earnin.com
01 · Her, direct
01 · The Redirect
Her past is real.
Her present is documented.
The brand redirected the visual guide to its pillars, and the plan now runs on three shifts. The flashbacks return to real footage from her actual come-up, hourly jobs, radio, the video countdown years. The ad-like staging comes down and a documentary camera goes up, handheld, naturally lit, in a modern worked-in office that shows evidence of real hustle. And the three employee asks lose their back-and-forth dialogue: one person still walks through the door, the other two arrive the way urgent asks actually arrive, on screens.
Built toRead as her telling the truth about money, not as a brand telling a story about her. Every craft decision on this page traces to one of the three pillars: real footage, documentary capture, tech-first employee representation. The previs cut of the plan sits at the bottom of the storyboard, where a cut belongs: after the boards that earn it.
02 · The Method
Three rules run the day
Her past is real footage
The origin monologue rides an archival lane: licensed footage of her early hourly-work years, radio and the countdown-show era, cut with era textures shot practical on the day, a blank paper paycheck, a brick phone mid-text. Backup is period stock of the same times and places. Nobody plays a younger her, ever. Option on the table from the brand: she stays present-day while the footage behind her ages forward from home-video grain to now.
The present is a documentary
Handheld, naturalistic light, real office, real clutter. Deep hyperfocal focus keeps her and her world sharp together, the brand's own note, subject and background both in focus. The edit is fast and kinetic where the day gets loud, locked and steady where she takes charge. Meaningfully produced, never ad-slick.
The tech plays the employees
One actor barges in, in person. The second ask lands as an email overlay drawn beside the laptop, not as a screen close-up. The third floods the room TV as an accidental screenshare, captured webcam-style from a real remote session. Tasteful digital overlays keep focus on people; the film never cuts to a phone screen to make a point.
The previs boards on this page were generated to plan framing, light and staging. On the day, every one of them is replaced by photography. Generation ships nothing in this cut; the overlays are motion graphics in post; the end card is type.
03 · Who Is On Screen
Two people on set.
Everyone else on screens.
| Who / What | How it exists | Carries | Notes for the day |
|---|---|---|---|
| La La Anthony | Live | The direct-to-camera open, the boss walk, the address, the answer, the golden-hour close | Wardrobe: camel blazer over white ribbed tee, black tailored trousers, matte natural HMU, subtle glam per the brand's office pillar. Her key is always the room's own light. |
| Young La La | Archival | The whole origin lane, hourly jobs to radio to the countdown era | Real footage first, licensed period stock as backup, general shops without branding. Never a cast or generated younger her. |
| Employee 1 | Live | The barge-in ask, the "Really?", the relief | The one in-person actor. Car-registration ask at the glass door, key fob in hand, doc-caught not blocked. |
| Employee 2 | Overlay | The flight-home email ask and the "No way!" reply | Motion-graphics overlay beside a real laptop in frame. No actor, no screen close-up, no readable UI beyond the designed overlay. |
| Employee 3 | Remote Overlay | The accidental shop-dashboard screenshare on the room TV, the mid-panic freeze, the quiet fists-up relief | Directed webcam-style capture from a real remote session, comped to the TV with a dashboard of empty shapes until the designed overlay pass. |
| Customer stories | Archival | Beats from the brand's real customer films echo inside the flashback lane | Existing brand BTS footage of real customers, licensed, referenced where her backstory runs. |
| The room TV | Overlay Post | The screenshare flood, the freeze, then the end card | Blank on the day. Empty shapes only until the end card type lands letter-perfect in post. |
04 · The Script, Mapped
Six beats, every source named
| Beat | What plays | Source | The line it lands |
|---|---|---|---|
| 0:00–0:12 | Her inner monologue over the real past: hourly jobs, radio, the countdown years, a blank paycheck folded soft, thumbs on a brick phone | Archival Live inserts VO | "I didn't want to wait to get paid for time I already put in." |
| 0:12–0:16 | The camera pulls back into now: she stands at the head of the table and walks her wall of covers and awards | Live | "Now that I'm the boss, I'm the one cutting the checks..." |
| 0:16–0:22 | Three asks stack fast: the door opens mid-plea, an email overlay lands beside the laptop, the room TV floods with someone's shop dashboard | Live Overlay Remote | The record scratch lives here, the day's one hard cut |
| 0:22–0:28 | She stands and addresses the room and the screens at once; the disclaimer rides on screen six seconds minimum | Live Post | "It's your money and you have more control than you think." |
| 0:28–0:34 | Relief in every channel: the actor's "Really?", the reply overlay, the screenshare freeze melting into a quiet fists-up cheer, her answer | Live Overlay Remote | "With EarnIn, you can get paid on your terms, and access your money as you earn it." |
| 0:34–0:40 | The screens breathe out, the room TV holds the end card, golden hour takes the window | Live Post | "A smarter way to get paid. Download the EarnIn app now." |
All dialogue verbatim from the locked V4 script. Employee reaction memes and platform supers land per script in post, per platform.
05 · The Storyboard
The spot, frame by frame
Eight beats, condensed: the director's drawing sits directly against the previs frame it stages, and the movement and blocking ride alongside. Red pencil in the panels carries the camera; the previs frames hold the light and the wardrobe. The cut of all eight beats waits at the bottom, where it can be judged against the boards that earn it.
01 · 0:00–0:12
The Monologue
"That two-week wait for my money? Kind of analog behavior... I didn't want to wait to get paid for time I already put in."Drawn
Previs
Camera35mm at seated eye level, locked with breathing drift, one slow push across the read.
BlockingSeated at the table's head, forearms on the wood, lips closed; the line is VO only.
CutNone inside the beat; the archival lane interleaves in post.
02 · Flashback · Real Footage
The Come-Up, For Real
"Even when I started in radio, the world was becoming digital, but payday didn't evolve to match the pace of my grind."Drawn
Previs
CameraLicensed archival carries the lane; two practical era inserts at 50mm macro, hard cuts in and out.
BlockingHands only, no faces: the blank paycheck at the break-room counter, thumbs on the brick phone.
CutFast and analog inside the lane; nobody plays a younger her, ever.
03 · 0:12–0:16
The Boss Reveal
"Now that I'm the boss, I'm the one cutting the checks, and it feels so good to be in a position of control."Drawn
Previs
Camera28mm handheld follow at her walking pace along the achievement wall, deep focus.
BlockingShe rises in real time, buttons the blazer mid-step, eyes forward; the line is sync, on her.
CutNone: one unbroken take from the chair to the door hit.
04 · 0:16–0:18
The Interruption
"I have to pay my car registration today, but payday isn't for another week..."Drawn
Previs
CameraCaught from inside the room; the door lives deep in her frame first, both sharp in hyperfocal.
BlockingActor leans through mid-plea, fob up; the ask plays as urgent murmur under her beat.
CutHeld until her line lands; the interruption enters her shot before it earns its own.
05 · 0:18–0:22 · Record Scratch
The Pile-On
"My candle making side-hustle just went viral on TikTok and I need cash to buy supplies now!"Drawn
Previs
CameraThe reverse down the table axis, locked; the email overlay pops beside the laptop (post), the TV floods.
BlockingNobody moves on the freeze; a colleague's shoulder anchors the foreground.
CutThe film's one hard cut, and the one hard sound cut: everything rips to room tone.
06 · 0:22–0:28
The Address
"It's your money and you have more control than you think."Drawn
Previs
CameraAcross-the-table 28mm settling steady as she takes charge, table clutter honest in the foreground.
BlockingShe stands at the head, palm open, eyes moving from the room to the screens; sync first.
CutNone; the disclaimer rides on screen six seconds minimum from here.
07 · 0:28–0:34
The Fix
"With EarnIn, you can get paid on your terms, and access your money as you earn it."Drawn
Previs
CameraHer frame holds; relief plays inside it: the grin at the door edge, the reply overlay, the webcam cheer on the TV.
BlockingThe remote worker's fists-up cheer is directed webcam capture, nothing staged to camera.
CutNone: three channels resolve without leaving her shot.
08 · 0:34–0:40
The New Slide
"A smarter way to get paid. Download the EarnIn app now."Drawn
Previs
Camera50mm at the glass for her close, then the locked dusk plate down the table for the card.
BlockingThe room breathes out; golden hour does the grade; the TV is the last light on.
CutOne, into the plate; chime, swell, out.
Cut grammar the editor should hold: the flashback lane cuts fast and analog, the present holds longer and steadier as she takes control. The record scratch at beat 05 is the film's one hard sound cut. Yellow belongs to the brand's overlays and the end card, nowhere else.
The boards, cut togetherThe :40 previs cut of the eight beats above, one continuous documentary take per segment with only the cuts the boards call for. On the day every beat is captured for real, the archival lane licensed, the overlays designed in post. Judged against the boards, not instead of them.
06 · The Camera Plan
Four marks and one walk
A documentary camera still needs a floor. Four marks cover the whole film; the only traveling move all day is the follow on her boss walk, earned by the one line that talks about control. Everything else is patience: locked or breathing-handheld at a mark, deep focus, her world sharp around her.
A the axis · open + pile-on reverse + end cardB across the table · the addressC inside the room · the door catchD at the glass · the golden close● her mark · dashed = the one follow
The marks, worked
- A · The axis · 35mm from the table's foot: the open (locked, breathing), the pile-on reverse (locked), the dusk end-card plate (locked). One mark, three of the film's anchors. Beats 01 · 05 · 08
- B · Across the table · 28mm chest height through honest foreground clutter for the address and the answer; settles steadier as she takes charge. Beats 06 · 07
- C · Inside the room · 35mm seated eye level holding the glass door deep in frame; catches the barge-in without leaving her coverage. Beat 04
- D · At the glass · 50mm profile for the golden close; the sun does the grade. Beat 08
- The walk · the day's only traveling move: 28mm handheld follow from her chair along the achievement wall, one unbroken take. Beat 03
The overlay grammar
How every screen-borne ask looks in this film: the message drawn beside the person, never a screen close-up. One previs frame carries the grammar for the whole system.
Email ask, text reply, calendar ping: one designed system in post, applied beside real people in real light.
07 · The Look
Documentary, meaningfully produced
Camera
Handheld for the asks and reactions, locked and steady when she owns the room. A mix of tight intimate close-ups and candid wides. Deep hyperfocal focus throughout, subject and background sharp together; no extreme shallow depth anywhere.
Light
Naturalistic and motivated: window daylight, the room's own practicals, golden hour for the close. Her face is keyed by the scene, matte natural finish, real texture. No beauty key, no glam wash.
Edit + grade
Fast and kinetic through the flashbacks and the asks, motion blur welcome; calm on her authority beats. Every cut motivated, no beat repeated, no coverage of empty rooms. Grade stays real, cool and colorful like the city, no yellow or cool colorize wash, no filter identity.
AvoidFull-color or cyc backgrounds. Every frame lives in a real place.
AvoidOverly produced, ad-like staging or spokesperson blocking.
AvoidNoticeably AI or forced effects. Generation plans; photography ships.
AvoidExtreme shallow depth of field. Keep the world in focus with her.
08 · Sources
The archival lane
Ideal · real footage of her
- Hourly-work years · photos and home video from the ice-cream and retail era; general shops, no branding on screen. Talent + family pull
- Radio era · station footage, booth photos, aircheck audio. Station archives
- The countdown years · her on-air run; clips clear through the network. Network licensing
- Customer stories · the brand's real customer films, the musician and the community manager, echoed where her backstory runs. Brand library
Backup · period stock
- Same times, same places · 90s NYC hourly work, subways, storefronts; the city evolving to now for the passage-of-time beat. Stock, cleared
- The rule · stock stands in for the world, never for her. No cast or generated younger La La. Brand law
Alt on the table · from the brand
- Present-day her, aging footage · she reads as she is now while the material behind her climbs from home-video grain to modern clarity as the monologue approaches today. Decide at walkthrough
The lane's cut grammar
- Looping, passing memories · fast analog cuts, era texture honest, sprocket and grain only inside the lane. Per the brand deck
- Passage of time · NYC evolving to current day, real, cool, colorful, delivering us to the office. Stock + grade
09 · Assets
Everything the day needs
Practical · set, props & wardrobe
- The office · real working office rental, window wall, long pale-oak table; dressed worked-in: laptops, cables, cups, denim jacket, pastry, blank notebooks. All day
- Achievement wall · salon-hung framed photography + two award plaques, all greeked for clearance; her real covers licensed in post or they stay abstract. Beat 03
- Rolling whiteboard · working marker gestures, no readable words. Set dress
- Blank paycheck stock ×6 + torn envelope · worn fold, blank both faces. Beat 02 insert
- Brick phone prop · late-90s communicator, blank grey-green screen, no badges. Beat 02 insert
- Era corners · one break-room dress (formica + lockers + punch clock), one transit-seat dress, same office footprint. Art dept
- Key fob + blank parking ticket · the barge-in hand prop. Beat 04
- Her wardrobe · camel blazer + white ribbed tee + black tailored trousers, duplicate set, steamer; slim gold hoops. Canon, locked
- Actor wardrobe · rumpled sage utility jacket over grey tee. Employee 1
- HMU · matte natural, real texture, subtle glam; retouch nothing on set. Face law
Camera · Light · Sound
- Camera · one doc-agile body · 28/35/50 primes stopped for hyperfocal · no gimbal, shoulder and sticks only · marks A–D + the follow. Plan 06
- Light · nothing added: window key, room practicals, one bounce for the door catch if the corridor dies; golden hour and dusk shot in their real hours. Look law
- Sound · mixer + boom for sync · lav on her all day · record the door swing ×6, the record scratch wilds, 60s room tone both dressed eras · VO wilds in the office at rest. The rip is the film's one hard sound cut
Screens · Overlay · Post
- Every screen blank on the day · laptops dark, phones plain fields, the room TV empty until post. QA gate
- Overlay system · one designed grammar for email, text and calendar asks, drawn beside people, never full-screen UI. Employee 2 + 3
- Remote session · directed webcam capture: the dashboard panic freeze, the quiet fists-up relief; comped to the TV with empty shapes until the overlay pass. Employee 3
- Type · end card and disclaimer verbatim, six seconds minimum on the legal, #ad supers per platform. Post
- Sound mix · the record scratch, room tone both eras, the download chime, swell out; no music until the mix earns it. Post
10 · The Day
One office, one day
| Block | Where | Work | Why this order |
|---|---|---|---|
| 0700–0800 | Office | Crew in · dress the room worked-in · window light checked · achievement wall up | The office must read lived-in before anything rolls. |
| 0800–0930 | · | Talent in · HMU matte natural · blocking the table and the walk | Doc camera means she rehearses movement, not marks. |
| 0930–1130 | Table | Sync dialogue: the address, the answer, the boss line and walk | Voice first while it is fresh; the room is lit once. |
| 1130–1230 | Table | The direct-to-camera open, sync and silent takes | Her hardest read gets the late-morning calm. |
| 1230–1315 | · | Lunch · overlay animatics reviewed on the room TV | Everyone sees the tech grammar before the asks shoot. |
| 1315–1430 | Door | Actor window: the barge-in, the "Really?", the relief | One actor, one hour, doc-caught coverage. |
| 1430–1530 | Corners | Era inserts: the paycheck, the brick phone | Art corners dressed during the actor window. |
| 1530–1615 | Set + call | Remote session directed from set: the screenshare panic and the fists-up relief | Real webcam texture beats a comped performance. |
| 1615–1700 | Corner | VO wilds: the origin monologue, the closing line, three reads each | The dressed office at rest is the booth. |
| 1700–1745 | Window | Golden hour: the close at the glass, then the dusk end-card plate · wrap | The sun does the grade on the film's last shot. |
Runs in parallel, not on the day: the archival pull and licensing, the stock select, the overlay design pass. The edit assembles the doc cut against the storyboard order.
11 · Instagram
The Reel and the Stories
The Reel, mapped. The agreement ships one collaborative Reel, up to 2:30, and the documentary format is built for it: the :40 is the spine, and the length buys back everything the broadcast cut holds as murmur. The map below is cut from the locked script's own lines, nothing invented.
| Reel beat | What plays | The lines it recovers |
|---|---|---|
| 0:00–0:03 | Cold open on the record scratch: the flooded TV, the frozen room, her raised eyebrow | The hook is the hush. |
| 0:03–0:55 | The origin, given room: the full monologue over the archival lane at its real length | "Before the shows, movies, and businesses... I was just a kid from Brooklyn working hourly jobs, hustling hard to make my dreams come true." |
| 0:55–1:40 | The asks, documentary style: the barge-in plays whole, the email ask and reply, the screenshare panic | "La La! I have to pay my car registration today..." · "No way!" · "Wait, seriously? How?" |
| 1:40–2:10 | The address at full length, room and screens together | "Okay, this is enough. There was a time when kids used to run off the school bus to see me every day... We've gotta evolve with the times." |
| 2:10–2:30 | Relief in every channel, the answer, the card | "Thanks to EarnIn, you can access the money that you've already earned when you need it." · "Download the EarnIn app now." |
Collaborative post per the agreement: one mutually approved Reel, the brand invited as collaborator at campaign launch. Platform supers and #ad land per channel in post.
The Story set, staged. Three to four frames per the agreement, each carrying the sticker tap link to the brand, compiled from the documentary's own world: the open, the interruption, the freeze, the card. Staged here exactly as they overlay in the IG composer.
earnin.com
02 · The ask
earnin.com
03 · The freeze
earnin.com
04 · The card
12 · Deliverables
What ships, per the agreement
Instagram Reel · collaborative post
One mutually approved Reel with the brand as invited collaborator for the campaign launch, up to 2:30, mapped beat for beat in section 11 from the locked script's own held lines. One master edit, platform supers per channel.
Instagram Story set · three to four frames
One approved Story set compiled by RitualAds, each frame carrying the sticker tap link to the brand, staged in section 11 from the documentary's own frames. Nine candidate sets from the wider slate remain on the previs slate as alternates.
Walkthrough: the team is available Monday in the 8am to 1pm PT window offered, with the brand's creative lead. This page is the agenda: redirect, method, storyboard, camera plan, sources, assets, day, Instagram, deliverables.
Real footage. Real office. Real asks.
Bold, real, and on a mission.