Animation Hub / curvelle-side-effects-cartoon-v1-2026-09-30

# curvelle-side-effects-cartoon-v1-2026-09-30 — cartoon-h3 storyboard (Fish review BEFORE canvases)

VO: 98.64s, 310 words, 3.14 wps · 37 beats · 18 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 | 1.1 | 0.04–3.08 (3.0) | If your family tells you to eat something at every dinner, | At a crowded family dinner table, the narrator sits with a full plate in front of her, thin arms resting on the table and her round stomach pooch pushing over her jeans. The aunt leans in, spooning more food onto the plate. The narrator gives a tight smile. | dinner-table | hard cut |
| 2 | 1.2 | 3.23–5.33 (2.1) | these drops come with side effects. | Same dinner table, closer on the narrator. The grandma points at the narrator's thin arms while the aunt keeps spooning food onto her plate, both talking at once. The narrator sits stiffly with a tight smile and a slightly strained face. | dinner-table | camera pushes in slightly from the wide table shot |
| 3 | 2 | 5.60–6.75 (1.1) | Side effect number one. | Bold block numerals reading a side-effect label fill the center of the frame over a softly blurred hold of the same dinner table, plates and glasses out of focus behind. No people in frame. The camera holds steady on the blurred table while the title card sits still. | dinner-table | hard cut |
| 4 | 3 | 7.02–10.95 (3.9) | The people who told you to eat something are going to run out of things to say. | At the dinner table, the aunt leans forward with her mouth open mid-sentence, then freezes and closes it, eyebrows raised. Beside her the grandma stares back, lips parted, equally stuck. The narrator sits across from them, plainly a young adult woman with a fuller body, watching with an amused half-smile. | dinner-table | hard cut |
| 5 | 4.1 | 11.21–13.07 (1.9) | Your aunt. Your grandma. | Inside a dinner-table room, the aunt sits mid-sentence with her mouth open, one arm stretched across the table, finger pointing at the narrator. Beside her the grandma nods slowly, eyes on the narrator. The narrator sits across from them, shoulders tight, jaw clenched, visibly agitated. | dinner-table | hard cut |
| 6 | 4.2 | 13.22–15.28 (2.1) | The coworker who called you a stick. | An inset frame in the corner of the dinner-table composition shows the coworker at an office desk, raising both hands and bending two fingers on each hand into air quotes while saying "stick". The aunt and grandma stay visible in the main frame, watching. The narrator's face tightens with irritation. | dinner-table | a small inset window opens in the corner of the frame, the dinner table staying visible behind it |
| 7 | 5 | 15.55–18.80 (3.2) | 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, full round backside in her jeans. The aunt and grandma lean in toward her with wide eyes and open mouths, pointing at her and asking questions. The narrator smiles calmly. | dinner-table | hard cut |
| 8 | 6 | 19.07–20.14 (1.1) | Side effect number two. | A bold number two title card fills the center of the frame, set over a softly blurred bedroom closet. Hanging clothes, a shelf and a closet door are out of focus behind it. No people are in the frame. The mood is calm and neutral. | bedroom-closet | hard cut |
| 9 | 7 | 20.41–22.35 (1.9) | You're going to lose your hiding spots. | Inside a bedroom closet, the narrator, a young woman with a full rounded backside and a flat stomach, yanks an oversized grey hoodie off its hanger and drops it into an open donation bag on the floor, grinning with satisfaction. | bedroom-closet | hard cut |
| 10 | 8.1 | 22.62–23.73 (1.1) | The hoodie in July. | In bright summer light streaming through the bedroom window, the narrator, a young adult woman with a round stomach pooch, pulls a grey hoodie down over a tank top. Her shoulders are slumped and her face is tight with discomfort as she tugs the hem over her stomach. | bedroom-closet | hard cut |
| 11 | 8.2 | 23.88–25.53 (1.6) | The leggings under your jeans. | On the bed, the narrator lays folded leggings out and pulls them on layer by layer under a pair of jeans. She is a young adult woman with a round stomach pooch and a flat backside. Her jaw is set and her eyes look down, tense and self-conscious. | bedroom-closet | camera pans right from the window light to the bed |
| 12 | 8.3 | 25.68–27.31 (1.6) | Showering with the lights off. | In the dim bathroom, the narrator's hand reaches for the light switch and stops just short of flipping it on. She then lowers her hand and steps toward the shower. Her face is guarded, her shoulders pulled in, and her eyes are lowered. | bathroom | hard cut to the dim bathroom doorway |
| 13 | 9 | 27.58–31.69 (4.1) | You won't need them anymore, and you'll feel weird without them for about a week. | In a bright morning bedroom with the lights on, the narrator walks out in a fitted tee and jeans, her full booty and flat stomach visible, no hoodie. She glances back over her shoulder at an empty hanger, gives a small, slightly unsure smile, then shrugs it off. | bedroom-closet | hard cut |
| 14 | 10 | 31.96–33.13 (1.2) | Side effect number three. | Full-frame title card: a bold white sans-serif number three and the words side effect fill the center of the frame. Behind them, a soft out-of-focus store window reflection shows pale shapes of glass, light glare and muted street colors. No people, no product, and the frame stays still. | street-sidewalk | hard cut |
| 15 | 11 | 33.40–36.13 (2.7) | You're going to stand sideways in every mirror you pass. | In a bedroom, the narrator stands in front of a full-length mirror and turns sideways into side profile, glancing at her reflection. She has a small waist, full round booty, flat stomach, and jeans fitted tight in the back. A pleased smile spreads across her face. | bedroom-closet | hard cut |
| 16 | 12 | 36.40–38.59 (2.2) | Store windows. Your phone camera. | On a sunny sidewalk, the narrator walks past a store window and catches her side-profile reflection in the glass, then glances down and checks herself again in her phone's camera preview. Her curvy figure is visible in both reflections, and she looks pleased and surprised. | street-sidewalk | hard cut |
| 17 | 13 | 38.86–41.96 (3.1) | 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 and again, half-laughing at herself, smiling and a little embarrassed. | bedroom-closet | hard cut |
| 18 | 14 | 42.23–44.78 (2.6) | Side effect number four, and this one's real. | A full-frame title card over a softly blurred kitchen: countertop, cabinets and a window glow as indistinct shapes. Large bold block numerals and words fill the center, with a smaller line of text beneath. No people appear. The frame holds still and steady. | kitchen | hard cut |
| 19 | 15 | 45.05–46.30 (1.2) | Some women eat a little more. | In a dimly lit kitchen at night, the narrator stands at an open fridge, its light washing over her. She wears pajamas, has a full booty and a flat stomach, holds a snack in one hand, and shrugs at the camera with a light, unbothered smile. | kitchen | hard cut |
| 20 | 16.1 | 46.56–47.15 (0.6) | Fine. | A simple glowing side-profile illustration fills the frame where the kitchen was: the silhouette of a single young woman, the narrator, stands in calm outline against a dark background. Her shoulders drop slightly and her head tilts forward in resigned acceptance. |  | hard cut |
| 21 | 16.2 | 47.18–48.87 (1.7) | The order decides where it goes. | Same glowing side-profile silhouette of the narrator. Bright arrows leave a cluster of food shapes and split into two paths: one arrow curves down to her hips and ends there, the other stops short at her stomach. Both arrows pulse steadily. |  | the silhouette holds still while the arrows draw outward from the food shapes |
| 22 | 17 | 49.14–49.80 (0.7) | Here's why. | The narrator, a young adult woman, stands facing the camera and extends one open hand toward a softly glowing silhouette diagram floating in the air beside her, upright like a whiteboard. Her eyebrows are raised and she smiles warmly, inviting the viewer to look closer. |  | hard cut |
| 23 | 18 | 50.07–51.65 (1.6) | Your body has a storage order. | Two side-profile silhouettes 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, calm and unlabeled. |  | hard cut |
| 24 | 19.1 | 51.92–53.97 (2.1) | Some women gain in their hips first. | Two plain silhouettes stand side by side against a flat backdrop. Golden particles stream into the first silhouette and collect at its hips, which glow warm gold. A small arrow beside the hips points at that spot. The second silhouette stays dim and still. |  | hard cut |
| 25 | 19.2 | 54.12–58.28 (4.2) | If you're skinny with a little stomach, you gain in your stomach first. | The same two silhouettes stand side by side. The first silhouette's hips now rest dim. Golden particles stream into the second, skinny silhouette and collect at its small stomach, which glows warm gold. A small arrow beside the stomach points at that spot. |  | camera pans right to reveal the second silhouette as the glow on the first hips fades |
| 26 | 20 | 58.55–63.93 (5.4) | 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 stomach silhouette. The hips silhouette stays empty, with a flat-backside outline behind it. The narrator watches, her face troubled. | kitchen | hard cut |
| 27 | 21.1 | 64.20–66.31 (2.1) | Weight gainers don't change the order. | On a kitchen counter, the same white plastic shake tub with the red lid is shoved along the surface toward the far edge, away from the narrator. She stands at the near side with her arm extended, watching it slide, her expression flat and skeptical. | kitchen | hard cut |
| 28 | 21.2 | 66.45–68.36 (1.9) | They add more to the front of the line. | Close on the narrator's stomach silhouette with a glowing particle stream thickening around it, the stream pooling and growing denser at the stomach and never reaching the hips. The tub with the red lid sits at the far counter edge behind. She looks down, worried. | kitchen | camera pushes in from the counter to the narrator's torso as the glow brightens |
| 29 | 22 | 68.63–69.98 (1.3) | Curvelle works on the order. | Close-up of a brown amber glass dropper bottle with a black ribbed screw cap and black rubber bulb, standing upright on a kitchen counter, beige label facing the camera. A small dish of ingredients sits beside it. The narrator's hand rests calmly on the counter next to the bottle. | kitchen | hard cut |
| 30 | 23 | 70.25–72.45 (2.2) | Ashwagandha quiets the front of the line. | Close shot of a small pale ashwagandha root lying on a kitchen counter. Behind it, the side-profile silhouette of the narrator stands still. A soft calming glow washes over her stomach area and fades, and the stream of particles gathered at her stomach quiets and slows. | kitchen | hard cut |
| 31 | 24 | 72.72–78.84 (6.1) | 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. The frame returns to color as a warm glow spreads across the hips and thighs of the narrator's silhouette, and her body looks fuller. | kitchen | hard cut |
| 32 | 25 | 79.11–80.51 (1.4) | Beetroot carries it there. | Close shot on a kitchen counter: a deep red beetroot sits beside the helba jar. A soft red glow rises from the beetroot and carries a stream of small particles downward through the narrator's silhouette, settling into her hips and glutes. The narrator's outline stays calm and still. | kitchen | hard cut |
| 33 | 26 | 80.78–84.65 (3.9) | One dropper a day. No shakes. No syrup. Nothing to force. | Close-up on a morning kitchen counter: the narrator's hand holds the black dropper above a glass of water and squeezes one drop in. The brown glass CURVELLE BOOTY DROPS bottle stands beside the glass, label facing camera. The closed white shake tub sits pushed to the back of the counter. | kitchen | hard cut |
| 34 | 27 | 84.92–86.50 (1.6) | So those are the side effects. | In her kitchen, the narrator with a full booty and flat stomach turns to face the camera directly. Her arms are loosely crossed, and she wears a small knowing smile. She stands relaxed and steady, looking straight into the lens, with the counter and cabinets behind her. | kitchen | the graphic behind her fades out and the frame settles on her, hard cut to a medium shot |
| 35 | 28.1 | 86.77–90.43 (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, raised eyebrows, asking what she did. The narrator, a curvy young woman, smiles and shrugs one shoulder, relaxed and unbothered, plates and glasses between them. | dinner-table | hard cut |
| 36 | 28.2 | 90.58–95.79 (5.2) | 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, same framing. The aunt and grandma keep leaning in, waiting. The narrator keeps smiling and shrugging. An offer card fades in over the corner of the frame, a plain rectangle overlaying the table scene while the family stays in place. | dinner-table | the frame holds on the same composition as the offer card fades in over the corner |
| 37 | 29 | 96.06–98.41 (2.3) | If you'd rather keep the hoodie, keep scrolling. | The narrator stands facing the camera in fitted jeans, holding the brown amber glass dropper bottle with black ribbed cap and beige CURVELLE BOOTY DROPS label up beside her face, label toward the lens. She gives a playful smirk. Behind her, a bag holds the folded grey hoodie. |  | hard cut |

## Batches

- **Batch 1**: beats 1–2 · 0.04–5.33s (5.3s) · 6s generation · 2 panel(s) · ends on "…with side effects." 
- **Batch 2**: beats 3–3 · 5.60–6.75s (1.1s) · 5s generation · 1 panel(s) · ends on "…effect number one." 
- **Batch 3**: beats 4–6 · 7.02–15.28s (8.3s) · 9s generation · 3 panel(s) · ends on "…you a stick." 
- **Batch 4**: beats 7–7 · 15.55–18.80s (3.2s) · 5s generation · 1 panel(s) · ends on "…you've been doing." 
- **Batch 5**: beats 8–8 · 19.07–20.14s (1.1s) · 5s generation · 1 panel(s) · ends on "…effect number two." 
- **Batch 6**: beats 9–9 · 20.41–22.35s (1.9s) · 5s generation · 1 panel(s) · ends on "…your hiding spots." 
- **Batch 7**: beats 10–12 · 22.62–27.31s (4.7s) · 5s generation · 3 panel(s) · ends on "…the lights off." 
- **Batch 8**: beats 13–13 · 27.58–31.69s (4.1s) · 5s generation · 1 panel(s) · ends on "…about a week." 
- **Batch 9**: beats 14–14 · 31.96–33.13s (1.2s) · 5s generation · 1 panel(s) · ends on "…effect number three." 
- **Batch 10**: beats 15–17 · 33.40–41.96s (8.6s) · 9s generation · 3 panel(s) · ends on "…you'll keep checking." 
- **Batch 11**: beats 18–18 · 42.23–44.78s (2.6s) · 5s generation · 1 panel(s) · ends on "…this one's real." 
- **Batch 12**: beats 19–19 · 45.05–46.30s (1.2s) · 5s generation · 1 panel(s) · ends on "…a little more." 
- **Batch 13**: beats 20–23 · 46.56–51.65s (5.1s) · 6s generation · 4 panel(s) · ends on "…a storage order." 
- **Batch 14**: beats 24–26 · 51.92–63.93s (12.0s) · 13s generation · 3 panel(s) · ends on "…your butt flat." 
- **Batch 15**: beats 27–29 · 64.20–69.98s (5.8s) · 6s generation · 3 panel(s) · ends on "…on the order." REVEAL product
- **Batch 16**: beats 30–32 · 70.25–80.51s (10.3s) · 11s generation · 3 panel(s) · ends on "…carries it there." 
- **Batch 17**: beats 33–34 · 80.78–86.50s (5.7s) · 6s generation · 2 panel(s) · ends on "…the side effects." 
- **Batch 18**: beats 35–37 · 86.77–98.41s (11.6s) · 12s generation · 3 panel(s) · ends on "…hoodie, keep scrolling." CTA product