Our director now sees the pictures before it edits

The director read the storyboard as text. It knew which buttons and headings the page offered, and what pressing each one did, but only as a one-line note.

That is not how people judge a shot. You look at it. Is the button big enough to see? Does the page that opens after the click actually show the payoff the narration promises? A note cannot answer that. A picture can.

We also found that a few things it needed were already computed and never handed over: the storyboard check's own report, and the ledger of which figures the page really states.

Before the director edits, our probe walks your site and photographs every subject it could film, before and after pressing it. Those photographs now go to the director with the storyboard:

• the subjects the film already uses come first, so it judges its own shots;
• each one shows the view with the subject in frame, and, when a press opened something, what it opened;
• the storyboard check's report tells it which rules the draft breaks, errors first;
• the claims ledger tells it which figures and names the page grounds, so it never voices one it does not.

A line now describes what its shot's picture really shows, and a click is chosen because its result is worth filming.

A Claude session making an ad, a demo or a vertical clip gets a short brief for that format. The website director used to get only the word "ad" or "demo". It now gets the same advice:

• an ad opens on a hook under eight words, with a number, a pain or an outcome, and no brand name before the second scene;
• a demo states the outcome first, gives each idea its own scene and shows the result of every click;
• a vertical film keeps its payoff out of the bottom fifth of the frame and never asks a phone viewer to click.

It also gets the full list of drawn visuals and what each needs, so when it turns a scene into a chart or a timeline, it fills it correctly.

A director that edits freely needs a check. After each pass, the storyboard is checked again. If the pass added a problem, lowered the score, or moved the length by more than fifteen percent, it is undone, and the film keeps what it had.

The edit history makes this clean: every pass is one revision, so undoing it puts back exactly the storyboard from before.

Our card designer, which turns drawn scenes into finished cards, used to run before the director. The director could then remove a card that had just been designed, or keep one that no longer fit.

It now runs after the director, on the scenes the director chose to draw. Two older automatic rules, "open on the site" and "perform at least one real action", now run only as a fallback where the director left one of them broken. The director's choices reach the film as it made them.

You do nothing differently. Paste an address, choose a format, and the director reads your site with its eyes open: the right shots, lines that match them, and formats that follow their own rules. When it cannot improve a storyboard, it leaves it alone, and it can no longer make one worse.