{ "status": "completed", "applicable_count": 5, "completed_count": 5, "failed_count": 0, "schema_version": 4, "config_hash": "123987836f4b9e64", "data": { "contis": { "S1sh8": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/37154490-a4ed-4b37-9092-489c054d8a72/images/c804efc3-0697-4c22-98b4-6992a70c2b20/conti/conti_S1sh8.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/37154490-a4ed-4b37-9092-489c054d8a72/episodes/c804efc3-0697-4c22-98b4-6992a70c2b20/images/background_chain/L01B03.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 far end of a narrow abandoned mine tunnel, directly before a black glasslike vein embedded between coal layers. The darkness is cut by a single helmet lamp.\n\nSHOT TEXT (authoritative, Korean): 검은 광맥을 향해 손을 뻗은 채 옅은 미소를 띤 '토니(앤서니 로저스)'의 상체.\n\nCARRIED STATE (persist exactly): The black glasslike vein lies between the coal seams, absorbing light with a pulse-like effect. Three wall sensors blink red simultaneously, while MIDGE flies ahead in the narrow tunnel. 토니(앤서니 로저스): He is in the narrow tunnel with one hand extended toward the black vein and a faint smile on his face. He wears a rescue rope or harness at his waist and a sensor module on his chest.\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\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\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 Tony's upper-chest height, the dolly-in settles into a tight upper-body view from his front-side three-quarter angle, placing 토니(앤서니 로저스) left of center and the black vein along the right edge of his reaching path. His extended hand remains fully visible between his faint smile and the vein, while his eyes follow the vein toward its off-screen continuation rather than the lens.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: black glass-like vein (embedded between coal layers and absorbing light); used as Placed beside Tony's outstretched hand as the visual endpoint of his gesture; coal layers (surrounding the black vein); used as Provide a dark spatial boundary behind the reaching hand.\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/37154490-a4ed-4b37-9092-489c054d8a72/episodes/c804efc3-0697-4c22-98b4-6992a70c2b20/images/background_chain/L01B03.png" ], [ "char:토니(앤서니 로저스)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/37154490-a4ed-4b37-9092-489c054d8a72/images/c804efc3-0697-4c22-98b4-6992a70c2b20/reference/83f91172-1506-4472-b137-bdaa279630fd.png" ] ], "asset_id": "0ef26097-5093-4790-b90d-6d45bf8f9e3c" }, "S1sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S2sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S2sh21": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S2sh22": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S3sh26": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S3sh30": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S3sh31": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S4sh32": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S4sh33": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S4sh36": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S5sh41": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S5sh43": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S6sh49": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/37154490-a4ed-4b37-9092-489c054d8a72/images/c804efc3-0697-4c22-98b4-6992a70c2b20/conti/conti_S6sh49.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/37154490-a4ed-4b37-9092-489c054d8a72/episodes/c804efc3-0697-4c22-98b4-6992a70c2b20/images/background_chain/L03B02.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: Outside in a forest clearing around a ruined building whose mass has been smoothly removed in a gigantic cylindrical void.\n\nSHOT TEXT (authoritative, Korean): 거대한 원통 모양으로 매끄럽게 파여 나간 기이한 건물 잔해를 향해 고개를 들고 시선을 고정한 채 서 있는 '토니(앤서니 로저스)'.\n\nCARRIED STATE (persist exactly): A building ruin has been removed in a huge, smooth cylindrical section. The surrounding region remains overgrown forest beneath a daylight sky. 토니(앤서니 로저스): On the eighth day, he stands looking up at the strangely cylindrical building ruin. His rescue harness and surviving equipment remain with him.\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\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\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 waist height several meters behind and to one side of Tony, the crane completes its upward reveal and settles, looking past his three-quarter profile toward the immense cylindrical section removed from the building remains. Tony is held near one lateral third, caught just after halting with his chin lifted, while the carved void occupies the opposing background without overwhelming his scale.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 토니(앤서니 로저스) in the middle-left of the frame, midground, looks toward cylindrical void; cylindrical void in the middle-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: building remains with cylindrical void (an immense smooth cylindrical section has been carved away) — The damaged face is seen obliquely so the circular depth and missing volume read behind Tony; used as Primary environmental revelation aligned with Tony's raised sightline; surrounding forest (present around the building remains); used as Provides environmental and scale context around the anomalous damage.\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/37154490-a4ed-4b37-9092-489c054d8a72/episodes/c804efc3-0697-4c22-98b4-6992a70c2b20/images/background_chain/L03B02.png" ], [ "char:토니(앤서니 로저스)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/37154490-a4ed-4b37-9092-489c054d8a72/images/c804efc3-0697-4c22-98b4-6992a70c2b20/reference/83f91172-1506-4472-b137-bdaa279630fd.png" ] ], "asset_id": "51cfa0df-a0ed-472a-a51f-e9ffc31c94ff" }, "S6sh53": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/37154490-a4ed-4b37-9092-489c054d8a72/images/c804efc3-0697-4c22-98b4-6992a70c2b20/conti/conti_S6sh53.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/37154490-a4ed-4b37-9092-489c054d8a72/episodes/c804efc3-0697-4c22-98b4-6992a70c2b20/images/background_chain/L03B03.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: Outside on the forest floor beside a berry-bearing thicket, where dense brush conceals the source of a snapping branch.\n\nSHOT TEXT (authoritative, Korean): 소리가 난 수풀 쪽을 노려보며 바닥에 바짝 엎드린 '토니(앤서니 로저스)'의 긴장한 전신.\n\nCARRIED STATE (persist exactly): Dense brush and forest floor surround the position, with the smartphone battery at 4 percent. Red berries remain nearby after being examined with the camera. 토니(앤서니 로저스): He is pressed low against the ground, tensely watching the brush where the branch snapped. He retains his smartphone and rescue harness after twelve days of survival.\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\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\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 ground height several meters to Tony's side and slightly behind his feet, the lateral track stops with his entire prone body cutting diagonally from the lower foreground toward the brush. His chest and hips are pressed low, his head raised only enough to aim his stare toward the sound source, leaving a clear corridor of ground between him and the brush.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 토니(앤서니 로저스) in the lower-left of the frame, midground, looks toward brush where the sound originated; brush where the sound originated in the upper-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: brush at the sound source (the direction from which a branch-breaking sound originated); used as Threat anchor placed beyond Tony's raised head and sightline; forest ground (supporting Tony's prone body); used as Creates the low diagonal plane connecting Tony to the brush.\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/37154490-a4ed-4b37-9092-489c054d8a72/episodes/c804efc3-0697-4c22-98b4-6992a70c2b20/images/background_chain/L03B03.png" ], [ "char:토니(앤서니 로저스)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/37154490-a4ed-4b37-9092-489c054d8a72/images/c804efc3-0697-4c22-98b4-6992a70c2b20/reference/83f91172-1506-4472-b137-bdaa279630fd.png" ] ], "asset_id": "24426d18-9230-48aa-99ac-b4af3c2dbaed" }, "S7sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/37154490-a4ed-4b37-9092-489c054d8a72/images/c804efc3-0697-4c22-98b4-6992a70c2b20/conti/conti_S7sh1.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: Outside in an open gap among giant trees along a forested ridge, high enough for a long horizontal leap between trunks.\n\nSHOT TEXT (authoritative, Korean): 두 발을 뻗고 숲속 거대한 나무들 사이를 수평으로 도약해 허공에 뜬 mid-action 자세의 '윌마 디어링' 전신, 비행 반대 방향으로 옷자락이 강하게 휘날리는\n\nCARRIED STATE (persist exactly): The forest ridge is filled with enormous trees, and the smartphone battery remains at 4 percent. Jumper belts emit a faint vibration as the chase crosses the gaps between trees. 윌마 디어링: She is airborne in a long horizontal leap between trees, wearing a faintly vibrating jumper belt. Her clothing streams opposite her direction of travel.\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\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\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: High among the trees and slightly below Wilma's flight level, the camera tracks laterally at full-body distance as she crosses the open gap from frame left toward frame right. Her airborne body forms a horizontal line through the middle of frame, both legs extended toward the arrival direction while her clothing trails backward; the departure and arrival trees remain visible as spatial anchors.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 윌마 디어링 in the middle-center of the frame, midground, moves toward arrival tree at frame right; departure tree in the middle-left of the frame, background; arrival tree in the middle-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: departure tree (the tree Wilma has just left) — Its trunk is seen along the left side of the lateral flight path; used as Marks the beginning of the leap and provides scale; arrival tree (the next tree on Wilma's route) — Its trunk faces the camera obliquely at the right end of her trajectory; used as Defines Wilma's destination and movement direction; jumper belt (faintly vibrating beneath Wilma's arms) — Its fitted sides are visible beneath her airborne torso; used as Supplies the only visible mechanism associated with the otherwise unsupported leap.\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:윌마 디어링", "/Users/manta/Documents/Projects/TheRoad-I1/projects/37154490-a4ed-4b37-9092-489c054d8a72/images/c804efc3-0697-4c22-98b4-6992a70c2b20/reference/908ef5ec-7e26-4dee-a4fd-907b6d667f08.png" ] ], "asset_id": "17df0856-6b44-4862-8efe-daeac6037a4c" }, "S7sh14": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S7sh19": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S8sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S8sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S8sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S9sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S9sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null } }, "map_conti": {}, "conti_pack": "5.202607222353", "lane_conti": { "S5sh41": { "lane": "structure_plate", "group_id": "bg_mine_complex", "segment_id": "SEG_DISTANT_SKELETON", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/37154490-a4ed-4b37-9092-489c054d8a72/images/background_chain/seed_bg_mine_complex_sel.png", "seed_asset_id": "3f107fbd-85c0-4e79-84fd-608eeb3a7598", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/37154490-a4ed-4b37-9092-489c054d8a72/episodes/c804efc3-0697-4c22-98b4-6992a70c2b20/images/background_chain/L03B01.png", "bg_reason": "", "bypass_reason": "bg_only" }, "S5sh43": { "lane": "structure_plate", "group_id": "bg_mine_complex", "segment_id": "SEG_DISTANT_SKELETON", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/37154490-a4ed-4b37-9092-489c054d8a72/images/background_chain/seed_bg_mine_complex_sel.png", "seed_asset_id": "3f107fbd-85c0-4e79-84fd-608eeb3a7598", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/37154490-a4ed-4b37-9092-489c054d8a72/episodes/c804efc3-0697-4c22-98b4-6992a70c2b20/images/background_chain/L03B01.png", "bg_reason": "", "bypass_reason": "prev" }, "S6sh49": { "lane": "structure_plate", "group_id": "bg_mine_complex", "segment_id": "SEG_CYLINDRICAL_RUIN", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/37154490-a4ed-4b37-9092-489c054d8a72/images/background_chain/seed_bg_mine_complex_sel.png", "seed_asset_id": "3f107fbd-85c0-4e79-84fd-608eeb3a7598", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/37154490-a4ed-4b37-9092-489c054d8a72/episodes/c804efc3-0697-4c22-98b4-6992a70c2b20/images/background_chain/L03B02.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/37154490-a4ed-4b37-9092-489c054d8a72/images/c804efc3-0697-4c22-98b4-6992a70c2b20/conti/conti_S6sh49.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/37154490-a4ed-4b37-9092-489c054d8a72/episodes/c804efc3-0697-4c22-98b4-6992a70c2b20/images/background_chain/L03B02.png" }, "S9sh13": { "lane": "map_marker", "group_id": "bg_forest_ridge_cliff", "segment_id": "seg_05", "marker_attempts": 3, "marker_best_effort": true, "marker_pick_index": 1, "marker_pick_count": 3, "marker_pick_why_ko": "가장 적은 수의 항목(카메라 위치 및 시야각, 피사체 위치)만 위반했습니다. 피사체의 방향(아래쪽)은 올바르게 표시되었고 잉여 마커가 없어 다른 후보들보다 요구사항에 가장 가깝습니다.", "marker_model": "nb2", "marker_check": { "markers_ok": false, "details_ko": "카메라와 피사체 마커의 위치가 잘못되었으며 시야각 방향도 틀립니다.", "violations": [ { "axis": "camera_position", "note_ko": "카메라 마커가 지정된 좌표(x=0.35, y=0.85)가 아닌 우측에 치우쳐 배치되었습니다." }, { "axis": "camera_wedge", "note_ko": "시야각이 지정된 목표 좌표(좌상단 방향)를 향하지 않고 우측 하단으로 열려 있습니다." }, { "axis": "entity_position", "note_ko": "E1과 E2 마커가 지정된 좌표에서 크게 벗어난 우측 위치에 배치되었습니다." } ] }, "marker_models_tried": [ "nb2" ], "sketch_attempts": 1, "status": "ok", "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/37154490-a4ed-4b37-9092-489c054d8a72/images/c804efc3-0697-4c22-98b4-6992a70c2b20/conti/lane_sketch_S9sh13.png", "base_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/37154490-a4ed-4b37-9092-489c054d8a72/images/background_chain/canon_bg_forest_ridge_cliff_map.png", "base_map_asset_id": "625ff184-e523-46a6-a6a4-996afc58b8be", "marker_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/37154490-a4ed-4b37-9092-489c054d8a72/images/c804efc3-0697-4c22-98b4-6992a70c2b20/conti/lane_marker_map_S9sh13.png", "marker_prompt": "Edit the attached TOP-DOWN SITE PLAN image: draw STAGING MARKERS on it\nat the positions described below. This is a planning aid for a film\ncrew, drawn over the plan.\n\nPLACEMENT AUTHORITY: each marker line below gives its position as\nnormalized fractions of this canvas — x runs left→right 0..1, y runs\ntop→bottom 0..1 — and THOSE FRACTIONS ARE THE AUTHORITY. Measure them\non the attached image and put the marker there. Each line also names a\nnearby landmark; use it to check you landed on the right feature, and\nwhen a landmark phrase and the fractions disagree, follow the\nfractions. This applies to compass words (north, south, east, west)\ntoo: read them only if this plan actually shows a compass or labels\nits own approaches, and even then they never move a marker away from\nits fractions. Do NOT relocate a marker onto a different salient line\nor feature than the one its fractions land on.\n\nNEVER move a marker to make the drawing fit. The camera circle and\nevery subject circle go exactly where their descriptions place them,\neven when that leaves the view wedge or an arrow running off the edge\nof the image — in that case just let the wedge or arrow continue to\nthe image border and stop there. Shifting the camera outward, pulling\na subject aside, or shrinking the wedge to keep it inside the canvas\nall break the plan this map exists to record.\n\nDraw EXACTLY these markers, flat and high-contrast, small enough not\nto hide the plan under them:\n- CAMERA: one filled circle at the camera position, labelled CAM, and\n out of that circle a FIELD-OF-VIEW WEDGE showing what this shot\n sees — two straight thin lines, one running toward each of the two\n frame-edge positions given below, and a third thinner line to the\n look-target position between them. Fill the area between the two\n edge lines with a light translucent tint so the wedge reads as the\n camera's view; the plan underneath must stay fully readable through\n the tint. Every subject listed below stands inside this wedge —\n if your drawing leaves one outside it, the wedge is drawn wrong,\n not the subject.\n- SUBJECTS: one filled circle per subject at its position, labelled\n with its slot code (E1, E2, ...) followed by its short description\n in parentheses, and one short ARROW leaving that circle toward the\n spot the subject faces, so the direction each subject is turned is\n readable at a glance.\n\nChange NOTHING else: keep every zone, landmark, line, label and color\nof the plan exactly as attached — do not redraw, recolor, move or\nremove anything, do not add scenery, shadows or any other symbols or\ntext beyond the markers, wedge, arrows and labels specified above. The\noutput is the SAME plan image with only these staging markers added.\n\nMARKERS TO DRAW:\n- CAM (camera): circle at x=0.35, y=0.85 — the lower middle of the plan (landmark, for reference: in the open void outside and parallel to the Terminal Cliff Edge); its sight line ends at LOOK TARGET: at x=0.45, y=0.75 — the lower middle of the plan (landmark, for reference: the jump point on the ridge-end cliff escarpment); the frame's LEFT edge cuts through at x=0.42, y=0.68 — the lower middle of the plan (landmark, for reference: the wooded ridge ground just inland from the cliff edge) and its RIGHT edge through at x=0.55, y=0.82 — the lower middle of the plan (landmark, for reference: the empty air clear of the ridge-end cliff escarpment)\n- E1 (launching young woman): circle at x=0.46, y=0.77 — the lower middle of the plan (landmark, for reference: suspended in the open space just beyond the Terminal Cliff Edge zone), facing at x=0.46, y=0.95 — the lower middle of the plan (landmark, for reference: the empty void far below the ridge-end cliff escarpment)\n- E2 (pulled young man): circle at x=0.44, y=0.74 — the lower middle of the plan (landmark, for reference: dragged past the rock surface of the ridge-end cliff escarpment), facing at x=0.44, y=0.95 — the lower middle of the plan (landmark, for reference: the deep open space below the Terminal Cliff Edge)", "geometry": { "entity_placements": [ { "slot": "E1", "subject_en": "launching young woman", "x": 0.46, "y": 0.77, "anchor_en": "suspended in the open space just beyond the Terminal Cliff Edge zone", "facing": { "x": 0.46, "y": 0.95 }, "facing_anchor_en": "the empty void far below the ridge-end cliff escarpment", "camera_facing_relation": "unspecified", "camera_facing_evidence": "" }, { "slot": "E2", "subject_en": "pulled young man", "x": 0.44, "y": 0.74, "anchor_en": "dragged past the rock surface of the ridge-end cliff escarpment", "facing": { "x": 0.44, "y": 0.95 }, "facing_anchor_en": "the deep open space below the Terminal Cliff Edge", "camera_facing_relation": "unspecified", "camera_facing_evidence": "" } ], "camera": { "origin": { "x": 0.35, "y": 0.85 }, "look_target": { "x": 0.45, "y": 0.75 }, "origin_anchor_en": "in the open void outside and parallel to the Terminal Cliff Edge", "look_target_anchor_en": "the jump point on the ridge-end cliff escarpment", "view_left": { "x": 0.42, "y": 0.68 }, "view_right": { "x": 0.55, "y": 0.82 }, "view_left_anchor_en": "the wooded ridge ground just inland from the cliff edge", "view_right_anchor_en": "the empty air clear of the ridge-end cliff escarpment" }, "rationale_ko": "두 인물이 Terminal Cliff Edge에서 바깥 허공으로 몸을 던지는 컷입니다. 카메라는 절벽 바깥의 허공에 위치해 절벽 가장자리(ridge-end cliff escarpment)를 대각선으로 바라보게 설정하여, 인물들이 화면 좌측 벼랑에서 화면 우측의 허공으로 나아가는 궤적을 카메라 동선과 함께 뚜렷하게 잡을 수 있도록 배치했습니다." }, "geometry_attempts": 1, "leakage": { "has_marker_leakage": false, "details_ko": "도해 기호나 텍스트 누출이 없는 자연스러운 스케치입니다." }, "prompt": "Draw a single CAMERA-VIEW storyboard frame (16:9) of the scene staged\non the attached MARKER-ANNOTATED TOP-DOWN SITE PLAN, seen from the\ncamera position marked on it.\n\nThe attached plan carries STAGING MARKERS drawn over it: a\ncamera-position marker with a field-of-view wedge (where the camera\nstands, which way it looks and how wide it sees) and one labelled\ncircle per subject with an arrow (where each subject stands and which\nway that subject is turned). Jurisdiction of sources — follow all three, they do not\nconflict:\n- The SITE PLAN under the markers is the SOT for what exists on the\n site and how its zones and landmarks are arranged relative to each\n other. The markers themselves are staging aids, NOT site content.\n- The markers on the plan are the SOT for XY POSITIONS, horizontal\n heading and body facing ONLY: where each subject stands on that\n plan, which way each one is turned, where the camera stands, which\n way it looks and how wide its wedge opens. Distances, directions\n and relative depths between subjects come from the marked\n positions; what the wedge covers is what this frame contains, and\n subjects outside the wedge are out of frame. The STAGING GEOMETRY\n text below restates the same staging with coarse normalized\n estimates — it never overrides the marked plan.\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. It does NOT govern horizontal\n placement: which side of the frame a subject occupies and which way\n that subject is turned come from the marked plan and the staging\n text, even when that memo also mentions left, right, foreground or\n background.\n\nSTYLE — MANNEQUIN BLOCKING SKETCH: the lightest possible director's\nlayout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR LINES ONLY on pure\nwhite paper. Absolutely NO shading, NO tone, NO texture, NO grayscale\nfill, NO light-and-shadow, NO material rendering. It must read as a\nquick layout guide, never as a finished drawing.\n\nDraw every person as a PLAIN ARTIST'S MANNEQUIN: a featureless oval head\nwith NO face, NO hair, NO clothing and no costume detail — simple tapered\nlimbs and torso. Because the head has no face and no hair, the ONLY thing\nthat shows which way a figure is turned is the BODY ITSELF: the direction\nthe chest, hips and feet point, and the way the head-oval sits on the\nshoulders. Aim each mannequin's chest and feet at the spot the staging\ntext says that person faces, and let the arms carry the action. A\nmannequin turned to the wrong side is the single worst error in this\ndrawing. Environment is reduced to a few placement lines (ground line,\nkey landmark silhouettes) — just enough to read positions and depth.\n\nSTAGING GEOMETRY — PLANNING DATA ONLY, NEVER RENDER IT: the lines\nbelow restate, marker by marker, the staging already marked on the\nattached plan: each landmark-relative description restates the\nmarker-map authority in words, and the normalized fractions in\nparentheses (x left→right 0..1, y top→bottom 0..1) are coarse audit\nestimates only — neither ever overrides the marked plan.\n\nThose fractions are TOP-DOWN bookkeeping. Never read them as left and\nright of your frame: on a plan seen from above, a subject \"to the\nright\" can sit on either side of a camera that looks any direction.\nEach subject line therefore ends with the SAME staging expressed from\nTHIS camera — which part of the frame the subject occupies, and which\nway that subject faces in screen terms (toward the left or right of\nthe frame, toward or away from the camera or side-on to it in\nprofile, and whom they are looking at). Those screen-space statements\nare what your drawing must match:\na figure said to face the right of the frame is turned to the right in\nyour drawing, never mirrored.\n\nDo NOT draw any of this data in the image — no numbers, no\ncoordinates, no labels, no arrows, no cones, no dots, no diagram\nsymbols of any kind.\n\nWhere the CAMERA DIRECTION text below also describes horizontal\nplacement (which side of the frame someone occupies, foreground left,\nbackground right), treat that as background reading only: for anything\nabout left, right and where a subject sits in this frame, the staging\nabove wins. CAMERA DIRECTION governs the vertical angle, elevation,\ntilt and framing.\n\nFor whether a subject faces the camera or is turned away from it, each\nsubject line above already states it in screen terms and the SHOT TEXT\nis the source it was derived from — draw exactly what the subject line\nsays, and never mirror it.\n- the camera stands in the open void outside and parallel to the Terminal Cliff Edge (coarse estimate x=0.35, y=0.85); its sight line ends at LOOK TARGET: the jump point on the ridge-end cliff escarpment (coarse estimate x=0.45, y=0.75); the frame's LEFT edge cuts through the wooded ridge ground just inland from the cliff edge (coarse estimate x=0.42, y=0.68) and its RIGHT edge through the empty air clear of the ridge-end cliff escarpment (coarse estimate x=0.55, y=0.82) — everything between those two edges is in frame, anything outside them is out of frame\n- launching young woman stands suspended in the open space just beyond the Terminal Cliff Edge zone (coarse estimate x=0.46, y=0.77), facing the empty void far below the ridge-end cliff escarpment (coarse estimate x=0.46, y=0.95) — from this camera the subject is near the CENTER of the frame and faces toward the RIGHT of the frame and toward the camera, so the camera sees this subject from the front\n- pulled young man stands dragged past the rock surface of the ridge-end cliff escarpment (coarse estimate x=0.44, y=0.74), facing the deep open space below the Terminal Cliff Edge (coarse estimate x=0.44, y=0.95) — from this camera the subject is near the CENTER of the frame and faces toward the RIGHT of the frame and toward the camera, so the camera sees this subject from the front\n\nCAMERA DIRECTION (vertical angle / elevation / framing SOT): Tracking below hip height just outside and parallel to the cliff edge, the camera looks diagonally across the launch path as Wilma and Tony move from the left side of the ledge into open space at frame right. Wilma grips Tony's chest harness as her trailing foot separates from the rock, while Tony's torso is pulled past the edge; both full bodies remain readable and the tightened lateral spacing emphasizes only their changed position beyond the cliff.\n\nTHE LOCATION: 숲속 능선의 절벽 끝자락\n\nSHOT TEXT (authoritative, Korean): '토니(앤서니 로저스)'의 가슴팍을 단단히 움켜쥔 채 절벽 바깥의 아득한 허공을 향해 몸을 던져, 뒷발이 바위 끝에서 막 떨어진 '윌마 디어링'.\n\nCARRIED STATE (persist exactly): A second pale beam races toward the cliff through the forest, while the first erased zone remains completely empty. The powered-off smartphone remains in Wilma’s possession, and her jumper belt’s auxiliary hook is clipped to Tony’s chest harness. 윌마 디어링: She launches beyond the cliff edge with her rear foot just leaving the rock, one hand gripping a chest harness. Her jumper belt is active, its auxiliary hook engaged, and she retains the powered-off smartphone. 토니(앤서니 로저스): His chest harness is firmly clipped to the jumper belt’s auxiliary hook, and he is being carried off the cliff into the long upward flight. His rescue gear remains attached.\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, head-oval and chest turned toward the target the\nSHOT TEXT implies; avoid a stiff attention stance (feet together, arms\nhanging straight down) and a head-oval squared flat to the lens. If the\nSHOT TEXT or any POSE contract above stages stillness, death, sleep,\nunconsciousness, restraint, drill or an explicit direct-to-camera look,\ndraw THAT exactly — this clause never overrides it.\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.", "lane_sketch_pack": "16.202608252310", "lane_geometry_pack": "4.202607270248", "mannequin_chain_contract": "1", "asset_id": "130994c3-2f25-4f50-a363-7b7f30fbfd00" } } }, "step_id": "shot_conti_light", "run_id": "a80eac7c-fb20-489f-ab06-105b90d033e1", "resolved_model": "gpt-image-2", "updated_at": "2026-09-04T20:13:26.661882+00:00", "project_config_snapshot": {} }