{ "status": "completed", "applicable_count": 27, "completed_count": 27, "failed_count": 0, "schema_version": 3, "config_hash": "f117c363ab0ca54b", "data": { "contis": { "S1sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/conti/conti_S1sh1.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: On the dirt floor beneath dense undergrowth in a mountain forest, at the spot where the fleeing victim fell.\n\nSHOT TEXT (authoritative, Korean): 흙바닥에 짓눌린 금월산 피해 남성의 맨살 허벅지 위로, 핏물이 고인 커다란 이빨 자국이 선명하게 파인 클로즈업.\n\nCARRIED STATE (persist exactly): The mountain victim has one shoe missing and a large, actively bleeding bite mark on his bare thigh; both conditions must remain unchanged throughout his flight and attack.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From ground level within close-up distance, aim slightly downward across the injured thigh as the bite wound sits near frame center and the man's hip and the soil provide scale at the edges. Hold the stage-entry composition nearly static before the beginning of the prescribed pullback, using shallow focus to isolate the pooled blood and tooth impressions.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 흙바닥 (The man's injured thigh is pressed against it); used as Visible beneath and around the thigh as the immediate ground plane and scale reference; 우거진 수풀 (Dense around the ground-level view); used as Soft peripheral framing that preserves the forest location without competing with the wound.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:금월산 피해 남성", "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/reference/88f40d35-2ded-458d-816a-eb2da2340f2c.png" ] ], "asset_id": "30ef44c4-73ef-4348-a59c-c7073b4d8ea6" }, "S1sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S2sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/conti/conti_S2sh3.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Beside a utility pole in a dim urban back alley at night, under faint streetlight.\n\nSHOT TEXT (authoritative, Korean): 한국인 신원미상 남성의 입술이 효장동 피해 여성의 목덜미를 깊게 문 채, 검붉은 핏방울이 공중에 튄 정지 순간.\n\nCARRIED STATE (persist exactly): The unidentified man’s teeth remain embedded in the woman’s neck, leaving the neck torn and bloodied before she collapses.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At neck height beside the pair, finish the dolly-in on an extremely tight opposing-profile composition: the man's lips and teeth enter from one side, the woman's neck from the other, and suspended blood droplets remain in the narrow gap between them. The frame freezes the instant before the planned downward tilt, excluding almost all alley context while preserving the physical bite.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 전봇대 (The two people are pressed near it) — Only a shallow section of the side facing the pair remains visible behind them; used as A narrow blurred vertical trace behind the tightly framed profiles anchors them to the alley location.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:한국인 신원미상 남성", "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/reference/6e3e9328-c558-4dba-bae0-1d0a89e65cb3.png" ], [ "char:효장동 피해 여성", "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/reference/8bd364fe-091e-4122-9791-913967a5b521.png" ] ], "asset_id": "1afb33b4-a07e-48e8-8b9a-36f6d70cd679" }, "S2sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S3sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/conti/conti_S3sh3.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: In a cordoned forest clearing at the mountain crime scene, directly behind the police line among investigating officers.\n\nSHOT TEXT (authoritative, Korean): 무거운 안색을 띤 혜수가 폴리스 라인 앞 경찰 무리 한가운데서 무전기를 쥔 채 꼿꼿이 서 있는 상반신 정면.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Presented as regional-news footage, the camera finishes its chest-height frontal dolly-in at medium distance with 혜수 centered from the waist up, her radio held clearly within the lower portion of frame. Police remain compressed along both lateral edges and the police line crosses the rear field, turning the otherwise direct command portrait into a crowded operational image.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 폴리스 라인 (Set around the investigation area) — The printed warning side faces the news camera and runs laterally behind 혜수; used as A visible boundary behind 혜수 that separates command personnel from the recovery activity; 시신 수거 현장 (Police are examining the scene and recovering bodies); used as Layered background activity establishing the active crime-scene investigation.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:혜수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/reference/3972628d-78ec-4895-97b0-ab4ef66e67e9.png" ] ], "asset_id": "8aefbb80-cdc2-4b76-962d-85efdc0e29cd" }, "S4sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S5sh6": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/conti/conti_S5sh6.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L06B05.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At the dining table inside the rooftop apartment’s compact living area, lit by daylight filtering through a small window.\n\nSHOT TEXT (authoritative, Korean): 식탁 위에 놓인 강민숙의 맨 손목 안쪽에 새겨진 작고 기하학적인 원형 표식이 선명하게 드러난 클로즈업.\n\nCARRIED STATE (persist exactly): A small circular mark is permanently visible on the inside of Minsuk’s bare wrist.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Beside the table at seated chest height, lower slightly at the end of the dolly-in and look down onto 강민숙's inner wrist resting across the tabletop. The wrist occupies most of the central frame without exceeding a natural human scale, while the small geometric circle remains sharp and the surrounding hand and table edge provide context.\n- FRAMING SCALE: insert close-up on a detail\n- KEY BACKGROUND ELEMENTS: 식탁 상판 (The bare wrist rests on it); used as Simple surrounding plane that isolates the wrist and supplies a clear scale reference.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L06B05.png" ], [ "char:강민숙", "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/reference/97a113b3-300e-4b76-875f-927e17686728.png" ] ], "asset_id": "2c335c06-1591-4c1b-8269-ae935dc092e0" }, "S5sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S6sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/conti/conti_S6sh1.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: On the open coastal roadway beside the sea, in daylight as the bicycle moves along the shore.\n\nSHOT TEXT (authoritative, Korean): 서늘한 톤의 해안가 도로 위, 이어폰을 낀 수리영이 자전거 안장에 앉아 고개를 위로 들고 눈을 감은 정면 상반신, 달리는 추진력에 의해 머리카락이 진행 반대 방향으로 흩날리는 모습.\n\nCARRIED STATE (persist exactly): Su-riyeong is traveling with her bicycle and wears her earphones on the coastal road.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Centered at upper-torso height ahead of the bicycle, travel backward at 수리영's pace while the dolly-in narrows to her frontal upper body. Keep her face in the upper center, eyes closed and chin raised, with the earphones visible and her hair streaming backward relative to her forward movement while the road remains a stable scale reference beneath her.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 수리영 riding toward camera in the middle-center of the frame, midground, moves toward forward camera axis; coastal road behind 수리영 in the lower-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: 해안가 도로 (수리영 is riding along it during daytime); used as Moving background and lower-frame scale reference that communicates bicycle speed.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:수리영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/reference/d03d8850-347f-4b20-9861-044f1de98256.png" ] ], "asset_id": "62b6748e-d69b-40e5-b520-d6efedfebcfb" }, "S7sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/conti/conti_S7sh2.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Directly in front of a dog enclosure at an animal shelter, face-to-face with the confined guard dog.\n\nSHOT TEXT (authoritative, Korean): 철장 바로 앞에서 수리영이 무표정하고 서늘한 눈빛으로 맹견의 눈을 똑바로 응시하는 안면 클로즈업.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At eye level directly in front of 수리영, complete the dolly-in and lock into a facial close-up with the cage front immediately beside the camera axis. Her unsmiling face occupies most of the frame and her eyeline passes just beyond the lens toward the excluded 로트와일러, while a narrow strip of cage structure prevents the shot from becoming a detached portrait.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 수리영 alone in close-up in the middle-center of the frame, midground, looks toward 로트와일러 beyond the lens axis.\n- KEY BACKGROUND ELEMENTS: 철장 전면 (The 로트와일러 is confined behind it but excluded from this frame) — The cage front runs beside the camera axis, with only a slim portion visible around 수리영's face; used as A narrow edge adjacent to the lens axis that carries 수리영's eyeline toward the off-frame dog.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:수리영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/reference/d03d8850-347f-4b20-9861-044f1de98256.png" ] ], "asset_id": "57fe8a7b-4e59-4035-ac37-2902e010759c" }, "S7sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S8sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/conti/conti_S8sh4.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L11B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Immediately outside the supermarket entrance at dusk, beside the parked bicycle.\n\nSHOT TEXT (authoritative, Korean): 어둑해진 마트 입구 밖, 수리영이 자전거 옆에 선 채 어두운 핸드폰 화면을 굳은 표정으로 들여다보는 상반신.\n\nCARRIED STATE (persist exactly): Her bicycle remains parked at the mart while she again carries and checks the phone used to call Minsuk.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Outside the entrance at chest height, the camera holds at a medium-close distance in front of 수리영, offset just enough for a three-quarter view rather than a direct portrait. Her upper body occupies the left-center, the dark phone screen sits below her fixed expression, and part of the bicycle remains visible at the right edge as a grounded scale reference.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: supermarket entrance (No open or closed state specified) — The exterior-facing side of the entrance is seen behind and slightly beside her; used as Frames the exterior location behind 수리영 and marks that she has just exited the store; bicycle (Stationary beside 수리영) — One side of the bicycle faces camera near the right edge; used as Remains partially visible beside her, anchoring her intended departure home; mobile phone screen (Screen appears dark) — The front screen is angled upward toward 수리영 and remains sufficiently visible to camera as a dark display; used as Shares focus with her face in the lower central portion of the composition.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L11B02.png" ], [ "char:수리영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/reference/d03d8850-347f-4b20-9861-044f1de98256.png" ] ], "asset_id": "0b6bd164-1b82-44a4-9b5d-6e77d6c0fb40" }, "S9sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/conti/conti_S9sh1.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: On a dark coastal roadway beside the night sea, heading urgently toward home.\n\nSHOT TEXT (authoritative, Korean): 달빛이 내리는 칠흑 같은 해안도로 위, 한쪽 무릎을 굽혀 페달을 밟아 내리는 중간 자세로 안장에 앉아 상체를 깊숙이 숙이고 옷자락이 뒤로 강하게 펄럭이는 수리영의 자전거 측면 실루엣.\n\nCARRIED STATE (persist exactly): Su-riyeong continues home on the same bicycle, with her phone still in her possession.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At bicycle-axle height on 수리영's left, the camera tracks parallel in a perpendicular profile, holding her full bicycle silhouette across the middle of frame. Her torso pitches low over the handlebars, one knee drives downward, and the coastal road streams horizontally behind her while her clothing trails opposite the direction of travel.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 수리영 in the middle-center of the frame, midground, moves toward screen right along the coastal road.\n- KEY BACKGROUND ELEMENTS: coastal road (No additional surface state specified); used as Supplies the horizontal movement axis beneath and behind the bicycle; bicycle (Moving rapidly along the road) — Its left side is presented squarely to camera in full profile; used as Defines the complete profile silhouette and active pedaling rhythm.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:수리영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/reference/d03d8850-347f-4b20-9861-044f1de98256.png" ] ], "asset_id": "b38e90af-d125-44ab-bd04-92cfd776e851" }, "S10sh5": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/conti/conti_S10sh5.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L04B03.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At the exterior threshold of the rooftop room, where its rusted metal entrance door has opened only a narrow crack.\n\nSHOT TEXT (authoritative, Korean): 미세하게 벌어진 철문 틈새로, 얼굴이 보이지 않는 한국인 신원미상 남성의 검은 어깨선이 안으로 반쯤 들어간 정지 순간.\n\nCARRIED STATE (persist exactly): The intruder has left the rooftop room’s iron entrance door slightly open as he passes inside.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Immediately outside the doorway at shoulder height, the camera peers through the narrow opening from an oblique side angle and holds the exact instant when only half of 한국인 신원미상 남성's shoulder line has crossed the threshold. The door edge divides the close frame vertically, concealing his face and leaving his shoulder and upper back compressed within the opening.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 한국인 신원미상 남성 in the middle-center of the frame, midground, moves toward interior of the rooftop room; partially opened iron door in the middle-left of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: iron entrance door (Slightly open) — Its edge and part of the exterior-facing plane angle across the foreground while the opening reveals the interior threshold; used as Creates a narrow through-object frame that hides the intruder's face and bisects his shoulder; doorway opening (Narrow due to the slightly opened door); used as Defines the compressed passage through which the upper body is entering.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L04B03.png" ], [ "char:한국인 신원미상 남성", "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/reference/6e3e9328-c558-4dba-bae0-1d0a89e65cb3.png" ] ], "asset_id": "36803ea9-13b3-4610-a77f-ae9423738d49" }, "S10sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S11sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/conti/conti_S11sh4.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L05B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On the villa rooftop at the top of the exterior concrete stairs, facing the rooftop room’s entrance.\n\nSHOT TEXT (authoritative, Korean): 옥상 바닥에 두 발을 딛고 선 수리영의 어깨가 경직된 채, 입을 살짝 벌리고 정면을 응시하는 상반신.\n\nCARRIED STATE (persist exactly): Su-riyeong’s bicycle remains hastily parked in the rear of the yard, while the rooftop entrance door is still half open.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At upper-torso height on the rooftop, the static camera faces 수리영 along her fixed eyeline and holds her in a centered medium frame. Her planted stance is implied by locked shoulders and an arrested torso, while her slightly open mouth and gaze just past the lens carry the cut toward the entrance rather than inviting direct address.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 수리영 in the middle-center of the frame, midground, looks toward rooftop-room entrance beyond the camera axis.\n- KEY BACKGROUND ELEMENTS: rooftop area (No additional state specified); used as Provides sparse rooftop context while keeping all compositional pressure on 수리영's arrested reaction.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L05B01.png" ], [ "char:수리영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/reference/d03d8850-347f-4b20-9861-044f1de98256.png" ] ], "asset_id": "aac96b55-2262-44ea-9bbd-676c64f48b05" }, "S11sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S12sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S12sh13": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S12sh19": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S13sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/conti/conti_S13sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L05B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On the street outside the multi-unit villa, beside a police car flashing red and blue lights.\n\nSHOT TEXT (authoritative, Korean): 붉고 푸른 사이렌 불빛이 번지는 경찰차 문을 연 채 한쪽 발을 아스팔트에 내딛고 있는 혜수의 측면.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From hip height beside the police vehicle, the static camera holds perpendicular to 혜수's exit path as she plants one foot on the asphalt. Her profile occupies one side of the medium frame while the open door remains beside her, with the active roof lights spreading red and blue across both figure and vehicle.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: police vehicle (Door open, siren and roof lights active) — The vehicle's door side faces the camera, with the open door revealing 혜수's exit path; used as Retained beside 혜수 as a spatial frame and the grounded source of the colored pulses; asphalt (Visible beneath the open vehicle door); used as Ground plane beneath 혜수's newly planted foot.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L05B02.png" ], [ "char:혜수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/reference/3972628d-78ec-4895-97b0-ab4ef66e67e9.png" ] ], "asset_id": "b368b77c-b3d4-444d-9764-3822608f1f61" }, "S13sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S14sh5": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/conti/conti_S14sh5.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L06B08.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: In the center of the unnaturally clean daughter’s bedroom inside the rooftop apartment, with all blood and the body gone.\n\nSHOT TEXT (authoritative, Korean): 깨끗한 방 한가운데 선 수리영의 얼굴이 파리하게 질린 채 입술이 살짝 벌어진 정면.\n\nCARRIED STATE (persist exactly): Su-riyeong’s room is now unnaturally clean: the blood, bloody footprints, red wall mark, and Minsuk’s body have all vanished.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At 수리영's eye level, the forward move settles into a centered, straight-on close-up as she freezes in the cleared room. Her pale face occupies most of the frame, while the orderly room remains narrowly visible around her as negative evidence rather than competing detail.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 수리영 in the middle-center of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: bedroom floor (Clean, with no bloodstains visible); used as Visible around 수리영 as cleared negative space where the blood evidence had been; bed (Orderly, with no red mark visible on the wall above it) — Its side and upper area are visible behind 수리영; used as Narrowly retained behind 수리영 to show the missing supernatural mark; area behind the curtain (Empty; 강민숙's body is gone); used as Background area confirming that the body is absent.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L06B08.png" ], [ "char:수리영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/reference/d03d8850-347f-4b20-9861-044f1de98256.png" ] ], "asset_id": "4ffcd298-4e22-46ea-b996-0afd0de7f224" }, "S14sh9": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/conti/conti_S14sh9.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L06B08.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the rooftop apartment near the daughter’s bedroom and dining area, where the officer comforts her after the search.\n\nSHOT TEXT (authoritative, Korean): 고개 숙인 수리영의 어깨 위로 혜수의 손이 따뜻하게 얹혀진 클로즈업.\n\nCARRIED STATE (persist exactly): The apartment remains unnaturally clean, with the two teacups gone; the backpack and doll in Su-riyeong’s room are subtly displaced from their earlier positions.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From shoulder height just behind and to the side of 수리영, the completed dolly-in crops tightly across her bowed shoulder toward 혜수's resting hand. The sloping shoulder fills the lower half while 혜수's hand sits near center, with both faces largely excluded so the reassuring contact becomes the sole emotional action.\n- FRAMING SCALE: close-up\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L06B08.png" ], [ "char:수리영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/reference/d03d8850-347f-4b20-9861-044f1de98256.png" ], [ "char:혜수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/reference/3972628d-78ec-4895-97b0-ab4ef66e67e9.png" ] ], "asset_id": "21d37fca-2d34-4b52-a0a3-4c0272c72cf2" }, "S15sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/conti/conti_S15sh1.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: On a bench at an outdoor coastal bus stop, facing the dark night sea.\n\nSHOT TEXT (authoritative, Korean): 어두운 밤바다를 배경으로 버스정류장 벤치에 앉아 멍하니 앞을 보는 수리영의 측면.\n\nCARRIED STATE (persist exactly): Su-riyeong retains her phone and continues receiving no answer from Minsuk.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At seated eye level beside the bus-stop bench, the static medium composition looks across 수리영's profile toward the night sea. She sits off-center with her folded posture contained by the bench, while the sea occupies the open background in the direction of her unfocused gaze.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 수리영 in the middle-left of the frame, midground, looks toward night sea; night sea in the middle-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: bus-stop bench (Occupied by 수리영) — The bench is seen from the side, aligned beneath 수리영's seated profile; used as Supports 수리영's seated profile and establishes the bus-stop location; sea (Visible at night beyond the bench); used as Open background beyond 수리영 and the destination of her distant stare.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:수리영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/reference/d03d8850-347f-4b20-9861-044f1de98256.png" ] ], "asset_id": "1c0a0efd-bcaa-4629-9905-850e46ea4b65" }, "S15sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S15sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S16sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/conti/conti_S16sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L13B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the police station’s night-duty office, beside the detective’s workstation under the room’s working lights.\n\nSHOT TEXT (authoritative, Korean): 혜수의 손이 특정 번호가 띄워진 핸드폰 액정을 김형사의 얼굴 앞까지 불쑥 내민 찰나.\n\nCARRIED STATE (persist exactly): Hye-su holds the phone displaying Minsuk’s saved number after repeated calls have gone unanswered.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At shoulder height just behind 혜수, the dolly-in follows her extended arm until the phone's front surface sits directly before 김형사's face. The screen occupies less than a third of the close frame, with 혜수's shoulder and forearm forming the near edge and 김형사's recoiling features providing scale behind it.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: mobile phone screen (On and displaying the selected contact number) — The illuminated front face is turned toward 김형사 and the camera, displaying 강민숙's saved number; used as Near-plane focal point positioned between 혜수 and 김형사.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L13B02.png" ], [ "char:혜수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/reference/3972628d-78ec-4895-97b0-ab4ef66e67e9.png" ] ], "asset_id": "c8c2a5b8-96ea-4497-9d59-768a38bb7040" }, "S16sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S17sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S18sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/conti/conti_S18sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L06B06.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Beside the bed in the rooftop apartment’s main bedroom, in the early daylight after a night spent waiting.\n\nSHOT TEXT (authoritative, Korean): 두 눈을 번쩍 뜬 채 고개를 빳빳하게 세운 수리영의 경직된 안면 클로즈업.\n\nCARRIED STATE (persist exactly): The apartment remains empty of Minsuk, and Su-riyeong’s room remains excessively clean with no corpse or blood behind the curtain.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At mattress height, complete the forward move into a locked close-up as 수리영 snaps awake, her rigid face occupying most of the frame in a near-frontal angle. Keep only a narrow strip of mattress and room behind her, emphasizing the change in her gaze as it searches beyond the lens rather than altering the established axis further.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 침대 매트리스 가장자리 (수리영 is seated with her head lifted from it); used as A narrow lower-frame reference establishing that she has awakened where she dozed.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L06B06.png" ], [ "char:수리영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/reference/d03d8850-347f-4b20-9861-044f1de98256.png" ] ], "asset_id": "1c9180ef-c789-4b11-8aba-69882f9d2429" }, "S18sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S18sh16": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S19sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/conti/conti_S19sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L11B04.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside a quiet supermarket aisle in the early morning, directly in front of the merchandise shelves under fluorescent lighting.\n\nSHOT TEXT (authoritative, Korean): 어두운 형광등 아래 마트 진열대 앞, 수리영과 유니폼을 입은 마트 남자 직원이 마주 선 채 정지된 측면 구도.\n\nCARRIED STATE (persist exactly): Su-riyeong’s bicycle remains parked outside the mart, and she continues to carry her doll-adorned backpack.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From chest height beside the aisle, hold a static profile two-shot with 수리영 on the left and 마트 남자 직원 on the right, separated by a narrow conversational gap. Keep both upper bodies and part of the adjacent shelving visible, using the aisle lines to contain their exchange without shifting the established profile axis.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 마트 진열대 (Present in the quiet market interior) — The shelf fronts angle away from the camera along the aisle beside the two figures; used as Frames the conversation laterally and establishes the market aisle; 형광등 (On but dim) — The light fixtures are positioned above the aisle, with their underside facing the floor; used as Provides the grounded overhead illumination described for the shot.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L11B04.png" ], [ "char:수리영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/reference/d03d8850-347f-4b20-9861-044f1de98256.png" ] ], "asset_id": "4ccedf97-5c76-456f-9d39-c0374f94e549" }, "S19sh7": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/conti/conti_S19sh7.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L11B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Under the covered exterior entrance of the supermarket, looking up toward a surveillance camera mounted above the doorway.\n\nSHOT TEXT (authoritative, Korean): 고개를 뒤로 젖혀 마트 외부 천장의 CCTV를 뚫어지게 올려다보는 수리영의 상반신.\n\nCARRIED STATE (persist exactly): Her bicycle remains parked at the mart and the doll-adorned backpack remains with her as she checks the exterior CCTV position.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Outside the store, tighten at upper-torso height in front of 수리영 and preserve the upward tilt along her raised eyeline, placing her chest and craned neck low in frame while leaving the exterior CCTV above her. The key change is her gaze lifting decisively toward the camera unit as the tilt reaches its endpoint.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 수리영 in the lower-center of the frame, foreground, looks toward exterior CCTV camera; exterior CCTV camera in the upper-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: 마트 외부 CCTV (Fixed beneath the exterior ceiling) — Its lens-bearing front is angled toward the area outside the store and remains visible above 수리영; used as The elevated object anchoring 수리영's upward sightline; 마트 외부 천장 (The CCTV is mounted beneath it) — Its underside faces the camera above 수리영; used as Provides the overhead boundary that holds the CCTV above her.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L11B02.png" ], [ "char:수리영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/reference/d03d8850-347f-4b20-9861-044f1de98256.png" ] ], "asset_id": "b81f99ab-3ae8-4425-a213-25682362a146" }, "S19sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S20sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S20sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S21sh6": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/conti/conti_S21sh6.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L13B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At the officer’s desk inside the police station office, where enlarged crime-scene photographs are spread across the desktop.\n\nSHOT TEXT (authoritative, Korean): 사진을 내려다보는 수리영의 극도로 커진 눈동자와 백지장처럼 질린 안색을 담은 고정된 안면 클로즈업.\n\nCARRIED STATE (persist exactly): The gruesome enlarged crime-scene photographs remain spread across Hye-su’s desk, while Su-riyeong retains her doll-adorned backpack.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Across the near edge of 혜수's desk at seated eye level, finish the dolly-in as a locked extreme facial close-up of 수리영, with her enlarged eyes and drained expression occupying nearly the entire frame. Her gaze remains angled down toward the photographs below frame, while only a blurred lower edge of desk material anchors the source of her shock.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 수리영 in the middle-center of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: 혜수의 책상 가장자리 (The crime-scene photographs are spread across the desk beyond the visible edge) — Its near edge crosses the bottom of frame between camera and 수리영; used as Blurred lower-frame anchor indicating the photographs she is examining without diluting the facial close-up; 살인사건 확대 사진들 (Spread untidily across the desk) — Their image-bearing faces lie upward on the desk toward 수리영, with only indistinct portions entering the lower edge of the close-up; used as Out-of-focus content below her eyeline that motivates the reaction.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L13B02.png" ], [ "char:수리영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/reference/d03d8850-347f-4b20-9861-044f1de98256.png" ] ], "asset_id": "577a5a08-7beb-47ce-a62f-89e08d052fb3" }, "S21sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S21sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S22sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/conti/conti_S22sh2.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At a computer booth inside a dim PC café, illuminated by cool blue ambient light and the monitor glow.\n\nSHOT TEXT (authoritative, Korean): 어둡고 푸르스름한 조명이 깔린 PC방 내부, 빛나는 모니터 앞에 앉은 수리영의 측면 상반신.\n\nCARRIED STATE (persist exactly): Su-riyeong still carries the folded coordinate note in her pocket and keeps her backpack ready beside her for the printed maps.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Begin at seated shoulder height beside 수리영 at medium distance, perpendicular to the monitor, and dolly inward on her profile as she leans toward the workstation. Place her upper body in the left half and the glowing monitor near the right edge, allowing the screen axis to pull the camera forward toward the following reveal.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: PC monitor (On, displaying the entered location coordinates) — The active screen face is seen obliquely from the side, with the map interface only partly readable; used as Bright visual destination at the right edge and motivation for the dolly-in; workstation (In use) — Its side plane recedes from 수리영 toward the monitor; used as Supports 수리영 and establishes the PC workstation.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:수리영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/reference/d03d8850-347f-4b20-9861-044f1de98256.png" ] ], "asset_id": "3d45218c-6ed0-4b68-9ce0-10a5f98133d1" }, "S22sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S23sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/conti/conti_S23sh3.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: On an exposed coastal road during a violent rainstorm, with wind-driven rain striking the cyclist’s face.\n\nSHOT TEXT (authoritative, Korean): 얼굴에 부딪혀 흩어지는 빗방울 사이로 두 눈을 부릅뜬 수리영의 비장한 안면 정면 클로즈업.\n\nCARRIED STATE (persist exactly): Su-riyeong rides her bicycle through the rain with the coordinate note still in her pocket and several printed maps stored in her backpack.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Travel backward directly ahead of the bicycle at eye level while closing into the tightest frontal facial view at the end of the move. 수리영's rain-struck face occupies most of the frame, with her widened eyes held near the upper center and the bicycle path reduced to unstable peripheral traces behind her.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 수리영 in the middle-center of the frame, foreground, moves toward camera position along the bicycle path.\n- KEY BACKGROUND ELEMENTS: bicycle path (Obscured by heavy rain) — The route recedes directly behind 수리영 along the camera's backward travel axis; used as Soft, unstable background reference behind the moving face; heavy rain (Falling forcefully as droplets strike and scatter); used as Visible impact and motion texture across her face and frame edges; storm clouds (Densely covering the coastal sky); used as Background weather mass that suppresses distant detail.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:수리영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/reference/d03d8850-347f-4b20-9861-044f1de98256.png" ] ], "asset_id": "9837c1bc-cea4-4ad8-9113-094f56b82b72" }, "S24sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S24sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S25sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/conti/conti_S25sh2.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: On rough shoreline rocks at the edge of an empty harbor, facing a gray sea concealed by dense evening fog.\n\nSHOT TEXT (authoritative, Korean): 거친 갯바위 위에 무릎을 모으고 웅크려 앉아 회색빛 바다를 멍하니 응시하는 수리영의 측면.\n\nCARRIED STATE (persist exactly): Su-riyeong retains the old photograph, the map-filled backpack, and the coordinate note during her search of the harbor; her phone remains with her and has accumulated missed calls from Hye-su.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Hold at seated shoulder height from the side of the rocks, framing 수리영 in profile with her knees drawn in while leaving a broad field of sea and fog before her gaze. Her compact figure rests to one side of the wide frame, making the empty harbor and obscured water carry most of the spatial weight.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 수리영 in the middle-left of the frame, midground, looks toward fog-covered sea; fog-covered sea in the middle-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: rough coastal rocks (Exposed along the harbor edge); used as Uneven support beneath 수리영 and textured foreground boundary; sea (Gray and partly obscured); used as Primary negative space in the direction of her stare; fog (Dense across the empty harbor); used as Suppresses visibility and conceals boats offshore; harbor (Empty); used as Environmental frame around the isolated figure.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:수리영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/reference/d03d8850-347f-4b20-9861-044f1de98256.png" ] ], "asset_id": "c0b3788b-e48a-46b0-ab5f-65c160ba5533" }, "S25sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S26sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/conti/conti_S26sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L06B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: In the darkened living room of the rooftop apartment at dusk, with little remaining light entering the desolate interior.\n\nSHOT TEXT (authoritative, Korean): 빛이 사라진 옥탑방 거실 한가운데서 핸드폰을 귀에 댄 혜수의 얼굴에 짙은 그림자가 드리운 안면 클로즈업.\n\nCARRIED STATE (persist exactly): The apartment remains ransacked and desolate, with its open window, overturned chairs, and the red circle left bare after the photograph was removed. Hye-su holds the phone playing Su-riyeong’s recorded message.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At Hyesu's eye level and directly before her, hold a static close frame in which her shadowed face occupies most of the center and the phone remains visible against one side of her head. Keep the room reduced to indistinct edge space, isolating her lowered eyeline and listening stillness without introducing a reverse angle.\n- FRAMING SCALE: close-up\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L06B02.png" ], [ "char:혜수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/reference/3972628d-78ec-4895-97b0-ab4ef66e67e9.png" ] ], "asset_id": "8b573edd-01cd-4672-9d96-5072435a26ca" }, "S26sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S27sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/conti/conti_S27sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L19B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On the open deck of a small fishing boat at sea, sitting away from the wheelhouse in the fading golden light.\n\nSHOT TEXT (authoritative, Korean): 해질 무렵 황금빛이 스며드는 어선 갑판 위에 홀로 앉아 무릎 위에 펼쳐진 지도를 내려다보는 수리영의 정지 구도.\n\nCARRIED STATE (persist exactly): A printed map from Su-riyeong’s backpack is spread on her lap, while she retains the old photograph, the remaining folded maps, the coordinate note, and her phone aboard the boat.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At seated eye level and a moderate distance in front of 수리영, hold a static wide composition with her centered on the deck and the unfolded map clearly readable as a shape across her knees. Her seated figure remains the anchor while the surrounding deck and sea establish her isolation aboard the small fishing boat.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 소형어선 갑판 (수리영 is seated alone on it); used as Supports 수리영 and establishes the open working space around her; 바다 (The small fishing boat is afloat far from its departure point); used as Surrounding background that emphasizes the boat's distance from land; 펼쳐진 지도 (Unfolded across her knees) — Its marked face is angled upward toward 수리영 and remains obliquely visible to the camera; used as Visible across 수리영's knees as the immediate visual focus beneath her face.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L19B01.png" ], [ "char:수리영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/reference/d03d8850-347f-4b20-9861-044f1de98256.png" ] ], "asset_id": "a7f412bf-8b8d-43cf-9846-c16dcb8631b3" }, "S27sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S28sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/conti/conti_S28sh4.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L20B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the small fishing boat’s wheelhouse, over the old photograph being held between the two passengers.\n\nSHOT TEXT (authoritative, Korean): 수리영의 검지손가락 끝이 낡은 사진 속 한 아이의 얼굴을 꾹 짚고 있는 클로즈업.\n\nCARRIED STATE (persist exactly): Su-riyeong still holds the old photograph and points directly to the child she identifies as Minsuk; her maps and other belongings remain aboard.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At hand height, look down at a shallow angle as the camera completes its inward move toward 수리영's index fingertip pressing the child's pictured face. Keep the fingertip and face together near center, with the photograph occupying less than two-fifths of the frame and its edges plus part of 수리영's hand preserving physical scale.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 사진 (Held between 수리영 and 인우 while 수리영 identifies the child) — The image-bearing front face is aimed up toward the lens, clearly showing the child's face under the fingertip; used as Primary evidence surface beneath 수리영's fingertip.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L20B01.png" ], [ "char:수리영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/reference/d03d8850-347f-4b20-9861-044f1de98256.png" ] ], "asset_id": "1c300a5d-6535-4a9f-af27-4651aa00fcb0" }, "S28sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S28sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S29sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null } }, "map_conti": {}, "conti_pack": "4.202607221110", "lane_conti": { "S4sh2": { "lane": "structure_plate", "group_id": "bg_rooftop_villa", "segment_id": "SEG_01", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/background_chain/seed_bg_rooftop_villa_sel.png", "seed_asset_id": "d4d740a2-c21c-4a72-bc83-4cc34149b304", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L04B02.png", "bg_reason": "", "bypass_reason": "bg_only" }, "S8sh1": { "lane": "map_marker", "group_id": "bg_large_market", "segment_id": "SEG_01", "sketch_attempts": 1, "status": "ok", "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/conti/lane_sketch_S8sh1.png", "base_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/background_chain/canon_bg_large_market_map.png", "base_map_asset_id": "c465c26f-1fb5-4384-a594-c79b8f5efa71", "geometry": { "camera": { "look_target": { "x": 0.344, "y": 0.515 }, "origin": { "x": 0.344, "y": 0.655 } }, "entity_placements": [ { "slot": "E1", "subject_en": "young woman riding a bicycle", "x": 0.344, "y": 0.515 } ], "rationale_ko": "대형 마트로 이어지는 Commercial District Approach(A1) 도로 중앙에 자전거를 탄 여성을 배치했다. 카메라는 진행 방향인 화면 아래쪽에서 같은 도로 중심선을 따라 뒤로 이동하며 여성을 정면으로 바라보게 했고, 양옆의 상업지구 네온사인(A2)이 외곽 배경에 걸리도록 구성했다." }, "geometry_attempts": 1, "leakage": { "has_marker_leakage": false, "details_ko": "기호, 텍스트, 화살표 등의 마커 유출 요소가 없는 3차원 투시 스케치입니다." }, "prompt": "Draw a single CAMERA-VIEW storyboard frame (16:9) of the scene staged\non the attached TOP-DOWN SITE PLAN, seen from the camera position\ngiven in the STAGING GEOMETRY data below.\n\nJurisdiction of sources — follow all three, they do not conflict:\n- The attached SITE PLAN is the SOT for what exists on the site and\n how its zones and landmarks are arranged relative to each other.\n- The STAGING GEOMETRY data below is the SOT for XY POSITIONS and\n horizontal heading ONLY: where each subject stands on that plan,\n where the camera stands, and which way it looks. Distances,\n directions and relative depths between subjects come from these\n coordinates. Subjects outside the camera's horizontal field of\n view are out of frame.\n- The CAMERA DIRECTION text below (when present) is the SOT for the\n VERTICAL angle, elevation, tilt and framing (eye-level, high angle,\n overhead crane, low angle, ...). If it asks for a high or overhead\n angle, draw that angle — the site plan being top-down does NOT mean\n the frame must be eye-level.\n\nSTYLE — LIGHT STORYBOARD FRAME: thin uniform dark outlines on plain\npaper. No shading, no hatching, no texture, no facial features beyond\na minimal head shape, no costume detail. Human figures are correctly\nproportioned full-body outlines in their canonical poses. Environment\nis reduced to a few placement lines (ground line, key landmark\nsilhouettes) — just enough to read positions and depth.\n\nSTAGING GEOMETRY — PLANNING DATA ONLY, NEVER RENDER IT: the lines\nbelow are normalized map coordinates on the attached site plan\n(x runs left→right 0..1, y runs top→bottom 0..1). Use them solely to\nplace the camera and subjects. Do NOT draw any of this data in the\nimage — no numbers, no coordinates, no labels, no arrows, no cones,\nno dots, no diagram symbols of any kind.\n- the camera stands at (x=0.34, y=0.66) and looks toward (x=0.34, y=0.52); subjects outside the camera's horizontal field of view are out of frame\n- young woman riding a bicycle stands at (x=0.34, y=0.52)\n\nCAMERA DIRECTION (vertical angle / elevation / framing SOT): The camera tracks backward from the center of the road at upper-torso height, holding 수리영 frontally as she rides directly toward it. Her bicycle and body remain centered while taxis, solicitation activity, stalls, and neon signage pass along both outer thirds, preserving her forward travel and the busy street depth.\n\nTHE LOCATION: 대형 마트 외부와 출입구\n\nSHOT TEXT (authoritative, Korean): 붉은 네온사인이 번지는 어두운 번화가 도로 한가운데, 수리영이 자전거 안장에 앉아 한쪽 무릎을 굽혀 페달을 밟고 옷자락이 뒤로 휘날리는 정면 구도.\n\nCRITICAL — THE SITE PLAN IS A STAGING REFERENCE, NOT CONTENT: do NOT\ndraw the plan itself, and do NOT draw any diagram elements in the\nframe — no circles, dots, wedges, cones, arrows, callouts, codes or\nany other overlay symbols. The output is a clean storyboard drawing\nof the scene as seen by the camera only.\n\nNo text, no letters, no numbers, no captions anywhere in the image.", "asset_id": "a2c1e6a2-da8d-42ce-aaf5-7439d4b950b1" }, "S10sh5": { "lane": "structure_plate", "group_id": "bg_rooftop_villa", "segment_id": "SEG_01", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/background_chain/seed_bg_rooftop_villa_sel.png", "seed_asset_id": "d4d740a2-c21c-4a72-bc83-4cc34149b304", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L04B03.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/conti/conti_S10sh5.png", "plate_path": 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"/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/background_chain/seed_bg_coastal_road_sel.png", "bg_reason": "", "bypass_reason": "prev" }, "S17sh1": { "lane": "structure_plate", "group_id": "bg_rooftop_villa", "segment_id": "SEG_01", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/background_chain/seed_bg_rooftop_villa_sel.png", "seed_asset_id": "d4d740a2-c21c-4a72-bc83-4cc34149b304", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L04B02.png", "bg_reason": "", "bypass_reason": "bg_only" }, "S19sh7": { "lane": "structure_plate", "group_id": "bg_large_market", "segment_id": "SEG_02", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/background_chain/seed_bg_large_market_sel.png", "seed_asset_id": "e10f4013-8646-462c-8bb2-fdcce13eef2b", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L11B02.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/conti/conti_S19sh7.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L11B02.png" }, "S25sh6": { "lane": "map_marker", "group_id": "bg_foggy_harbor", "segment_id": "SEG_02", "sketch_attempts": 1, "status": "ok", "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/c0e2bace-39ca-47de-88f7-99463c1696bc/conti/lane_sketch_S25sh6.png", "base_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/images/background_chain/canon_bg_foggy_harbor_map.png", "base_map_asset_id": "9c7a7191-8a77-4ed9-9ea0-5cafa2b82669", "geometry": { "camera": { "look_target": { "x": 0.444, "y": 0.787 }, "origin": { "x": 0.482, "y": 0.823 } }, "entity_placements": [ { "slot": "E1", "subject_en": "young man beside mooring rope", "x": 0.421, "y": 0.775 }, { "slot": "E2", "subject_en": "young woman looking up imploringly", "x": 0.458, "y": 0.796 } ], "rationale_ko": "M2 고정 계류점 바로 옆에 밧줄을 다루는 남성을 두고, 여성은 Harbor Mooring Edge의 열린 접근 방향에서 그에게 바짝 다가선 위치에 배치했다. 카메라는 두 사람의 접근축을 따라 가까이 잡아 여성이 전경 왼쪽, 남성이 밧줄과 함께 후경에 놓이는 미디엄 투 플레인 구도가 되며, 같은 축 너머의 항구 수면과 계류된 배 방향도 읽히게 했다." }, "geometry_attempts": 1, "leakage": { "has_marker_leakage": false, "details_ko": "마커나 기호 등 계획 데이터 유출이 없는 자연스러운 투시도입니다." }, "prompt": "Draw a single CAMERA-VIEW storyboard frame (16:9) of the scene staged\non the attached TOP-DOWN SITE PLAN, seen from the camera position\ngiven in the STAGING GEOMETRY data below.\n\nJurisdiction of sources — follow all three, they do not conflict:\n- The attached SITE PLAN is the SOT for what exists on the site and\n how its zones and landmarks are arranged relative to each other.\n- The STAGING GEOMETRY data below is the SOT for XY POSITIONS and\n horizontal heading ONLY: where each subject stands on that plan,\n where the camera stands, and which way it looks. Distances,\n directions and relative depths between subjects come from these\n coordinates. Subjects outside the camera's horizontal field of\n view are out of frame.\n- The CAMERA DIRECTION text below (when present) is the SOT for the\n VERTICAL angle, elevation, tilt and framing (eye-level, high angle,\n overhead crane, low angle, ...). If it asks for a high or overhead\n angle, draw that angle — the site plan being top-down does NOT mean\n the frame must be eye-level.\n\nSTYLE — LIGHT STORYBOARD FRAME: thin uniform dark outlines on plain\npaper. No shading, no hatching, no texture, no facial features beyond\na minimal head shape, no costume detail. Human figures are correctly\nproportioned full-body outlines in their canonical poses. Environment\nis reduced to a few placement lines (ground line, key landmark\nsilhouettes) — just enough to read positions and depth.\n\nSTAGING GEOMETRY — PLANNING DATA ONLY, NEVER RENDER IT: the lines\nbelow are normalized map coordinates on the attached site plan\n(x runs left→right 0..1, y runs top→bottom 0..1). Use them solely to\nplace the camera and subjects. Do NOT draw any of this data in the\nimage — no numbers, no coordinates, no labels, no arrows, no cones,\nno dots, no diagram symbols of any kind.\n- the camera stands at (x=0.48, y=0.82) and looks toward (x=0.44, y=0.79); subjects outside the camera's horizontal field of view are out of frame\n- young man beside mooring rope stands at (x=0.42, y=0.78)\n- young woman looking up imploringly stands at (x=0.46, y=0.80)\n\nCAMERA DIRECTION (vertical angle / elevation / framing SOT): Settle at 수리영's upper-body height just ahead and slightly beside her, holding a medium two-plane composition with her in the near left and 인우 beyond her beside the rope. Her raised face becomes the focus while 인우 and the moored boat remain legible in the same axis, preserving the endpoint of the tracking approach.\n\nTHE LOCATION: 안개 낀 포구\n\nSHOT TEXT (authoritative, Korean): 밧줄 앞 인우에게 다가선 수리영이 고개를 들어 서늘하고 간절한 눈빛으로 그를 올려다보는 구도.\n\nCRITICAL — THE SITE PLAN IS A STAGING REFERENCE, NOT CONTENT: do NOT\ndraw the plan itself, and do NOT draw any diagram elements in the\nframe — no circles, dots, wedges, cones, arrows, callouts, codes or\nany other overlay symbols. The output is a clean storyboard drawing\nof the scene as seen by the camera only.\n\nNo text, no letters, no numbers, no captions anywhere in the image.", "asset_id": "1f333a3b-2f6c-4a18-890b-06b3f0369e59" } }, "plate_authority": { "S5sh6": { "assigned": "L06B05", "chosen": "L06B05", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L06B05.png", "record": { "candidates": { "A": "L06B01", "B": "L06B02", "C": "L06B03", "D": "L06B04", "E": "L06B05", "F": "L06B06", "G": "L06B07", "H": "L06B08" }, "assigned": "L06B05", "choice": "Candidate E", "confident": true, "reason_ko": "\"식탁 위에 놓인\"이라는 지문에서 식탁(dining table)이 중심이 되는 거실 겸 주방 공간이 필요함을 알 수 있습니다.", "kept": "L06B05" }, "fingerprint": "607de4565d739ac5" }, "S8sh4": { "assigned": "L11B02", "chosen": "L11B02", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L11B02.png", "record": { "candidates": { "A": "L11B01", "B": "L11B02", "C": "L11B03", "D": "L11B04" }, "assigned": "L11B02", "choice": "Candidate B", "confident": true, "reason_ko": "\"마트 입구 밖\", \"자전거 옆\", \"핸드폰 화면\"이라는 지문에 맞춰 마트 외부와 자전거, 핸드폰이 모두 보이는 현재 배정된 이미지가 적합합니다.", "kept": "L11B02" }, "fingerprint": "18bc3fc08b95f125" }, "S10sh5": { "assigned": "L04B03", "chosen": "L04B03", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L04B03.png", "record": { "candidates": { "A": "L04B01", "B": "L04B02", "C": "L04B03" }, "assigned": "L04B03", "choice": "Candidate C", "confident": true, "reason_ko": "원문의 '미세하게 벌어진 철문 틈새로'라는 묘사에 따라, 옥상 구조물 중 철문을 가장 가까이에서 비추고 있는 후보 C가 적합함.", "kept": "L04B03" }, "fingerprint": "8a3ebdeb3fb25881" }, "S11sh4": { "assigned": "L05B01", "chosen": "L05B01", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L05B01.png", "record": { "candidates": { "A": "L05B01", "B": "L05B02" }, "assigned": "L05B01", "choice": "Candidate A", "confident": true, "reason_ko": "지문에서 '옥상 바닥에 두 발을 딛고'라고 명시되어 있으므로 옥상 공간을 보여주는 Candidate A가 적합합니다.", "kept": "L05B01" }, "fingerprint": "f9d5e8da9a111597" }, "S13sh2": { "assigned": "L05B02", "chosen": "L05B02", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L05B02.png", "record": { "candidates": { "A": "L05B01", "B": "L05B02" }, "assigned": "L05B02", "choice": "Candidate B", "confident": true, "reason_ko": "경찰차 문을 열고 아스팔트에 발을 내딛는 장면이므로, 경찰차가 주차된 빌라 앞 진입로가 보이는 Candidate B가 적합합니다.", "kept": "L05B02" }, "fingerprint": "611ee6e01055c572" }, "S14sh5": { "assigned": "L06B08", "chosen": "L06B08", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L06B08.png", "record": { "candidates": { "A": "L06B01", "B": "L06B02", "C": "L06B03", "D": "L06B04", "E": "L06B05", "F": "L06B06", "G": "L06B07", "H": "L06B08" }, "assigned": "L06B08", "choice": "Candidate H", "confident": true, "reason_ko": "\"깨끗한 방 한가운데\"라는 묘사에 맞게 잘 정돈된 침실 공간이 배경이 되어야 합니다.", "kept": "L06B08" }, "fingerprint": "854bcfc739e91a15" }, "S14sh9": { "assigned": "L06B08", "chosen": "L06B08", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L06B08.png", "record": { "candidates": { "A": "L06B01", "B": "L06B02", "C": "L06B03", "D": "L06B04", "E": "L06B05", "F": "L06B06", "G": "L06B07", "H": "L06B08" }, "assigned": "L06B08", "choice": "Candidate H", "confident": true, "reason_ko": "클로즈업 숏으로 배경이 구체적으로 명시되지 않았으므로, 현재 배정된 침실(Candidate H)을 유지함.", "kept": "L06B08" }, "fingerprint": "dd3657db2b86f4dd" }, "S16sh3": { "assigned": "L13B02", "chosen": "L13B02", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L13B02.png", "record": { "candidates": { "A": "L13B01", "B": "L13B02" }, "assigned": "L13B02", "choice": "Candidate B", "confident": true, "reason_ko": "샷 텍스트에서 핸드폰 액정을 내미는 상황이 묘사될 뿐 특정 사무실 구역을 강하게 한정짓지 않으며, 두 후보 이미지가 동일한 공간을 보여주므로 현재 할당된 후보를 유지합니다.", "kept": "L13B02" }, "fingerprint": "1ad44f4778f0cfc7" }, "S18sh2": { "assigned": "L06B06", "chosen": "L06B06", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L06B06.png", "record": { "candidates": { "A": "L06B01", "B": "L06B02", "C": "L06B03", "D": "L06B04", "E": "L06B05", "F": "L06B06", "G": "L06B07", "H": "L06B08" }, "assigned": "L06B06", "choice": "Candidate F", "confident": false, "reason_ko": "\"두 눈을 번쩍 뜬 채\"라는 묘사 외에 구체적인 공간을 지시하는 단서가 없어, 침대에서 깨어나는 상황으로 해석 가능한 현재 할당된 후보를 유지함.", "kept": "L06B06" }, "fingerprint": "2e92158c88a271b1" }, "S19sh3": { "assigned": "L11B04", "chosen": "L11B04", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L11B04.png", "record": { "candidates": { "A": "L11B01", "B": "L11B02", "C": "L11B03", "D": "L11B04" }, "assigned": "L11B04", "choice": "Candidate D", "confident": true, "reason_ko": "\"어두운 형광등 아래 마트 진열대 앞\"이라는 묘사에 부합하는 마트 내부 진열대 공간입니다.", "kept": "L11B04" }, "fingerprint": "942ba52bf81b0938" }, "S19sh7": { "assigned": "L11B03", "chosen": "L11B03", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L11B02.png", "record": { "candidates": { "A": "L11B01", "B": "L11B02", "C": "L11B03", "D": "L11B04" }, "assigned": "L11B03", "choice": "Candidate C", "confident": true, "reason_ko": "원문에 '마트 외부 천장의 CCTV'가 명시되어 있으며, 현재 할당된 후보 C가 마트 외부와 CCTV가 설치된 처마(천장) 아래 공간을 보여주므로 이를 유지합니다.", "kept": "L11B03" }, "fingerprint": "315f6d5388a14dcd" }, "S21sh6": { "assigned": "L13B01", "chosen": "L13B01", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L13B02.png", "record": { "candidates": { "A": "L13B01", "B": "L13B02" }, "assigned": "L13B01", "choice": "Candidate A", "confident": true, "reason_ko": "샷은 사진을 내려다보는 인물의 안면 클로즈업(고정된 안면 클로즈업)을 묘사하고 있으므로, 특정 서브공간을 명확히 구분할 만한 단서가 없어 현재 할당된 후보를 유지합니다.", "kept": "L13B01" }, "fingerprint": "a122e2ea4088cd86" }, "S26sh1": { "assigned": "L06B02", "chosen": "L06B02", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/28ac6c06-e1df-4fba-a789-6cd55401a4d8/episodes/c0e2bace-39ca-47de-88f7-99463c1696bc/images/background_chain/L06B02.png", "record": { "candidates": { "A": "L06B01", "B": "L06B02", "C": "L06B03", "D": "L06B04", "E": "L06B05", "F": "L06B06", "G": "L06B07", "H": "L06B08" }, "assigned": "L06B02", "choice": "Candidate C", "confident": true, "reason_ko": "지문에서 '옥탑방 거실 한가운데'를 명시하고 있으므로, 어질러진 거실 공간 전체가 보이는 Candidate C가 가장 적합합니다.", "kept": "L06B02" }, "fingerprint": "859d8b4b0b2cf04a" } } }, "step_id": "shot_conti_light", "run_id": "b558a7d7-655c-46a1-b949-dd3701d89ccc", "resolved_model": "gpt-image-2", "updated_at": "2026-07-22T08:03:23.464214+00:00", "project_config_snapshot": {} }