LTX Studio Storyboard Guide: Script to Shots to Cut

LTX Studio, made by Lightricks at ltx.studio, works from the script downwards. You give it a concept or a full script, it breaks the story into scenes and shots, and you then edit each shot (characters, location, camera, duration) before rendering and exporting a cut. The storyboard is the heart of the tool: it is where you decide what the film is before any pixels are generated, so time spent there saves credits later.

How LTX Studio turns a script into shots

Most AI video tools start at the shot. LTX Studio starts at the story. When you create a project you either type a short concept (a few sentences about the plot, characters and tone) or paste an existing script. If you only gave a concept, the tool expands it into a script, then splits the script into scenes, and each scene into a sequence of shots. Every shot gets a frame image, a description, a camera suggestion and a duration.

That structure matters because everything downstream is editable at the right level. Change a character’s appearance once and it carries into every shot they appear in. Change a location and every shot set there updates. Change the camera on one shot and only that shot changes. Think of the storyboard as a three-level outline (project, scene, shot) and make each edit at the highest level that makes sense.

Step by step: from concept to first cut

1. Write a tight concept. Two to five sentences: who, where, what happens, what it feels like. A concept that names the mood and the light gives the storyboard a consistent look from the first frame.
2. Review the scene breakdown. Read the generated scenes before touching any shot. Delete scenes that do not earn their place, merge scenes that cover the same beat, and reorder if the structure is wrong. Fixing structure here is far cheaper than fixing it after rendering.
3. Lock characters and locations. Open each character and adjust the description and reference image until it is right. Do the same for locations. These are the assets every shot draws from, so settle them before you touch camera or duration.
4. Edit shots. Go through the storyboard shot by shot. Check that the frame shows the right beat, set the camera move, trim the duration and rewrite any shot description that is vague.
5. Render in passes. Render a handful of key shots first to confirm the look holds. Then render the rest. Re-render only the shots that fail rather than the whole scene.
6. Assemble and export. Review the cut in the timeline view, adjust timing, then export the video.

Prompting inside the storyboard

Prompts in LTX Studio live in three places: the concept, the character and location descriptions, and the shot descriptions. Keep them distinct. The concept carries tone and visual style, the asset descriptions carry appearance, and the shot descriptions carry action and camera. If you describe the character’s hair colour in every shot, you fight the character asset; if you describe camera moves in the concept, every shot inherits a move it may not want.

When a rendered shot misses, change the shot description first, then the camera, then the frame image. Change one thing at a time so you can see what fixed it. For how the underlying model responds to resolution, steps and guidance when you run it directly, see LTX-Video model explained.

Settings at a glance

Rendering uses credits that vary by plan and shot length. Check the platform’s current pricing page rather than older guides.

Keeping the project organised

A storyboard project grows fast. A few habits keep it manageable:

• Name scenes by beat (Flour and water, The tide comes in) rather than leaving generated numbers, so you can find them again.
• Keep a version note outside the tool: which shots were re-rendered, with what change, and why. A plain text file or spreadsheet is fine; the point is to be able to reproduce a shot you liked.
• Export frame images of approved shots as you go. If you later rebuild a scene, you have the reference you approved.
• Finish structure before polish. Do not re-render shot 3 to perfection while scene 5 is still a placeholder.

Try it

Concept: A night-shift baker in a small coastal town notices seawater seeping under her shop door a little more each night. Over one week she keeps baking as the water rises to her ankles. Quiet, melancholic, tender. Warm tungsten light inside, cold blue moonlight outside. Shot on 35mm, soft halation, muted amber and teal.

Shot description (scene 2, shot 1): Mara kneads dough at the steel counter; a thin sheet of water slides across the tiled floor behind her. Medium shot, static camera, shallow focus on her hands.

Change the light description in the concept and re-render one key shot to see how much the project-level style governs every frame, then change the camera on a single shot to see how local that edit stays.