{ "status": "completed", "applicable_count": 5, "completed_count": 5, "failed_count": 0, "schema_version": 4, "config_hash": "123987836f4b9e64", "data": { "contis": { "S1sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S1sh9": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/37154490-a4ed-4b37-9092-489c054d8a72/images/cc1d3d0b-626e-4f20-bc33-f5f9e2c6ee7e/conti/conti_S1sh9.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/37154490-a4ed-4b37-9092-489c054d8a72/episodes/cc1d3d0b-626e-4f20-bc33-f5f9e2c6ee7e/images/background_chain/L11B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the mountain contact post's underground control room, in the open floor area between the armed guard and the captive. Red emergency lighting fills the room.\n\nSHOT TEXT (authoritative, Korean): 장총의 총구가 토니의 가슴 정중앙에 닿은 찰나\n\nCARRIED STATE (persist exactly): The rock door is closed, the interior lighting is red, and the waterproof-pouched phone rests inside the metal locker. 토니(앤서니 로저스): He remains with the long-gun muzzle pressed to the center of 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 chest height beside the Alan–Tony axis, the dolly-in resolves into an oblique three-quarter close view as the rifle enters from the left and meets the exact center of Tony's chest. Tony occupies the right side of the frame with his torso held rigid against the pressure, while his eyes remain fixed beyond the left edge on Alan rather than on the lens.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 토니(앤서니 로저스) in the middle-right of the frame, midground.\n- KEY BACKGROUND ELEMENTS: long rifle (muzzle touching the exact center of Tony's chest) — The barrel is seen obliquely from its side, entering from frame left and pointing into Tony's chest rather than toward the camera; used as Forms the converging threat line and the sharp foreground focus.\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/cc1d3d0b-626e-4f20-bc33-f5f9e2c6ee7e/images/background_chain/L11B02.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": "4dfacf07-54c0-433f-b7b8-1d0a055d5325" }, "S1sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S2sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S2sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S2sh11": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S3sh8": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/37154490-a4ed-4b37-9092-489c054d8a72/images/cc1d3d0b-626e-4f20-bc33-f5f9e2c6ee7e/conti/conti_S3sh8.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/37154490-a4ed-4b37-9092-489c054d8a72/episodes/cc1d3d0b-626e-4f20-bc33-f5f9e2c6ee7e/images/background_chain/L11B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the mountain contact post's underground control room, beside the active holographic communication disc. Its monochrome projected light reaches the man holding the broken identification card.\n\nSHOT TEXT (authoritative, Korean): 사원증을 든 채 홀로그램 빌 헌을 응시하는 토니의 측면\n\nCARRIED STATE (persist exactly): The wired phone remains isolated and mirrored to the external monitor, where the unfinished message to Mara is available above an unpressed playback button. The ultraphone disc projects monochrome holographic outlines. 토니(앤서니 로저스): He holds his broken employee ID badge while the long-gun muzzle remains pressed to 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: From Tony's left side slightly below shoulder height, the dolly-in settles on his right-facing profile at frame left, with the cracked identification card held near the lower center and Bill Hern's projected figure above the disc at frame right. Tony's gaze remains locked on Bill while Bill addresses him across the shared projection space, allowing the card, skeptical exchange, and spatial hierarchy to read in one oblique composition.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 토니(앤서니 로저스) in the middle-left of the frame, foreground, looks toward Bill Hern hologram; 빌 헌 (홀로그램 투사) in the upper-right of the frame, midground, looks toward Tony; ultraphone disc in the lower-right of the frame, midground.\n- KEY BACKGROUND ELEMENTS: ultraphone disc (on and projecting Bill Hern's hologram) — The upper face is visible beneath the projected figure, angled diagonally away from the camera; used as Lower-right spatial anchor establishing the hologram's projection origin; cracked identification card (held up by Tony for inspection) — The damaged identification face is angled partly toward Bill and partly toward the camera, keeping its cracked condition readable; used as Foreground evidence linking Tony's hand to the interrogation.\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/cc1d3d0b-626e-4f20-bc33-f5f9e2c6ee7e/images/background_chain/L11B02.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": "0d6982f0-e81b-4f25-81ca-85e895df43a3" }, "S3sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S3sh13": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S4sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S4sh10": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/37154490-a4ed-4b37-9092-489c054d8a72/images/cc1d3d0b-626e-4f20-bc33-f5f9e2c6ee7e/conti/conti_S4sh10.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/37154490-a4ed-4b37-9092-489c054d8a72/episodes/cc1d3d0b-626e-4f20-bc33-f5f9e2c6ee7e/images/background_chain/L11B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the mountain contact post's underground control room, at the certificate display beside the wired phone workstation. Enlarged text on the screen lights the speaker's upper body.\n\nSHOT TEXT (authoritative, Korean): 확대된 텍스트를 가리킨 채 앨런을 쳐다보는 토니의 상체\n\nCARRIED STATE (persist exactly): The phone remains on unstable external power inside the wired isolation setup. The certificate display is enlarged to show “ROOT RECOVERY CLASS: AR-12,” and the ultraphone projections remain active. 토니(앤서니 로저스): He continues holding the broken employee ID badge and indicates the enlarged authority text.\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: Settle at Tony's upper-chest height on his monitor-side three-quarter angle, with his upper body occupying the center-left and Alan's near shoulder and partial profile contained at the right edge. Tony's extended finger remains connected compositionally to the enlarged authority text behind him while his eyes lock onto Alan; Alan leans into the exchange and returns Tony's look, making the tightened camera distance the shot's principal change.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Monitor with enlarged authority text (Displaying ROOT RECOVERY CLASS: AR-12 in enlarged form) — The content-bearing face is oblique but readable to camera, with the enlarged authority line visible behind Tony's pointing hand; used as Connects Tony's extended finger to the evidence while remaining secondary to his expression.\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/cc1d3d0b-626e-4f20-bc33-f5f9e2c6ee7e/images/background_chain/L11B02.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": "c6bc4fcb-ca37-49cc-9352-ba77eac59b11" }, "S5sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S5sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S5sh11": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S6sh11": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S6sh13": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/37154490-a4ed-4b37-9092-489c054d8a72/images/cc1d3d0b-626e-4f20-bc33-f5f9e2c6ee7e/conti/conti_S6sh13.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/37154490-a4ed-4b37-9092-489c054d8a72/episodes/cc1d3d0b-626e-4f20-bc33-f5f9e2c6ee7e/images/background_chain/L11B01.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 one-person crawl tunnel hidden behind a wall of the mountain contact post. The passage is so tight that occupants must bend low and crawl.\n\nSHOT TEXT (authoritative, Korean): 좁은 터널 안으로 몸을 구부린 채 기어 들어가는 윌마의 뒷모습\n\nCARRIED STATE (persist exactly): The narrow crawl tunnel remains exposed behind the opened wall. The phone screen is off, and the glowing circular breach continues consuming the rock door from its edges. 윌마 디어링: She bends low and crawls into the one-person tunnel. The luminous breach remains visible on the rock door as its material disappears from the perimeter.\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: Track at knee height from one body length behind Wilma, aligned with the tunnel as she crawls away from the lower center toward the confined passage ahead. Her bent back and alternating hands define the midground while the tunnel boundaries press close around her, keeping her destination directly along her off-screen gaze.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 윌마 디어링 in the middle-center of the frame, midground, moves toward deeper tunnel passage; deeper tunnel passage in the upper-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: Narrow escape tunnel (Open and restricted to single-person crawling) — The passage recedes directly away from camera along Wilma's path, with its close boundaries visible around her; used as Compresses the frame around Wilma and supplies the movement axis.\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/cc1d3d0b-626e-4f20-bc33-f5f9e2c6ee7e/images/background_chain/L11B01.png" ], [ "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": "dd5f575c-605d-4e9e-99b6-db87eee785b5" }, "S6sh17": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/37154490-a4ed-4b37-9092-489c054d8a72/images/cc1d3d0b-626e-4f20-bc33-f5f9e2c6ee7e/conti/conti_S6sh17.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/37154490-a4ed-4b37-9092-489c054d8a72/episodes/cc1d3d0b-626e-4f20-bc33-f5f9e2c6ee7e/images/background_chain/L11B01.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 mountain contact post's underground control room, beside the concealed crawl-tunnel opening. White light from the erased monitors falls across the last man's face as he turns toward the tunnel.\n\nSHOT TEXT (authoritative, Korean): 모니터의 백색 빛을 받으며 터널 안쪽을 향해 고개를 돌린 앨런의 얼굴\n\nCARRIED STATE (persist exactly): The crawl tunnel remains open, the phone is powered off, and every contact-station screen has been wiped to solid white. The damaged rock door retains the bright circular breach. 앨런: He stays at the tunnel entrance with the lowered long gun after pulling the record-deletion lever, then turns toward the tunnel. The brilliant circular breach remains visible on the inner face of the rock door.\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: Complete the dolly-in beside the console from slightly below Alan's chest height, holding his three-quarter face near center as he turns away from the pulled deletion lever toward the off-frame tunnel. The erased white monitors remain behind his outer shoulder rather than on his eyeline, separating what he has sacrificed from the route he now intends to follow.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 앨런 in the middle-center of the frame, foreground, looks toward off-frame tunnel entrance.\n- KEY BACKGROUND ELEMENTS: Erased monitor screens (Showing blank white after record deletion) — The content-bearing faces are visible behind Alan's outer shoulder, displaying only white and remaining outside his direct eyeline; used as Backlights the consequence of Alan's choice without becoming his gaze target; Record-deletion lever (Pulled) — The lever's handle is held in its activated position beside the console; used as Retains physical evidence of the completed action near the lower frame edge; Tunnel entrance (Open) — The entrance lies beyond Alan's turn and outside the close frame; used as Off-frame destination motivating Alan's head turn.\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/cc1d3d0b-626e-4f20-bc33-f5f9e2c6ee7e/images/background_chain/L11B01.png" ], [ "char:앨런", "/Users/manta/Documents/Projects/TheRoad-I1/projects/37154490-a4ed-4b37-9092-489c054d8a72/images/cc1d3d0b-626e-4f20-bc33-f5f9e2c6ee7e/reference/e82eb524-bf24-45df-aa04-08e93d4acb96.png" ] ], "asset_id": "91f81319-717f-4970-bd79-b5801e9d909a" }, "S7sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S7sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S7sh13": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null } }, "map_conti": {}, "conti_pack": "5.202607222353", "lane_conti": {} }, "step_id": "shot_conti_light", "run_id": "098469ff-22fb-4f24-b2f0-51fd4e599a04", "resolved_model": "gpt-image-2", "updated_at": "2026-09-05T08:49:07.801653+00:00", "project_config_snapshot": {} }