays there in CS1E. Coat remains zipped halfway. ### Board review The switch to ALL must be legible without dialogue. CS1D is the blocking frame; do not approve the scene if her decision only exists in the voice-over. ### Handoff and open decisions Prepared, not approved. Director to choose the final valley response. Board artist to show an alternate CS1E with one distant light, keeping the same character and look references. ## Blank worksheet Project: ____________________ Version: ____________________ Prepared by: ____________________ Approval status / reviewer / date: ____________________ ### Scene promise Name the scene, the location and the one change the audience must understand. Your notes: ____________________ ### Reference versions List approved character, look and story versions; include the person who approves changes. Your notes: ____________________ ### Five-shot spine Write the function of CS1A establish, CS1B enter, CS1C turn, CS1D insert and CS1E exit/hold. Your notes: ____________________ ### Continuity dependencies Name the action, prop and screen-direction facts each shot must inherit. Your notes: ____________________ ### Board review Specify what must read with sound off and which missing frame blocks approval. Your notes: ____________________ ### Handoff and open decisions Record approved versions, unresolved questions, owner and next action. Your notes: ____________________ ## Review before locking - [ ] Every shot points to the same approved reference versions. - [ ] The scene change is visible, not only described in dialogue. - [ ] Unresolved choices have an owner; no worksheet is mistaken for an automatic graph import. ## Handoff Save a versioned copy with your project files. These notes do not automatically update Filmsers or enforce consistency in an external engine. The public demo is shared; keep private production details in your own files. --- # Character lock sheet Filmsers · Film Lock pack · Worksheet v1 Create a reusable character reference that separates identity anchors from permitted changes, with a concrete continuity check for every new shot. ## How to use 1. Choose a character ID and one approved reference set. Use images you have permission to use. Describe visible features precisely instead of relying on a celebrity name or vague style words. 2. Separate what never changes from what can change with the scene. Record wardrobe layers, distinctive props, posture and voice behavior so a collaborator can reproduce the same person. 3. Fill the blank worksheet, then review a wide, profile and close-up against it. Document intentional departures as a new version instead of quietly replacing the reference. ## Fictional worked example — The Last Signal An original teaching example, not a customer result. Referenced images are illustrative filenames, not included media. ### Character and story role CHR-01 / Mara, relay technician. Wants to get home but cannot abandon the people below. Checks the window before every radio call. ### Identity anchors Adult with close-cropped dark curls, broad cheekbones and a small notch in the left eyebrow. The eyebrow mark remains on her anatomical left, even in reverse angles. ### Wardrobe and props Slate work coat over a cream crewneck; coat zipped halfway; copper repair patch on right sleeve. Black corded microphone is held in the right hand after the decision beat. ### Performance and voice Weight forward, elbows close. Short practical sentences with pauses to listen. Fear shows as a held breath, not frantic movement; resolve lowers her voice rather than increasing volume. ### Allowed changes / forbidden drift Allowed: sweat, stronger wind and a newly damp sleeve as the storm advances. Reject: longer hair, mirrored eyebrow notch, a different coat patch or the microphone changing hands without action. ### Reference and approval record Fictional example: mara-front-v1.jpg, mara-profile-v1.jpg and mara-coat-v1.jpg are planned reference names, not supplied files. Permission and director approval must be recorded before use. ## Blank worksheet Project: ____________________ Version: ____________________ Prepared by: ____________________ Approval status / reviewer / date: ____________________ ### Character and story role Give the character an ID, name, dramatic want and the behavior that reveals it. Your notes: ____________________ ### Identity anchors Describe distinguishing visible features and which must remain consistent across angles. Your notes: ____________________ ### Wardrobe and props Record layers, colors, wear, fastening state and the hand or side used for props. Your notes: ____________________ ### Performance and voice Describe posture, gesture, speech rhythm and emotional limits, without impersonating a real person. Your notes: ____________________ ### Allowed changes / forbidden drift Distinguish story-driven changes from identity errors that require a correction. Your notes: ____________________ ### Reference and approval record List reference filenames or links, their permission status, version, reviewer and unresolved choices. Your notes: ____________________ ## Review before locking - [ ] Anatomical left/right is clear and cannot be confused with screen direction. - [ ] A wide, profile and close-up share the same face, wardrobe and prop state. - [ ] References are available, permitted and approved; missing references remain explicitly unresolved. ## Handoff Save a versioned copy with your project files. These notes do not automatically update Filmsers or enforce consistency in an external engine. The public demo is shared; keep private production details in your own files. --- # Look lock Filmsers · Film Lock pack · Worksheet v1 Define a scene-specific visual rulebook for color, lighting, lens intent and texture, with enough precision to judge whether a new frame belongs in the film. ## How to use 1. Begin with the emotional job of the scene. Pick a small set of approved references and identify what each contributes; do not ask one image to imply every creative decision. 2. Specify the relationship between light sources, subject and background. Treat lens choices as a starting point for framing, not a promise that a focal length alone creates a particular image. 3. Test the rules on a wide and a close-up. Record deliberate exceptions with their story reason, then freeze a version for the coverage team. ## Fictional worked example — The Last Signal An original teaching example, not a customer result. Referenced images are illustrative filenames, not included media. ### Visual premise The Last Signal: a small human pool of warmth inside a cold relay room, with the valley still visible beyond the glass. ### Palette and exclusions Cool charcoal and natural storm blue dominate; cream fabric protects the face from the background; copper is a restrained practical-light accent. No blanket sepia cast, neon magenta or crushed skin tones. ### Lighting geography Window on Mara's left supplies soft cool light. A desk practical sits right of the radio and adds a small warm edge. Reverse coverage must preserve this set geography rather than flip the source. ### Framing and lens intent Eye-level, restrained frames. Start the room wide around 24mm, action coverage around 35mm and the decision close-up around 50mm; adjust camera distance and format to preserve facial proportions and geography. ### Texture and movement Keep fabric weave, worn paint and condensation visible. Controlled contrast, no fake film burns or heavy vintage grain. Locked camera until the decision; a subtle move is allowed only if it clarifies that turn. ### Look approval test Compare CS1A wide and CS1C close side by side. Skin remains natural; the window stays cool and the practical warm. Any changed light direction or new color treatment requires look v2 approval. ## Blank worksheet Project: ____________________ Version: ____________________ Prepared by: ____________________ Approval status / reviewer / date: ____________________ ### Visual premise Explain the emotional contrast this scene must express in one concrete sentence. Your notes: ____________________ ### Palette and exclusions Name dominant, supporting and accent colors, and hues or treatments to avoid. Your notes: ____________________ ### Lighting geography Place the motivated sources relative to the set and subject; identify what must remain consistent. Your notes: ____________________ ### Framing and lens intent Define perspective, camera height and background separation; note any starting lens choices. Your notes: ____________________ ### Texture and movement Set the level of surface detail, image treatment and camera movement, including prohibited effects. Your notes: ____________________ ### Look approval test State the frames to compare, the references to use and what triggers a new version. Your notes: ____________________ ## Review before locking - [ ] The lighting plan describes the set, not just a flattering isolated frame. - [ ] Skin, shadow detail and the signature accent survive both wide and close coverage. - [ ] Exceptions have a story reason and a version; the look is not a uniform color filter. ## Handoff Save a versioned copy with your project files. These notes do not automatically update Filmsers or enforce consistency in an external engine. The public demo is shared; keep private production details in your own files. --- # Shot list with intent Filmsers · Film Lock pack · Worksheet v1 Build a coverage list in which every shot has a story job, visible action, continuity dependency and editorial handoff instead of being a list of attractive angles. ## How to use 1. Write the scene turn before choosing angles. Each shot must reveal information, show a choice or establish a relationship that the edit actually needs. 2. Duplicate the shot-row fields for each frame. Start with the worked five-shot sequence, then remove, reorder or add rows based on the story rather than treating it as mandatory coverage. 3. Read the rows in edit order and check action handoffs. Timing is an estimate until tested in a board or cut; include only necessary movement and record sound that motivates a cut. ## Fictional worked example — The Last Signal An original teaching example, not a customer result. Referenced images are illustrative filenames, not included media. ### Scene turn and coverage priority Mara chooses to warn everyone instead of calling for rescue. Essential: the switch to ALL. The entrance coverage can shorten, but the decision and its consequence must remain. ### Shot row: ID, size and story job CS1A / establishing / valley at risk; CS1B / full-body / Mara reaches radio; CS1C / close / she chooses; CS1D / insert / ALL switch proves choice; CS1E / wide hold / valley answers. ### Shot row: action and handoff CS1D starts with right hand entering frame, turns selector from RESCUE to ALL and lifts the microphone. CS1E begins with that microphone already in her right hand at mouth level. ### Shot row: camera and timing CS1A 24mm / eye-level / locked / 6s; CS1B 35mm / doorway / locked / 6s; CS1C 50mm / eye-level / locked / 5s; CS1D 50mm / switch height / locked / 3s; CS1E 35mm / room wide / locked / 6s. All timings are starting estimates. ### Shot row: sound and editorial intent Radio hiss carries CS1B into CS1C. Cut to CS1D on Mara's downward glance; the selector click confirms the action. Hold CS1E through the first answering light rather than cutting before the payoff. ### Shot row: locks and open questions All shots: Mara v1, relay-room look v1. CS1D needs readable switch markings. CS1E needs an approved valley-response design; keep its status open until that decision is made. ## Blank worksheet Project: ____________________ Version: ____________________ Prepared by: ____________________ Approval status / reviewer / date: ____________________ ### Scene turn and coverage priority State the change, the essential shot and what can be dropped if coverage must shrink. Your notes: ____________________ ### Shot row: ID, size and story job For each shot, assign scene/shot ID, framing, angle and the specific information it gives the audience. Your notes: ____________________ ### Shot row: action and handoff Describe start state, visible action and end state, including the next shot's matching dependency. Your notes: ____________________ ### Shot row: camera and timing Record starting lens, camera position, movement and estimated duration for each row. Your notes: ____________________ ### Shot row: sound and editorial intent Name the sound or action that motivates the cut and whether the shot must play continuously. Your notes: ____________________ ### Shot row: locks and open questions Attach character/look versions and note anything that prevents approving this row. Your notes: ____________________ ## Review before locking - [ ] Removing a shot removes identifiable information, not just visual variety. - [ ] Adjacent rows agree on prop position, eyeline and screen direction. - [ ] Estimated timings, missing references and unresolved coverage are labeled honestly. ## Handoff Save a versioned copy with your project files. These notes do not automatically update Filmsers or enforce consistency in an external engine. The public demo is shared; keep private production details in your own files. --- # Beat sheet & outline Filmsers · Film Lock pack · Worksheet v1 Write a causal short-film outline that connects a character's want to a visible decision and consequence, ready to translate into scenes and intentional coverage. ## How to use 1. Write the premise in one sentence: who wants what, what prevents it and what is at stake. Keep the scope small enough to express through visible action. 2. Complete each beat as something that changes the situation. Connect beats with because or therefore; if they only connect with and then, strengthen the cause and effect. 3. Expand each beat into a scene card with location, objective, obstacle and turn. Combine cards that repeat the same change, then pass the essential visual moments to the shot list. 4. Read the outline without explanatory dialogue. Revise any crucial choice that cannot be understood from action or a deliberately designed image. ## Fictional worked example — The Last Signal An original teaching example, not a customer result. Referenced images are illustrative filenames, not included media. ### Premise and stakes In The Last Signal, stranded relay technician Mara wants rescue before a storm cuts power, but a failing transmitter can carry only one final warning to the valley. ### Opening state Mara packs her tools and repeatedly calls the rescue channel while looking at the road home. The valley below is still dark. ### Disruption and pressure The backup-power gauge falls into red. Mara's rescue call returns only static; the storm alarm flashes over the valley map. Waiting now risks leaving everyone unwarned. ### Choice and visible turn Mara turns the selector from RESCUE to ALL. She spends the remaining transmission on the valley warning, surrendering her chance to call for a pickup. ### Consequence and final image A light answers from the valley, then another. Mara stays at the microphone in the dark room; her packed tools sit untouched behind her. ### Scene-card outline CS1 / INT. RELAY ROOM / storm dusk. Objective: make contact. Obstacle: dying power and silence. Turn: personal rescue becomes public warning. Essential images: red gauge, selector changing to ALL and answering valley light. ## Blank worksheet Project: ____________________ Version: ____________________ Prepared by: ____________________ Approval status / reviewer / date: ____________________ ### Premise and stakes Name the protagonist, immediate want, obstacle and cost of failure. Your notes: ____________________ ### Opening state Show the character's initial priority through an observable action, not biography. Your notes: ____________________ ### Disruption and pressure Name the event that makes the original plan impossible and the evidence the audience sees. Your notes: ____________________ ### Choice and visible turn Give the protagonist an action that commits them to a different path and carries a cost. Your notes: ____________________ ### Consequence and final image Show the result of that choice and how the ending differs from the opening. Your notes: ____________________ ### Scene-card outline For each scene, write location/time, objective, obstacle, turn and the image the next department must deliver. Your notes: ____________________ ## Review before locking - [ ] The decision changes the ending and costs the protagonist something. - [ ] Each scene changes the situation rather than repeating information. - [ ] Essential story information is translated into images or actions for the shot list. ## Handoff Save a versioned copy with your project files. These notes do not automatically update Filmsers or enforce consistency in an external engine. The public demo is shared; keep private production details in your own files.