layout 이미지는 review 전용 — scene 생성 ref 로 부착하지 않는다 (ablation 실측: 이미지 ref 채널은 기하 명세 효과 없음).
S3sh5, S3sh8, S4sh5, S4sh11
SHOT 5 SCENE GEOGRAPHY (computed from the site-layout coordinates, frame-relative from this shot's camera — source of truth for where things are, which way paths run, figure depth and relative size): - 숲 바닥: at the near right side of the frame. - 경사진 숲: at the far center of the frame. - 십여 미터 위 바위: at the far center of the frame. - 이끼밭: at the far right side of the frame. - 빽빽한 나뭇가지들: at the far center of the frame. FIGURES: - 토니(앤서니 로저스) (C01): at the near left side of the frame — NEAREST figure to the camera. - 윌마 디어링 (C02): at the near center of the frame; about 1.1x as far from the camera as the nearest figure, so they must appear roughly 0.93x the nearest figure's height (smaller, deeper in the frame). DEPTH CONTRACT: 윌마 디어링 is farther than 토니(앤서니 로저스) and must read visibly smaller and deeper in the frame.
SHOT 8 SCENE GEOGRAPHY (computed from the site-layout coordinates, frame-relative from this shot's camera — source of truth for where things are, which way paths run, figure depth and relative size): - 숲 바닥: at the mid-distance right side of the frame. - 경사진 숲: at the far left side of the frame. - 십여 미터 위 바위: at the far center of the frame. - 이끼밭: at the far right side of the frame. - 빽빽한 나뭇가지들: at the far center of the frame. FIGURES: - 윌마 디어링 (C02): at the near left side of the frame — NEAREST figure to the camera.
SHOT 11 SCENE GEOGRAPHY (computed from the site-layout coordinates, frame-relative from this shot's camera — source of truth for where things are, which way paths run, figure depth and relative size): - 숲 바닥: at the far left side of the frame. - 경사진 숲: at the far left side of the frame. - 십여 미터 위 바위: at the far center of the frame. - 이끼밭: at the near center of the frame. - 빽빽한 나뭇가지들: at the far center of the frame. FIGURES: - 토니(앤서니 로저스) (C01): at the near right side of the frame — NEAREST figure to the camera. - 윌마 디어링 (C02): at the near left side of the frame; about 1.0x as far from the camera as the nearest figure, so they must appear roughly 1.00x the nearest figure's height (smaller, deeper in the frame). DEPTH CONTRACT: 윌마 디어링 is farther than 토니(앤서니 로저스) and must read visibly smaller and deeper in the frame.
SHOT 5 SCENE GEOGRAPHY (computed from the site-layout coordinates, frame-relative from this shot's camera — source of truth for where things are, which way paths run, figure depth and relative size): - 숲 바닥: at the near right side of the frame. - 경사진 숲: at the far center of the frame. - 십여 미터 위 바위: at the far center of the frame. - 이끼밭: at the far right side of the frame. - 빽빽한 나뭇가지들: at the far center of the frame. FIGURES: - 토니(앤서니 로저스) (C01): at the near left side of the frame — NEAREST figure to the camera. - 윌마 디어링 (C02): at the near center of the frame; about 1.1x as far from the camera as the nearest figure, so they must appear roughly 0.93x the nearest figure's height (smaller, deeper in the frame). DEPTH CONTRACT: 윌마 디어링 is farther than 토니(앤서니 로저스) and must read visibly smaller and deeper in the frame.
7ff535be34c8cfe2→bce4d7374ddb24f8Photorealistic cinematic still. The reaching arm of C01, a Caucasian man in his 30s, extends across the middle-left foreground, reaching for the pocket in the middle-right midground, but is stopped by the restraining hand of C02, a Caucasian woman in her 20s, occupying the middle-center slightly deeper in the frame and at a visibly smaller scale than C01. Framed at waist height and looking laterally across the forearm, the halted action reads across subtly separated depth planes, keeping the intercepted wrist centered. C02's visible lower arm and hand feature a strong, weathered skin texture, wearing a practical, worn sleeve of durable fabric, exerting firm, decisive force. The pocket opening remains closed, sitting just ahead of the suspended fingertips. Below the close action, the earthy woodland floor with dirt and fallen debris is visible only as limited background context. Natural daylight illuminates the scene with a restrained, desaturated color palette and tense, moderate contrast focused on the overlapping hands.
306143c16df9e53f→ed8636434f99668cPhotorealistic cinematic still. Seen from a lateral angle at belt height beside both figures, C02 in a green combat suit, an American woman in her late 20s, already positioned deeper on the near left side of the frame and visibly smaller than the adult man, extends her pressing hand, reaching for the adult man's equipment loop, while the silver weight entering the equipment loop anchors the middle-center foreground. C02's hand forcefully presses the silver weight into place, the locking side of the weight aligned with the loop and its outer metal surface clearly visible. The man's hip is turned at a three-quarter angle from the right, his receiving loop shown side-on to reveal the mechanical connection. Limited portions of both belts remain at opposite edges of the frame—C02's belt in left profile on the left edge missing a weight, and the man's belt on the right—acting as scale and ownership references. The surrounding forest environment is completely blurred into a soft background, lit by desaturated, moderate-contrast natural daylight that clarifies the tight localized contact.
4f428f7a1c65768b→d2efdad7257ecbd9Photorealistic cinematic still. C01O01 in black disaster rescue workwear, a Caucasian man in his 30s, appears inverted and trapped in the left-side midground, while the branches trapping his lower body cross at varied angles in the upper-center midground. Seen from beside his inverted torso, the camera looks diagonally across his body rather than along his face axis, capturing the entire suspended figure within the canopy. He is positioned at three-quarter angle from the right, looking off-screen. A mechanical jumper belt is securely fastened around his waist. His lower half is compressed within the dense branch network, while his torso and head hang below, making his complete inability to move physically clear. The forested slope recedes diagonally beneath him in the lower background. The natural daylight of the sloped forest is distinctly desaturated with moderate contrast, casting evenly distributed, muted light that separates the suspended body from the surrounding wood and creates a gritty atmosphere.
S1sh3, S1sh7, S1sh8, S2sh5
SHOT 3 SCENE GEOGRAPHY (computed from the site-layout coordinates, frame-relative from this shot's camera — source of truth for where things are, which way paths run, figure depth and relative size): - the Pennsylvania forest canopy: at the near left side of the frame. - the distant cliff edge (path): runs from the far right side of the frame to the far right side of the frame. - the large tree branch (path): runs from the near left side of the frame to the mid-distance center of the frame. FIGURES: - 윌마 디어링 (C02): at the near center of the frame — NEAREST figure to the camera; in motion: already partway along their path, heading toward the mid-distance left side of the frame; NOT heading into the Pennsylvania forest canopy. - 토니(앤서니 로저스) (C01): at the mid-distance right side of the frame; about 1.3x as far from the camera as the nearest figure, so they must appear roughly 0.77x the nearest figure's height (smaller, deeper in the frame); in motion: already partway along their path, heading toward the mid-distance left side of the frame. DEPTH CONTRACT: 토니(앤서니 로저스) is farther than 윌마 디어링 and must read visibly smaller and deeper in the frame.
SHOT 8 SCENE GEOGRAPHY (computed from the site-layout coordinates, frame-relative from this shot's camera — source of truth for where things are, which way paths run, figure depth and relative size): - the Pennsylvania forest canopy: at the mid-distance right side of the frame. - the distant cliff edge (path): runs from the far left side of the frame to the far right side of the frame. - the large tree branch (path): runs from the mid-distance right side of the frame to the mid-distance left side of the frame. FIGURES: - 윌마 디어링 (C02): at the near left side of the frame — NEAREST figure to the camera. - 토니(앤서니 로저스) (C01): at the near right side of the frame; about 1.0x as far from the camera as the nearest figure, so they must appear roughly 1.00x the nearest figure's height (smaller, deeper in the frame). DEPTH CONTRACT: 토니(앤서니 로저스) is farther than 윌마 디어링 and must read visibly smaller and deeper in the frame.
SHOT 5 SCENE GEOGRAPHY (computed from the site-layout coordinates, frame-relative from this shot's camera — source of truth for where things are, which way paths run, figure depth and relative size): - the Pennsylvania forest canopy: at the mid-distance left side of the frame. - the distant cliff edge (path): runs from the far right side of the frame to the far left side of the frame. - the large tree branch (path): runs from the near left side of the frame to the mid-distance left side of the frame. FIGURES: - 미지(MIDGE) (C03): at the near center of the frame — NEAREST figure to the camera; in motion: already partway along their path, heading toward the near center of the frame; NOT heading into the Pennsylvania forest canopy.
e50274cc824cde38→a23f25e306e47d28Photorealistic cinematic still. Seen from alongside and slightly above on a steep diagonal downward angle, C02O02 in a green flight suit, a Caucasian woman in her 20s, moves toward the curving flight path in the upper-center midground, and C01O01 in a dark work jacket, a Caucasian man in his 30s, is already partway toward the curving flight path from a visibly smaller, deeper position at the mid-distance right side of the frame, heading toward the mid-distance left side of the frame, with the treetops beneath the pair spreading across the lower-center background. C02O02 appears at three-quarter angle from the right, her torso angled into the descent, looking off-screen. C01O01 trails deeper on the right in left profile, his legs rigid in mid-air, looking down. Suspended mid-flight, their clothing and hair stream backward and upward in the direction opposite to their downward motion. The open air space is continuously illuminated by desaturated daylight with tense, moderate contrast, casting a serious atmosphere that clearly separates the airborne figures. A dense, continuous layer of forest canopy stretches out below them, acting as a natural floor against a pale skyline.
f2e4bb1b4bdb8ccc→aa495b4780a30925Photorealistic cinematic still. Seen handheld from close beside and slightly below, looking upward at a shallow angle, a shared large overhead branch crosses the upper-center midground. In the middle-left midground, C02O02 in a green combat suit, a Caucasian woman in her 20s, appears at three-quarter angle from the left, reaching for the overhead branch with both hands tightly gripping the wood, her body pulling downward as she looks up. Near the right side of the frame, deeper in the scene and visibly smaller than C02O02, C01O01 in black rescue workwear, a Caucasian man in his 30s, appears in right profile, reaching for the overhead branch alongside her, his knees drawn up while hanging, looking up. The camera focuses on the physical tension of their hands locked on the bent branch and the spatial contrast against the open air behind them. Horizontally driven leaves cross the space around their hanging bodies. The environment is illuminated by desaturated daylight with tense moderate contrast, preserving the gripping hands in the upper third, the thick wood, and the flying leaves as distinct visual layers against the pale sky.
S5sh2, S5sh5, S5sh10
SHOT 10 SCENE GEOGRAPHY (computed from the site-layout coordinates, frame-relative from this shot's camera — source of truth for where things are, which way paths run, figure depth and relative size): - surrounding forest: at the mid-distance left side of the frame. - forest earth mound: at the mid-distance left side of the frame. - massive curved concrete stadium wall (path): runs from the mid-distance right side of the frame to the far left side of the frame. - ruined stadium stands (path): runs from the mid-distance center of the frame to the far left side of the frame. FIGURES: - 윌마 디어링 (C02): at the near left side of the frame — NEAREST figure to the camera. - 토니(앤서니 로저스) (C01): at the near left side of the frame; about 1.2x as far from the camera as the nearest figure, so they must appear roughly 0.84x the nearest figure's height (smaller, deeper in the frame). DEPTH CONTRACT: 토니(앤서니 로저스) is farther than 윌마 디어링 and must read visibly smaller and deeper in the frame.
SHOT 2 SCENE GEOGRAPHY (computed from the site-layout coordinates, frame-relative from this shot's camera — source of truth for where things are, which way paths run, figure depth and relative size): - surrounding forest: at the mid-distance center of the frame. - forest earth mound: at the far center of the frame. - massive curved concrete stadium wall (path): runs from the far left side of the frame to the far right side of the frame. - ruined stadium stands (path): runs from the far left side of the frame to the far right side of the frame. FIGURES: - 토니(앤서니 로저스) (C01): at the near center of the frame — NEAREST figure to the camera; in motion: already partway along their path, heading toward the mid-distance center of the frame. - 윌마 디어링 (C02): at the near center of the frame; about 1.0x as far from the camera as the nearest figure, so they must appear roughly 0.95x the nearest figure's height (smaller, deeper in the frame); in motion: already partway along their path, heading toward the mid-distance center of the frame. DEPTH CONTRACT: 윌마 디어링 is farther than 토니(앤서니 로저스) and must read visibly smaller and deeper in the frame.
SHOT 5 SCENE GEOGRAPHY (computed from the site-layout coordinates, frame-relative from this shot's camera — source of truth for where things are, which way paths run, figure depth and relative size): - surrounding forest: at the far right side of the frame. - forest earth mound: at the far center of the frame. - massive curved concrete stadium wall (path): runs from the far left side of the frame to the far right side of the frame. - ruined stadium stands (path): runs from the far left side of the frame to the far right side of the frame. FIGURES: - 윌마 디어링 (C02): at the near left side of the frame — NEAREST figure to the camera. - 토니(앤서니 로저스) (C01): at the mid-distance center of the frame; about 1.6x as far from the camera as the nearest figure, so they must appear roughly 0.63x the nearest figure's height (smaller, deeper in the frame). DEPTH CONTRACT: 토니(앤서니 로저스) is farther than 윌마 디어링 and must read visibly smaller and deeper in the frame.
229232b2ccb7dd0e→670b31c170eee638Photorealistic cinematic still. Seen from knee height ahead and tilted slightly upward, C01O01 in a dark work suit, a Caucasian man in his 30s, crouches at the near left side, slightly deeper in the frame and visibly smaller than C02O02, in right profile with shoulders pushed forward, and C02O02 in a green combat suit, a Caucasian woman in her 20s, stays at a three-quarter angle with knees deeply bent and weight coiled in the lower-left midground, both looking intently toward the deep forest in the middle-right background. The two figures form a compact cluster on a shared mound of forest earth, heavily overgrown with moss. Behind them, a massive, curved concrete stadium wall, half-buried under mounds of earth and entangled with thick tree roots, recedes diagonally to the left edge. Desaturated, restrained afternoon ambient light filters through the dense canopy, dropping the scene into tense low-key contrast. The dark, ominous woods dominate the vast negative space on the right side of the frame, capturing the characters' frozen, off-screen stares.
46aaf650a30fdd1d→e785b103c1ed6712Photorealistic cinematic still. Seen from high behind soft foreground leaves parting around the view, a massive curved stadium wall spans the middle-center background. Two small figures stand in the lower center of the frame, dwarfed by the ruin. A Caucasian man in his 30s in outdoor survival gear is seen with back to camera, caught mid-stride, gazing into the distance. A Caucasian woman in her 20s in a harness suit is positioned slightly deeper in the center at a right-side three-quarter angle, visibly smaller than the man and already partway along her path toward the mid-distance center of the frame, weight over her forward foot, also gazing into the distance. [L08: The concrete architectural curve, half-buried under forest earth mounds, heavily overgrown and entangled with thick tree roots, is completely reclaimed by the woodland]. Desaturated, restrained afternoon ambient light filters through the dense canopy, casting somber shadows and maintaining a tense, low-to-moderate key contrast across the exposed concrete.
85ea6d3775597e6d→bf909582911d01f7Photorealistic cinematic still. Seen from slightly above eye level and tilted down, C01O01 in a black survival suit, a Caucasian man in his 30s, occupies the center at mid-distance, visibly smaller and deeper in the frame than Wilma at roughly 0.63 times her apparent height, looking toward Wilma off-screen. Shown from the chest up, he is seen at three-quarter angle from the right, shoulders locked and jaw set. Desaturated afternoon ambient light filtering through the canopy shapes into restrained low-to-moderate-key contrast across his fixed eyes and compressed mouth, casting deep, somber shadows. Due to the close framing, only the angled upper edge of a cracked stadium seat is visible behind him at the opposite frame edge, with the woods and ruined stands fading into an out-of-focus background.
S6sh4, S6sh13, S6sh18
SHOT 13 SCENE GEOGRAPHY (computed from the site-layout coordinates, frame-relative from this shot's camera — source of truth for where things are, which way paths run, figure depth and relative size): - 협곡 접근로: at the mid-distance left side of the frame. - 두 사람 사이의 바위: at the mid-distance left side of the frame. - 나무: at the mid-distance left side of the frame. - 협곡: at the near left side of the frame. - 협곡 반대편 (path): runs from the mid-distance right side of the frame to the far center of the frame. - 절벽 위 (path): runs from the near right side of the frame to the mid-distance center of the frame. - 숲속 (path): runs from the mid-distance right side of the frame to the far center of the frame. FIGURES: - 토니(앤서니 로저스) (C01): at the near center of the frame — NEAREST figure to the camera; in motion: already partway along their path, heading toward the near right side of the frame; NOT heading into the 협곡 접근로. - 윌마 디어링 (C02): at the near center of the frame; about 1.0x as far from the camera as the nearest figure, so they must appear roughly 0.98x the nearest figure's height (smaller, deeper in the frame); in motion: already partway along their path, heading toward the near right side of the frame; NOT heading into the 협곡 접근로. DEPTH CONTRACT: 윌마 디어링 is farther than 토니(앤서니 로저스) and must read visibly smaller and deeper in the frame.
SHOT 18 SCENE GEOGRAPHY (computed from the site-layout coordinates, frame-relative from this shot's camera — source of truth for where things are, which way paths run, figure depth and relative size): - 협곡 접근로: at the far left side of the frame. - 두 사람 사이의 바위: at the far left side of the frame. - 나무: at the far center of the frame. - 협곡: at the far center of the frame. - 협곡 반대편 (path): runs from the mid-distance left side of the frame to the far right side of the frame. - 절벽 위 (path): runs from the mid-distance left side of the frame to the far right side of the frame. - 숲속 (path): runs from the far left side of the frame to the far right side of the frame. FIGURES: - 흑인 남성 추격자: at the near center of the frame — NEAREST figure to the camera; in motion: already partway along their path, heading toward the mid-distance center of the frame; NOT heading into the 숲속.
SHOT 4 SCENE GEOGRAPHY (computed from the site-layout coordinates, frame-relative from this shot's camera — source of truth for where things are, which way paths run, figure depth and relative size): - 협곡 접근로: at the near center of the frame. - 두 사람 사이의 바위: at the near center of the frame. - 나무: at the mid-distance left side of the frame. - 협곡: at the mid-distance center of the frame. - 협곡 반대편 (path): runs from the far right side of the frame to the far left side of the frame. - 절벽 위 (path): runs from the mid-distance left side of the frame to the mid-distance right side of the frame. - 숲속 (path): runs from the far right side of the frame to the far left side of the frame. FIGURES: - 윌마 디어링 (C02): at the near left side of the frame — NEAREST figure to the camera; in motion: already partway along their path, heading toward the mid-distance left side of the frame; NOT heading into the 숲속. - 토니(앤서니 로저스) (C01): at the near right side of the frame; about 1.0x as far from the camera as the nearest figure, so they must appear roughly 1.00x the nearest figure's height (smaller, deeper in the frame); in motion: already partway along their path, heading toward the mid-distance right side of the frame; NOT heading into the 숲속. DEPTH CONTRACT: 토니(앤서니 로저스) is farther than 윌마 디어링 and must read visibly smaller and deeper in the frame.
d93923b05b72f06f→51eac3d1eca313afPhotorealistic cinematic still. C02O02 in a green aerial combat suit, an American woman in her late 20s, at the near center, set just deeper in the frame and visibly slightly smaller than C01O01, already partway along their mid-air path toward the lower opposite side of the canyon, heading toward the near right side of the frame and not into the canyon approach, and C01O01 in a dark rescue work suit, an American man in his 30s, in the middle-center midground, are clasped together mid-air, both moving toward the lower opposite side of the canyon in the lower-right background. Seen from beside and slightly above, the two full figures occupy the middle of the frame, their bodies pitched diagonally downward over the vast canyon gap. C02O02, seen at a three-quarter angle from the right, is gripping C01O01's harness mid-air, her eyes looking off-screen toward the landing zone. C01O01, in left profile facing backward against the momentum, clasps C02O02 tightly mid-descent, his gaze looking off-screen, wearing a rugged survival jump harness secured tightly around his torso and waist featuring a sturdy utility belt with mechanical locking clasps and attachment points. Bathed in a desaturated, restrained sunset ambient light, the low-light evening condition casts a tense, moderate contrast across the forested cliff landscape, preserving the deep spatial depth of the mid-air environment, their straps and clothing trailing upward in the direction opposite to their downward motion.
b8e843ce070c19de→dc92ec1959754cbcPhotorealistic cinematic still. C02O02 in a green combat suit, a Caucasian woman in her late 20s, twists airborne in the middle-left midground, already partway along her path on the firing line, following the cliff-top route away from the near-center canyon approach and the rock between them toward the mid-distance left side of the frame, not heading into the forest, while C01O01 in a black rescue uniform, a Caucasian man in his mid-30s, launches at the near right side of the frame, visibly smaller and deeper than C02O02, already partway along his path on the firing line, following the cliff-top route away from the near-center canyon approach and the rock between them toward the mid-distance right side of the frame, not heading into the forest, separated by the fiery P12 explosive projectile crossing the gap in the middle-center midground. Captured from a wide oblique observer angle at waist height off the firing line, the frame encompasses their opposing mid-air trajectories. C02O02 is seen at three-quarter angle from the left, her body twisting in mid-air, her eyes fixed on the attack's off-screen origin. C01O01 is seen at three-quarter angle from the right, mid-air with legs tucked, his eyes also fixed on the off-screen origin. He wears a rugged survival jump harness secured tightly around his torso and waist, revealing mechanical locking clasps and attachment points for anti-gravity weights. The background is a [L09: deep forested canyon and cliff approach] cast in desaturated sunset ambient light. The scene's tense, moderate contrast is sharply interrupted by a brief, hard accent of warm light from the flaming projectile, illuminating the deep spatial depth and the rugged canyon rocks below.
S7sh4, S7sh15, S7sh20
SHOT 20 SCENE GEOGRAPHY (computed from the site-layout coordinates, frame-relative from this shot's camera — source of truth for where things are, which way paths run, figure depth and relative size): - rock wall (path): runs from the far right side of the frame to the far left side of the frame. - opened rock wall entrance: at the far right side of the frame. - small cellar interior: at the mid-distance left side of the frame. - ceiling map: at the mid-distance left side of the frame. FIGURES: - 토니(앤서니 로저스) (C01): at the near center of the frame — NEAREST figure to the camera.
SHOT 4 SCENE GEOGRAPHY (computed from the site-layout coordinates, frame-relative from this shot's camera — source of truth for where things are, which way paths run, figure depth and relative size): - rock wall (path): runs from the far left side of the frame to the far right side of the frame. - opened rock wall entrance: at the near right side of the frame. - small cellar interior: at the far center of the frame. - ceiling map: at the far left side of the frame. FIGURES: - Wilma (C02): at the near right side of the frame — NEAREST figure to the camera. - 백인 남성: at the far center of the frame; about 3.2x as far from the camera as the nearest figure, so they must appear roughly 0.31x the nearest figure's height (smaller, deeper in the frame). DEPTH CONTRACT: 백인 남성 is farther than Wilma and must read visibly smaller and deeper in the frame.
895a33ed930e8617→320576a4ad7a0528Photorealistic cinematic still. Seen from waist height just outside the entrance, the wide opened rock wall fills the foreground edges as an irregular architectural frame. Deeper in the small cellar interior at the far center of the frame, a Caucasian adult man in rugged dark outdoor wear stands at three-quarter angle from the left, visibly smaller in the frame. To remain consistent with the waist-height perspective, his smaller full figure occupies the far interior center. He braces his body, hands firmly gripping a P14 long rifle shouldered and aimed obliquely past the camera position toward the left, his eyes fixed on someone off-screen. Twilight exterior ambient light washes the separated rock door and the man's shoulders, establishing a restrained low-key contrast. The background behind him is a persistently dark cellar interior, its deep desaturated shadows sparsely broken by faint technological illumination.
{
"outdoor_location_count": 7,
"seed_group_count": 5,
"groups_extracted": 5,
"skipped": [
{
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"reason": "zoom_continuity_member"
},
{
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],
"layout_shape_violations": [],
"layout_side_conflicts": [],
"spatial_summary_skipped": [
{
"shot": "S1sh7",
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},
{
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}
],
"rewrite_failed": [],
"revised_prompt_audit_violations": [],
"zoom_member_exclusion_source": "shot_dependency_t2i",
"composition_guide_failed": [],
"composition_guide_candidate_skipped": [
{
"group": "osl-shared-l04-s3",
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"reason": "pose_brief_unusable_fail_closed"
},
{
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},
{
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{
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}
],
"composition_guide_count": 7,
"seed_prefilter_meta": {
"1:3": {
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"location_source": "frame_visible",
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"figure_count": 2,
"framing_scale": "wide",
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"available_structural_signal_names": [
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]
},
"1:7": {
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"figure_count": 0,
"framing_scale": "wide",
"character_angle_count": 0,
"frame_spatial_contract_present": true,
"available_structural_signal_names": [
"framing_scale",
"frame_spatial_contract"
]
},
"1:8": {
"why_candidate": "cross_shot_or_multi_figure_present",
"location_source": "frame_visible",
"location_id": "L06",
"figure_count": 2,
"framing_scale": "medium",
"character_angle_count": 2,
"frame_spatial_contract_present": true,
"available_structural_signal_names": [
"framing_scale",
"character_angles",
"frame_spatial_contract",
"gaze_direction"
]
},
"2:5": {
"why_candidate": "single_shot_outdoor_figure_present",
"location_source": "frame_visible",
"location_id": "L06",
"figure_count": 1,
"framing_scale": "wide",
"character_angle_count": 1,
"frame_spatial_contract_present": true,
"available_structural_signal_names": [
"framing_scale",
"character_angles",
"frame_spatial_contract",
"gaze_direction"
]
},
"3:5": {
"why_candidate": "cross_shot_or_multi_figure_present",
"location_source": "primary_location",
"location_id": "L04",
"figure_count": 2,
"framing_scale": "close",
"character_angle_count": 2,
"frame_spatial_contract_present": true,
"available_structural_signal_names": [
"framing_scale",
"character_angles",
"frame_spatial_contract",
"gaze_direction"
]
},
"3:8": {
"why_candidate": "single_shot_outdoor_figure_present",
"location_source": "primary_location",
"location_id": "L04",
"figure_count": 1,
"framing_scale": "insert",
"character_angle_count": 1,
"frame_spatial_contract_present": true,
"available_structural_signal_names": [
"framing_scale",
"character_angles",
"frame_spatial_contract",
"gaze_direction"
]
},
"4:5": {
"why_candidate": "single_shot_outdoor_figure_present",
"location_source": "frame_visible",
"location_id": "L04",
"figure_count": 1,
"framing_scale": "wide",
"character_angle_count": 1,
"frame_spatial_contract_present": true,
"available_structural_signal_names": [
"framing_scale",
"character_angles",
"frame_spatial_contract",
"gaze_direction"
]
},
"4:11": {
"why_candidate": "cross_shot_or_multi_figure_present",
"location_source": "primary_location",
"location_id": "L04",
"figure_count": 2,
"framing_scale": "close",
"character_angle_count": 2,
"frame_spatial_contract_present": true,
"available_structural_signal_names": [
"framing_scale",
"character_angles",
"frame_spatial_contract",
"gaze_direction"
]
},
"5:2": {
"why_candidate": "cross_shot_or_multi_figure_present",
"location_source": "frame_visible",
"location_id": "L08",
"figure_count": 2,
"framing_scale": "wide",
"character_angle_count": 2,
"frame_spatial_contract_present": true,
"available_structural_signal_names": [
"framing_scale",
"character_angles",
"frame_spatial_contract",
"gaze_direction"
]
},
"5:5": {
"why_candidate": "single_shot_outdoor_figure_present",
"location_source": "primary_location",
"location_id": "L08",
"figure_count": 1,
"framing_scale": "close",
"character_angle_count": 1,
"frame_spatial_contract_present": true,
"available_structural_signal_names": [
"framing_scale",
"character_angles",
"frame_spatial_contract",
"gaze_direction"
]
},
"5:10": {
"why_candidate": "cross_shot_or_multi_figure_present",
"location_source": "frame_visible",
"location_id": "L08",
"figure_count": 2,
"framing_scale": "wide",
"character_angle_count": 2,
"frame_spatial_contract_present": true,
"available_structural_signal_names": [
"framing_scale",
"character_angles",
"frame_spatial_contract",
"gaze_direction"
]
},
"6:4": {
"why_candidate": "cross_shot_or_multi_figure_present",
"location_source": "frame_visible",
"location_id": "L09",
"figure_count": 2,
"framing_scale": "wide",
"character_angle_count": 2,
"frame_spatial_contract_present": true,
"available_structural_signal_names": [
"framing_scale",
"character_angles",
"frame_spatial_contract",
"gaze_direction"
]
},
"6:13": {
"why_candidate": "cross_shot_or_multi_figure_present",
"location_source": "frame_visible",
"location_id": "L09",
"figure_count": 2,
"framing_scale": "wide",
"character_angle_count": 2,
"frame_spatial_contract_present": true,
"available_structural_signal_names": [
"framing_scale",
"character_angles",
"frame_spatial_contract",
"gaze_direction"
]
},
"6:18": {
"why_candidate": "single_shot_outdoor_figure_present",
"location_source": "frame_visible",
"location_id": "L09",
"figure_count": 1,
"framing_scale": "close",
"character_angle_count": 1,
"frame_spatial_contract_present": false,
"available_structural_signal_names": [
"framing_scale",
"character_angles",
"gaze_direction"
]
},
"7:4": {
"why_candidate": "single_shot_outdoor_figure_present",
"location_source": "frame_visible",
"location_id": "L10",
"figure_count": 1,
"framing_scale": "wide",
"character_angle_count": 1,
"frame_spatial_contract_present": false,
"available_structural_signal_names": [
"framing_scale",
"character_angles",
"gaze_direction"
]
},
"7:15": {
"why_candidate": "single_shot_outdoor_no_figure",
"location_source": "primary_location",
"location_id": "L10",
"figure_count": 0,
"framing_scale": "insert",
"character_angle_count": 0,
"frame_spatial_contract_present": true,
"available_structural_signal_names": [
"framing_scale",
"frame_spatial_contract"
]
},
"7:20": {
"why_candidate": "single_shot_outdoor_figure_present",
"location_source": "primary_location",
"location_id": "L10",
"figure_count": 1,
"framing_scale": "close",
"character_angle_count": 1,
"frame_spatial_contract_present": true,
"available_structural_signal_names": [
"framing_scale",
"character_angles",
"frame_spatial_contract",
"gaze_direction"
]
}
},
"single_shot_seed_lane_enabled": true,
"composition_guide_shared_model_enabled": true,
"shared_model_judge_enabled": true,
"shared_model_candidate_signals": [
{
"group_id": "osl-shared-l04-s3",
"location_id": "L04",
"scene_index": 3,
"member_shots": [
"S3sh5",
"S3sh8"
],
"cameras_non_identical": true,
"landmark_count": 5,
"per_shot_signals": {
"3:5": {
"entity_count_bucket": "multiple",
"entity_count": 2,
"depth_planes": 2,
"has_motion": false
},
"3:8": {
"entity_count_bucket": "single",
"entity_count": 1,
"depth_planes": 1,
"has_motion": false
}
}
},
{
"group_id": "osl-shared-l04-s4",
"location_id": "L04",
"scene_index": 4,
"member_shots": [
"S4sh5",
"S4sh11"
],
"cameras_non_identical": true,
"landmark_count": 5,
"per_shot_signals": {
"4:5": {
"entity_count_bucket": "multiple",
"entity_count": 2,
"depth_planes": 2,
"has_motion": false
},
"4:11": {
"entity_count_bucket": "multiple",
"entity_count": 2,
"depth_planes": 1,
"has_motion": false
}
}
},
{
"group_id": "osl-shared-l06-s1",
"location_id": "L06",
"scene_index": 1,
"member_shots": [
"S1sh3",
"S1sh8"
],
"cameras_non_identical": true,
"landmark_count": 3,
"per_shot_signals": {
"1:3": {
"entity_count_bucket": "multiple",
"entity_count": 2,
"depth_planes": 2,
"has_motion": true
},
"1:8": {
"entity_count_bucket": "multiple",
"entity_count": 2,
"depth_planes": 1,
"has_motion": false
}
}
},
{
"group_id": "osl-single-l06-s2-sh5",
"location_id": "L06",
"scene_index": 2,
"member_shots": [
"S2sh5"
],
"cameras_non_identical": false,
"landmark_count": 3,
"per_shot_signals": {
"2:5": {
"entity_count_bucket": "single",
"entity_count": 1,
"depth_planes": 1,
"has_motion": true
}
}
},
{
"group_id": "osl-shared-l08-s5",
"location_id": "L08",
"scene_index": 5,
"member_shots": [
"S5sh2",
"S5sh5",
"S5sh10"
],
"cameras_non_identical": true,
"landmark_count": 4,
"per_shot_signals": {
"5:2": {
"entity_count_bucket": "multiple",
"entity_count": 2,
"depth_planes": 2,
"has_motion": true
},
"5:5": {
"entity_count_bucket": "multiple",
"entity_count": 2,
"depth_planes": 2,
"has_motion": false
},
"5:10": {
"entity_count_bucket": "multiple",
"entity_count": 2,
"depth_planes": 2,
"has_motion": false
}
}
},
{
"group_id": "osl-shared-l09-s6",
"location_id": "L09",
"scene_index": 6,
"member_shots": [
"S6sh4",
"S6sh13",
"S6sh18"
],
"cameras_non_identical": true,
"landmark_count": 7,
"per_shot_signals": {
"6:4": {
"entity_count_bucket": "multiple",
"entity_count": 2,
"depth_planes": 1,
"has_motion": true
},
"6:13": {
"entity_count_bucket": "multiple",
"entity_count": 2,
"depth_planes": 2,
"has_motion": true
},
"6:18": {
"entity_count_bucket": "single",
"entity_count": 1,
"depth_planes": 1,
"has_motion": true
}
}
},
{
"group_id": "osl-shared-l10-s7",
"location_id": "L10",
"scene_index": 7,
"member_shots": [
"S7sh4",
"S7sh20"
],
"cameras_non_identical": true,
"landmark_count": 4,
"per_shot_signals": {
"7:4": {
"entity_count_bucket": "multiple",
"entity_count": 2,
"depth_planes": 2,
"has_motion": false
},
"7:20": {
"entity_count_bucket": "single",
"entity_count": 1,
"depth_planes": 1,
"has_motion": false
}
}
}
],
"shared_model_judge_decisions": [
{
"group_id": "osl-shared-l04-s3",
"needs_shared_model_guide": true,
"decision_type": "both",
"confidence": "high",
"reasons": [
"multi_angle_same_set",
"shared_structure_continuity",
"depth_layering",
"camera_or_framing_risk"
],
"evidence": [
{
"shot_key": "3:5",
"source_field": "camera_direction",
"quote": "Continue the dolly-in at 토니(앤서니 로저스)'s waist height from his three-quarter side, looking laterally across his reaching forearm toward the pocket as 윌마 디어링's hand closes hard around his wrist."
},
{
"shot_key": "3:8",
"source_field": "camera_direction",
"quote": "Complete the descending crane just above the open jumper belt at a steep oblique angle, isolating its interior while 윌마 디어링's extended hand enters from one side."
}
],
"guide_scope": "group",
"risk_notes": "The group features multiple shots in the same outdoor location from different angles, requiring a shared guide for structural continuity. Additionally, shot 3:8 involves a steep oblique angle which poses a camera/framing risk, and shot 3:5 involves precise depth layering and figure interaction.",
"admit": true,
"deny_reason": null
},
{
"group_id": "osl-shared-l04-s4",
"needs_shared_model_guide": true,
"decision_type": "both",
"confidence": "high",
"reasons": [
"multi_angle_same_set",
"shared_structure_continuity",
"figure_placement_continuity",
"camera_or_framing_risk"
],
"evidence": [
{
"shot_key": "4:5",
"source_field": "camera_direction",
"quote": "settle among the branches beside 토니(앤서니 로저스)'s inverted torso and look diagonally across his body rather than along his face axis. His trapped lower half is compressed within the dense branch network in the upper-middle frame while his torso and head hang below"
},
{
"shot_key": "4:11",
"source_field": "camera_direction",
"quote": "Finish the lateral track at belt height beside both figures, angled across 토니(앤서니 로저스)'s equipment loop"
}
],
"guide_scope": "group",
"risk_notes": "The group requires cross-shot continuity to maintain the same forest structures across very different camera setups (a crane shot in the branches vs. a lateral track at belt height). Additionally, shot 4:5 presents a high framing risk due to the specific requirement of an inverted character whose lower half is compressed within a dense branch network while the torso hangs below, which an unguided render is likely to misinterpret.",
"admit": true,
"deny_reason": null
},
{
"group_id": "osl-shared-l06-s1",
"needs_shared_model_guide": true,
"decision_type": "both",
"confidence": "high",
"reasons": [
"multi_angle_same_set",
"shared_structure_continuity",
"camera_or_framing_risk"
],
"evidence": [
{
"shot_key": "1:3",
"source_field": "camera_direction",
"quote": "widening at a steeper diagonal downward angle so their airborne bodies occupy the upper middle of frame and the treetops spread directly beneath them"
},
{
"shot_key": "1:8",
"source_field": "camera_direction",
"quote": "Handheld from close beside and slightly below the branch, look upward at a shallow angle as 윌마 디어링 and 토니(앤서니 로저스) hang offset across the frame"
}
],
"guide_scope": "group",
"risk_notes": "The shots feature extreme camera angles (a steep downward angle in shot 3 and an upward angle in shot 8) within the same environment. A shared guide is necessary to ensure the spatial relationship between the figures, the forest canopy, and the tree branch remains consistent across these differing perspectives.",
"admit": true,
"deny_reason": null
},
{
"group_id": "osl-single-l06-s2-sh5",
"needs_shared_model_guide": true,
"decision_type": "single_shot_complexity",
"confidence": "high",
"reasons": [
"camera_or_framing_risk"
],
"evidence": [
{
"shot_key": "2:5",
"source_field": "camera_direction",
"quote": "at roughly waist height with a steep upward tilt toward the gray sky"
}
],
"guide_scope": "single",
"risk_notes": "The steep upward tilt from waist height creates a high placement risk and spatial ambiguity for the figure and descending probes, warranting a layout sketch to ensure correct depth and framing.",
"admit": true,
"deny_reason": null
},
{
"group_id": "osl-shared-l08-s5",
"needs_shared_model_guide": true,
"decision_type": "both",
"confidence": "high",
"reasons": [
"multi_angle_same_set",
"shared_structure_continuity",
"figure_placement_continuity",
"camera_or_framing_risk"
],
"evidence": [
{
"shot_key": "5:2",
"source_field": "camera_direction",
"quote": "camera settles high behind foreground leaves, looking across Tony and Wilma as tiny edge figures toward the massive curved stadium wall"
},
{
"shot_key": "5:5",
"source_field": "camera_direction",
"quote": "camera holds slightly above Tony’s eye line on a tight downward three-quarter angle"
},
{
"shot_key": "5:10",
"source_field": "camera_direction",
"quote": "stays at knee height several meters ahead and to one side, looking slightly upward across Tony and Wilma’s crouched side profiles"
}
],
"guide_scope": "group",
"risk_notes": "The sequence covers the same outdoor location from multiple distinct and extreme camera angles (a high angle in 5:2, a tight downward angle in 5:5, and a low knee-height angle in 5:10). A shared guide is necessary to maintain the spatial relationship between the figures and the stadium ruins across these varied perspectives, while also mitigating the risk of depth collapse or incorrect figure placement caused by the steep camera angles.",
"admit": true,
"deny_reason": null
},
{
"group_id": "osl-shared-l09-s6",
"needs_shared_model_guide": true,
"decision_type": "cross_shot_continuity",
"confidence": "high",
"reasons": [
"multi_angle_same_set",
"shared_structure_continuity",
"figure_placement_continuity"
],
"evidence": [
{
"shot_key": "6:4",
"source_field": "camera_direction",
"quote": "Tracking laterally at waist height from an oblique position off the firing line"
},
{
"shot_key": "6:13",
"source_field": "camera_direction",
"quote": "Several meters beside and slightly above the pair, the tracking camera matches their downward speed and looks diagonally along their shared trajectory"
},
{
"shot_key": "6:18",
"source_field": "camera_direction",
"quote": "A shoulder-height cut places the camera close behind and to one side"
}
],
"guide_scope": "group",
"risk_notes": "The group features multiple shots in the same outdoor canyon location with varying camera angles, tracking movements, and figure trajectories. A shared top-down guide is necessary to maintain the spatial consistency of the canyon, cliffs, and the figures' relative positions across these different perspectives.",
"admit": true,
"deny_reason": null
},
{
"group_id": "osl-shared-l10-s7",
"needs_shared_model_guide": true,
"decision_type": "single_shot_complexity",
"confidence": "high",
"reasons": [
"depth_layering",
"occlusion_or_framing_risk",
"camera_or_framing_risk"
],
"evidence": [
{
"shot_key": "7:4",
"source_field": "camera_direction",
"quote": "just outside the fully opened entrance, the static camera looks obliquely past the rifle line so the 백인 남성 appears full-body within the cellar"
},
{
"shot_key": "7:4",
"source_field": "camera_direction",
"quote": "opened rock wall encloses him as an irregular architectural frame"
}
],
"guide_scope": "single",
"risk_notes": "Shot 7:4 requires a guide to correctly place the figure inside the cellar interior while the camera remains outside, framing the subject through the rock wall entrance. Shot 7:20 is a tight close-up with no visible landmarks, so a cross-shot guide is unnecessary.",
"admit": true,
"deny_reason": null
}
],
"shared_model_attach_decisions": [
{
"group_id": "osl-shared-l04-s3",
"scene_index": 3,
"base_cache_key": "426565ad2dc40e2a",
"attached_shots": [],
"attached": false,
"fail_stage": "pose_brief"
},
{
"group_id": "osl-shared-l04-s4",
"scene_index": 4,
"base_cache_key": "66f08a7c0509f55d",
"attached_shots": [],
"attached": false,
"fail_stage": "pose_brief"
},
{
"group_id": "osl-shared-l06-s1",
"scene_index": 1,
"base_cache_key": "704f7681cb1344b6",
"attached_shots": [
"1:3",
"1:8"
],
"attached": true
},
{
"group_id": "osl-single-l06-s2-sh5",
"scene_index": 2,
"base_cache_key": "1f10ac3131f00e83",
"attached_shots": [],
"attached": false,
"fail_stage": "pose_brief"
},
{
"group_id": "osl-shared-l08-s5",
"scene_index": 5,
"base_cache_key": "ae35b30ac1949b4c",
"attached_shots": [
"5:2",
"5:5",
"5:10"
],
"attached": true
},
{
"group_id": "osl-shared-l09-s6",
"scene_index": 6,
"base_cache_key": "fd2254e061527de4",
"attached_shots": [],
"attached": false,
"fail_stage": "pose_brief"
},
{
"group_id": "osl-shared-l10-s7",
"scene_index": 7,
"base_cache_key": "a42e22fc93a88d64",
"attached_shots": [
"7:4",
"7:20"
],
"attached": true
}
],
"shared_model_single_shot_complexity_observation": [
{
"group_id": "osl-shared-l04-s3",
"decision_type": "both",
"is_single_shot_candidate": false,
"admit": true,
"note": "single_shot_complexity lane 개방 — admit 시 production attach."
},
{
"group_id": "osl-shared-l04-s4",
"decision_type": "both",
"is_single_shot_candidate": false,
"admit": true,
"note": "single_shot_complexity lane 개방 — admit 시 production attach."
},
{
"group_id": "osl-shared-l06-s1",
"decision_type": "both",
"is_single_shot_candidate": false,
"admit": true,
"note": "single_shot_complexity lane 개방 — admit 시 production attach."
},
{
"group_id": "osl-single-l06-s2-sh5",
"decision_type": "single_shot_complexity",
"is_single_shot_candidate": true,
"admit": true,
"note": "single_shot_complexity lane 개방 — admit 시 production attach."
},
{
"group_id": "osl-shared-l08-s5",
"decision_type": "both",
"is_single_shot_candidate": false,
"admit": true,
"note": "single_shot_complexity lane 개방 — admit 시 production attach."
},
{
"group_id": "osl-shared-l10-s7",
"decision_type": "single_shot_complexity",
"is_single_shot_candidate": false,
"admit": true,
"note": "single_shot_complexity lane 개방 — admit 시 production attach."
}
],
"shared_model_pose_fail_closed": [
{
"shot": "S3sh5",
"group_id": "osl-shared-l04-s3",
"figure_count": 2,
"had_body": true
},
{
"shot": "S4sh5",
"group_id": "osl-shared-l04-s4",
"figure_count": 1,
"had_body": true
},
{
"shot": "S2sh5",
"group_id": "osl-single-l06-s2-sh5",
"figure_count": 1,
"had_body": true
},
{
"shot": "S6sh4",
"group_id": "osl-shared-l09-s6",
"figure_count": 2,
"had_body": true
}
],
"shared_model_optical_risk_excluded": [],
"shared_model_building_fp_link": {},
"shared_model_image_calls": {
"predicted": {
"base": 3,
"blocking": 3,
"camera_view_sketch": 3
},
"actual": {
"base": 3,
"blocking": 3,
"camera_view_sketch": 3
},
"predicted_call_count": 9,
"actual_call_count": 9,
"continuity_anchor_generation_calls": 0
},
"shared_model_chain_lineage": {
"annotated": [
{
"asset": "a4b2ae74-603e-4ca8-8868-7c566c54b590",
"role": "outdoor_shot_blocking",
"input": "f90e089d-1e6f-4186-926c-94c0b1a52f67"
},
{
"asset": "fb089589-866a-493d-bb54-6af7f2acb8dd",
"role": "outdoor_camera_sketch",
"input": "a4b2ae74-603e-4ca8-8868-7c566c54b590"
},
{
"asset": "a87e3176-52e5-471c-89bd-37a0a9893f8b",
"role": "outdoor_shot_blocking",
"input": "b47248b2-3977-4945-82cc-3580e0b3e05c"
},
{
"asset": "0d5e49c6-a95f-40bd-ae2a-6ed8e7b4ebab",
"role": "outdoor_camera_sketch",
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