Animation Hub / curvelle-side-effects-cartoon-d1-v3-2026-09-30

# curvelle-side-effects-cartoon-d1-v3-2026-09-30 — cartoon-h3 storyboard (Fish review BEFORE canvases)

VO: 95.29s, 325 words, 3.41 wps · 40 beats · 19 batches (≤15s, ≤4 panels, reveal/CTA ≤3)

Beat times come from the ElevenLabs word timings of the trimmed VO. A batch = one MiniMax H3 generation (canvas + hero refs + this batch's VO slice). Batch boundaries fall on pack-line ends only.

## Table storyboard

| Beat | Scene | Start–End (s) | VO | Visual | Env | Transition-in |
|---|---|---|---|---|---|---|
| 1 | 1 | 0.04–4.22 (4.2) | My mother-in-law grabbed my hips at Thanksgiving and asked who my surgeon was. | At a Thanksgiving table with roast turkey and a fall spread, the mother-in-law stands beside the narrator's chair with both hands wrapped around her hips, squeezing admiringly. The narrator, small waist and full round booty, looks startled and amused. Family members turn toward them, forks paused mid-air. | thanksgiving-table | hard cut |
| 2 | 2.1 | 4.49–5.68 (1.2) | Then I found these drops. | At the Thanksgiving table, the narrator gently lifts her mother-in-law's hands off her hips and holds them in her own. Her curvy figure is plain in the frame. She smiles warmly, eyes steady on the camera, while the mother-in-law looks on, surprised. | thanksgiving-table | hard cut |
| 3 | 2.2 | 5.83–7.66 (1.8) | Nobody warned me about the side effects. | Same Thanksgiving table, the narrator still holds her mother-in-law's hands at waist height. Her warm, knowing smile stays fixed and she keeps looking into the camera. The mother-in-law's eyebrows rise. Plates and dishes sit untouched on the table behind them. | thanksgiving-table | hard cut |
| 4 | 3 | 8.05–9.11 (1.1) | Side effect number one. | Softly blurred wide shot of a family dinner table in a warm dining room, plates, glasses and serving dishes out of focus, relatives seated around it. A bold title card reading SIDE EFFECT #1 holds steady over the center of the frame. | dinner-table | hard cut |
| 5 | 4 | 9.38–13.22 (3.8) | The people who told you to eat something are going to run out of things to say. | At the family dinner table, the aunt leans forward with her mouth shut and eyebrows raised, frozen mid-sentence. Beside her the grandma stares back with lips parted, equally stuck. Across from them the narrator, with thin arms and a round stomach pooch, sits back watching with an amused half-smile. | dinner-table | hard cut |
| 6 | 5.1 | 13.49–14.90 (1.4) | Your aunt. Your grandma. | The aunt sits at the table mid-sentence, mouth open, arm stretched out with one finger pointing across the table toward the narrator. Beside her, the grandma nods slowly with a small approving smile. At the edge of the frame the narrator watches, her jaw tightening. | dinner-table | hard cut |
| 7 | 5.2 | 15.05–16.78 (1.7) | The coworker who called you a stick. | An inset frame shows the coworker at an office desk, both hands raised with two fingers bent in air quotes while speaking. In the main frame behind the inset, the narrator's brows draw together and her lips press thin, her whole face tight with irritation. |  | an inset frame opens in the corner of the shot, keeping the table scene visible behind it |
| 8 | 6 | 17.05–20.08 (3.0) | At the next family dinner, they're going to ask what you've been doing. | At the family dinner table, the narrator sits upright and relaxed, small waist and flat stomach visible, a calm smile on her face. Across from her, the aunt and grandma lean forward with wide eyes and open mouths, pointing at her and asking questions. | dinner-table | hard cut |
| 9 | 7 | 20.35–21.31 (1.0) | Side effect number two. | A bold title card fills the frame with large stark lettering announcing the second side effect, centered over a soft out-of-focus blur of a bedroom closet: hanging clothes in muted shapes, a shelf above, a closet door frame, warm dim light, no people present. | bedroom-closet | hard cut |
| 10 | 8 | 21.58–23.37 (1.8) | You're going to lose your hiding spots. | Inside a bedroom closet, the narrator, a young adult woman with a full booty and a flat stomach, yanks an oversized grey hoodie off its hanger and tosses it into an open donation bag on the floor. She grins, pleased, as empty hangers sway beside her. | bedroom-closet | hard cut |
| 11 | 9.1 | 23.64–24.72 (1.1) | The hoodie in July. | The narrator, a young adult woman with a round stomach pooch and flat backside, stands in bright summer sunlight by a window and pulls a grey hoodie down over her tank top. Her shoulders are hunched, her jaw tight, her eyes lowered in discomfort. | bedroom-closet | hard cut |
| 12 | 9.2 | 24.79–26.30 (1.5) | The leggings under your jeans. |  | bedroom-closet | camera cuts to a close overhead view of the bed |
| 13 | 9.3 | 26.46–27.71 (1.3) | Showering with the lights off. | In a dim bathroom, the narrator's hand reaches toward the light switch and stops an inch short of flipping it on. She lowers her arm, her shoulders drop, and she steps toward the shower with her face tense and eyes downcast. | bathroom | hard cut |
| 14 | 10 | 27.98–29.09 (1.1) | You won't need them anymore. | In a bright morning bedroom with the lights on, the narrator walks straight toward the camera in a fitted tee and jeans, her full booty and flat stomach visible. She moves with a calm, confident smile, passing an empty hanger on the rail without glancing at it. | bedroom-closet | hard cut |
| 15 | 11 | 29.36–30.52 (1.2) | Side effect number three. | A full-frame title card: a large bold number three in heavy white block lettering sits centered over a soft out-of-focus blur of a bedroom mirror. Warm lamplight glows on the blurred mirror frame and the edge of a bed. No people, no product, empty room, still camera. | bedroom-closet | hard cut |
| 16 | 12 | 30.79–33.41 (2.6) | You're going to stand sideways in every mirror you pass. | Inside a bedroom, the narrator stands beside a full-length mirror and turns sideways to show her side profile. She has a small waist, a flat stomach and a full round booty in jeans that fit tight in the back. She looks over her shoulder at her reflection as a pleased smile spreads across her face. | bedroom-closet | hard cut |
| 17 | 13 | 33.68–36.67 (3.0) | Your jeans get tight in the back first, and you'll keep checking. | Close shot on the back pockets and waistband of the narrator's jeans as she turns in front of a mirror. The denim is visibly snug across her backside. She glances back over her shoulder again, half-laughing at herself, cheeks lifted in a sheepish smile. | bedroom-closet | hard cut |
| 18 | 14 | 36.94–39.40 (2.5) | Side effect number four, and this one's real. | A title card fills the frame: a large bold number four in heavy block lettering sits centered, with a much smaller line of subtext beneath it. Behind the card, a softly blurred kitchen shows counters, a stove and cabinets, no people, warm light, held steady with a slight push-in. | kitchen | hard cut |
| 19 | 15 | 39.66–40.97 (1.3) | Some women eat a little more. | In a dimly lit kitchen at night, the narrator, a young woman with a full booty and flat stomach, stands at an open fridge, its cold light washing over her. She grabs a snack from a shelf, turns to the camera and shrugs with a light, unbothered smile. | kitchen | hard cut |
| 20 | 16.1 | 41.24–41.65 (0.4) | Fine. | A simple glowing side-profile silhouette of the narrator fills the frame where the kitchen was, soft light outlining her head, chest, stomach and hips. A cluster of plain food shapes floats in front of her, still. Her outline holds a calm, resigned expression. | kitchen | hard cut |
| 21 | 16.2 | 41.67–43.31 (1.6) | The order decides where it goes. | Bright arrows stream out of the cluster of food shapes and split into two paths. One arrow curves down and lands at the narrator's hips in her glowing side-profile silhouette. The other arrow stops short at her stomach. The silhouette glows steadily. | kitchen | camera holds on the silhouette as the bright arrows burst out of the food cluster |
| 22 | 17 | 43.58–44.17 (0.6) | Here's why. | The narrator, a young adult woman, stands facing the camera with a calm, inviting expression. She extends one hand toward a softly glowing silhouette diagram floating in the air beside her, like a whiteboard. Her open palm points at the diagram as she looks toward the viewer. |  | hard cut |
| 23 | 18 | 44.44–46.25 (1.8) | Your body has a storage order. | Two side-profile silhouettes of women stand side by side against a plain dark backdrop, each outlined by a faint warm glow. The left silhouette is full and rounded at the hips and thighs. The right silhouette is full only at the stomach. Both stand still, facing the same direction. |  | hard cut |
| 24 | 19.1 | 46.52–48.66 (2.1) | Some women gain in their hips first. | Two side-by-side silhouettes stand against a plain backdrop. Golden particles stream into the first silhouette and gather warmly at its hips, where a small arrow points to the spot. The second silhouette waits, still and dim, beside it. |  | hard cut |
| 25 | 19.2 | 48.69–52.00 (3.3) | If you're skinny with a little stomach, you gain in your stomach first. | The second, skinnier silhouette lights up as golden particles stream into it and collect at its stomach, where a small arrow points to the spot. The first silhouette stays beside it with its warm glow settled at the hips. |  | camera pans right to reveal the second silhouette |
| 26 | 20 | 52.27–57.14 (4.9) | That's why the shakes and the 'just eat more' gave you a belly and left your butt flat. | On a kitchen counter, a white plastic shake tub with a red lid stands beside a clear shaker cup. A stream of glowing particles pours from the tub and lands only on a glowing stomach silhouette. The hips silhouette behind it stays empty inside a flat-backside outline. | kitchen | hard cut |
| 27 | 21.1 | 57.41–59.25 (1.8) | Weight gainers don't change the order. | On a kitchen counter, a white plastic shake tub with a red lid slides slowly along the surface toward the far edge, away from the narrator. She stands at the counter watching it go, her expression flat and skeptical, arms at her sides. | kitchen | hard cut |
| 28 | 21.2 | 59.40–61.04 (1.6) | They add more to the front of the line. | Close on the narrator's torso beside the counter. A thick stream of particles from the white tub with the red lid thickens and pools only at her stomach, none reaching her hips. She looks down at her stomach, eyebrows drawn together, frustrated. | kitchen | camera pushes in from the counter to the narrator's torso |
| 29 | 22.1 | 61.31–63.76 (2.5) | You can't pick where it goes. Your hormones pick. | In a kitchen, the narrator stands at the counter facing the camera, one hand raised palm-up in a small shrug. The mechanism silhouette diagram glows on the counter beside her. Her face is earnest and slightly exasperated as she speaks. | kitchen | hard cut |
| 30 | 22.2 | 63.91–65.14 (1.2) | Curvelle works on the picker. | Close on the kitchen counter: a brown amber glass dropper bottle with a black ribbed screw cap and black rubber bulb, beige label reading CURVELLE BOOTY DROPS, set down label facing camera beside the glowing mechanism silhouette diagram. The narrator's hand withdraws from the bottle, her expression calm and confident. | kitchen | camera pushes in as the bottle is set down beside the diagram |
| 31 | 23 | 65.41–66.87 (1.5) | Stomach last. Shape first. | A single glowing side-profile silhouette of the narrator stands centered against a dark background. A bright arrow at her stomach is struck through with a glowing red X. Two arrows stay lit at her hips, thighs and booty. Her body does not change and she does not move. |  | hard cut |
| 32 | 24 | 67.14–69.15 (2.0) | Ashwagandha quiets the front of the line. | Close shot of a small pale ashwagandha root lying on a kitchen counter. Behind it, the narrator's side-profile silhouette stands motionless while a soft calming glow washes over her stomach area. The stream of particles at her stomach side slows and quiets, her posture easing. | kitchen | hard cut |
| 33 | 25 | 69.42–75.19 (5.8) | Helba, the herb Moroccan women have used for generations to fill out before their weddings, opens the shape. | Close shot of a clear glass jar with an open brass lid on a kitchen counter, filled with small golden helba seeds. A brief warm sepia flash shows an older Moroccan woman pouring the same seeds into a young bride's cupped hands, then the frame returns to color as a warm glow spreads across the silhouette's hips and thighs. | kitchen | hard cut |
| 34 | 26 | 75.46–76.69 (1.2) | Beetroot carries it there. | Close shot on a kitchen counter: a deep red beetroot rests beside the helba jar. A soft red glow rises from the beetroot and carries a stream of small particles downward into the silhouette's hips and glutes. The narrator's outline stands calm and still beside the counter. | kitchen | hard cut |
| 35 | 27 | 76.96–80.03 (3.1) | One dropper a day. No shakes. No syrup. Nothing to force. | Close-up on a morning kitchen counter: the narrator's hand holds a black dropper above a glass of water and squeezes one drop in. The brown amber glass dropper bottle stands beside the glass, beige label facing camera. A closed white tub sits pushed to the back, untouched. | kitchen | hard cut |
| 36 | 28 | 80.30–81.69 (1.4) | So those are the side effects. | In her kitchen, the narrator, a young adult woman with a full booty and a flat stomach, stands facing the camera directly with her arms loosely crossed. She wears a small knowing smile and holds steady eye contact. Behind her, the faded-out mechanism graphic barely shows against the counters. | kitchen | hard cut |
| 37 | 29 | 81.96–83.82 (1.9) | Gain it where you want it. Not your stomach. | The narrator, a young adult woman with a curvy figure, stands upright and relaxed, facing the camera with a confident smile. She extends one open hand toward her own hip, palm up, gesturing at it. Plain neutral backdrop, her body unchanged from the previous moment, warm bright lighting. |  | hard cut |
| 38 | 30.1 | 84.09–87.82 (3.7) | If you can handle your family asking what you did, it sells out all the time, | At the family dinner table, the aunt and grandma lean in toward the narrator with curious, eager faces, mouths open mid-question. The curvy narrator sits across from them smiling warmly and shrugging one shoulder, relaxed and amused, hands resting near her plate. | dinner-table | hard cut |
| 39 | 30.2 | 87.97–92.43 (4.5) | it's up to seventy-one percent off right now, and you get 60 days to see it or every dollar back. | Same dinner table composition: the aunt and grandma still leaning in, the curvy narrator smiling and shrugging. A flat offer card fades in over the corner of the frame, holding the discount and guarantee lines while the family keeps watching her. | dinner-table | the frame holds on the table as the offer card fades in over the corner |
| 40 | 31 | 92.70–95.06 (2.4) | If you'd rather keep the hoodie, keep scrolling. | The narrator faces the camera in fitted jeans, holding the brown amber glass dropper bottle up beside her face, beige label turned toward the lens. She wears a playful smirk. Behind her, the donated grey hoodie sits folded inside a bag. | bedroom-closet | hard cut |

## Batches

- **Batch 1**: beats 1–3 · 0.04–7.66s (7.6s) · 8s generation · 3 panel(s) · ends on "…the side effects." 
- **Batch 2**: beats 4–4 · 8.05–9.11s (1.1s) · 5s generation · 1 panel(s) · ends on "…effect number one." 
- **Batch 3**: beats 5–7 · 9.38–16.78s (7.4s) · 8s generation · 3 panel(s) · ends on "…you a stick." 
- **Batch 4**: beats 8–8 · 17.05–20.08s (3.0s) · 5s generation · 1 panel(s) · ends on "…you've been doing." 
- **Batch 5**: beats 9–9 · 20.35–21.31s (1.0s) · 5s generation · 1 panel(s) · ends on "…effect number two." 
- **Batch 6**: beats 10–10 · 21.58–23.37s (1.8s) · 5s generation · 1 panel(s) · ends on "…your hiding spots." 
- **Batch 7**: beats 11–13 · 23.64–27.71s (4.1s) · 5s generation · 3 panel(s) · ends on "…the lights off." 
- **Batch 8**: beats 14–14 · 27.98–29.09s (1.1s) · 5s generation · 1 panel(s) · ends on "…need them anymore." 
- **Batch 9**: beats 15–15 · 29.36–30.52s (1.2s) · 5s generation · 1 panel(s) · ends on "…effect number three." 
- **Batch 10**: beats 16–17 · 30.79–36.67s (5.9s) · 6s generation · 2 panel(s) · ends on "…you'll keep checking." 
- **Batch 11**: beats 18–18 · 36.94–39.40s (2.5s) · 5s generation · 1 panel(s) · ends on "…this one's real." 
- **Batch 12**: beats 19–19 · 39.66–40.97s (1.3s) · 5s generation · 1 panel(s) · ends on "…a little more." 
- **Batch 13**: beats 20–23 · 41.24–46.25s (5.0s) · 6s generation · 4 panel(s) · ends on "…a storage order." 
- **Batch 14**: beats 24–26 · 46.52–57.14s (10.6s) · 11s generation · 3 panel(s) · ends on "…your butt flat." 
- **Batch 15**: beats 27–28 · 57.41–61.04s (3.6s) · 5s generation · 2 panel(s) · ends on "…of the line." 
- **Batch 16**: beats 29–31 · 61.31–66.87s (5.6s) · 6s generation · 3 panel(s) · ends on "…last. Shape first." REVEAL product
- **Batch 17**: beats 32–34 · 67.14–76.69s (9.5s) · 10s generation · 3 panel(s) · ends on "…carries it there." 
- **Batch 18**: beats 35–37 · 76.96–83.82s (6.9s) · 7s generation · 3 panel(s) · ends on "…Not your stomach." product
- **Batch 19**: beats 38–40 · 84.09–95.06s (11.0s) · 11s generation · 3 panel(s) · ends on "…hoodie, keep scrolling." CTA product