Why start from a storyboard
Most video generators ask for a single prompt and hand back a single clip. That is fine for a test, but an episode is a sequence of decisions: what the audience sees first, how long they stay on a face, when the camera moves and when it holds still. A storyboard captures those decisions before anything renders, which is exactly what a generator needs in order to behave.
On this site the storyboard is not a sketch you hold up next to the tool. It is the tool. The timeline on the Storyboard page is a horizontal row of cards. Each card carries a duration between four and fifteen seconds, a shot size, a camera move, up to three cast members, a set and the line that happens in that shot. The running total across the top compares what you have boarded against the runtime you are aiming for.
From panel to take
When a card is ready you render it. The line you wrote becomes the core of the prompt, and the shot size and camera move are appended as plain framing instructions: a wide shot with a locked camera, a close-up with a slow push, an over-the-shoulder with a handheld sway. Cast members, outfits, props and the set travel along as reference images so the people look like the same people from card to card.
Rendering is asynchronous. Pending cards sit in a queue, each one a separate take with its own price shown before you confirm. A take that fails after it was accepted by the render service is marked failed on the card so you can retry it; a request that never left the building returns its credits.
Joining the episode
Once every card on the timeline has a finished take, the join button lights up. The takes are conformed to one frame size and frame rate, given a silent track where a take has no sound, and concatenated in card order into a single 9:16 MP4. The result lands in your library as an episode and can be published to the showcase or to the public page for its series.
Nothing stops you from reordering cards after some have rendered. The join follows the timeline as it stands when you press the button, so a late decision to open on the close-up instead of the wide costs nothing.
What a good card looks like
Write the line as what a camera would see in one continuous shot: one location, concrete action, at most one spoken sentence in quotes. "Caoimhe sets the logbook on the rail and does not let go of it. She says, 'You read page forty.'" is a card. A paragraph of backstory is not. If you have a whole scene in prose, the draft tool breaks it into cards for you and you edit from there.
Keep durations honest. A single line of dialogue fits in five or six seconds; a wide shot that establishes a place can carry eight; fifteen seconds is for a shot that genuinely has that much happening. The runtime meter keeps you from boarding a ninety-second episode into a forty-second plan.