{ "status": "completed", "applicable_count": 26, "completed_count": 26, "failed_count": 0, "schema_version": 3, "config_hash": "f117c363ab0ca54b", "data": { "contis": { "S1sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/conti/conti_S1sh2.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: In dense undergrowth along a forest escape path at dusk.\n\nSHOT TEXT (authoritative, Korean): 허벅지에 이빨 자국이 나고 피가 흐르는 채로 우거진 수풀을 헤치며 도망치는 숲속에서 살해된 남자의 잔뜩 겁에 질린 얼굴 클로즈업, 머리카락이 뒤로 흩날리는 순간.\n\nCARRIED STATE (persist exactly): The man is missing one shoe and has a large, actively bleeding bite wound on his thigh; both conditions must continue through the attack.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Track backward at the fleeing man's head height from a slight front-side position, tightening until his terrified face occupies most of the center-left frame while vegetation slips past at the edges. Keep the camera near eye level and preserve the backward sweep of his hair along the outer frame, with only fragments of his pitched shoulders visible below.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 숲속에서 살해된 남자 in the middle-center of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: 우거진 수풀 (Dense and being forced aside by the fleeing man); used as Dense vegetation passes along both frame edges, compressing the escape route around the face.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:숲속에서 살해된 남자", "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/reference/526cee55-df3a-4183-9ef1-0ec8a924296f.png" ] ], "asset_id": "6ddec542-7a13-46fe-9071-61b806506215" }, "S1sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S2sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/conti/conti_S2sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/background_chain/seed_bg_city_back_alley_sel.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Beside a utility pole in a city back alley at night, under a dim streetlamp.\n\nSHOT TEXT (authoritative, Korean): 희미한 가로등 불빛 아래, 전봇대에 기댄 뒷골목에서 살해된 여자와 정체불명의 남자가 밀착해 서 있는 전신 구도.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From waist height across the alley, hold a static wide view of the pair pressed tightly against the utility pole, their full bodies clustered around the center of frame. Keep the man slightly left and the woman slightly right, with the pole directly behind their overlap and enough alley space around them to make the intimacy appear threatening rather than romantic.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 정체불명의 남자 in the middle-left of the frame, midground; 뒷골목에서 살해된 여자 in the middle-right of the frame, midground; utility pole in the middle-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: 전봇대 (Supporting the woman's weight) — Its alley-facing side is visible behind the pair; used as The pole forms the rigid vertical anchor directly behind the intertwined pair; 가로등 (On with faint output) — The fixture is positioned above the pair and directed toward the alley below; used as The streetlight provides the explicitly faint illumination over the pair; 도시 뒷골목 (Night setting); used as Open alley depth surrounds and isolates the central figures.\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/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/background_chain/seed_bg_city_back_alley_sel.png" ], [ "char:뒷골목에서 살해된 여자", "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/reference/ebd363b8-0df3-46ab-b702-9c62595c631a.png" ], [ "char:정체불명의 남자", "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/reference/12d665eb-f0f3-4672-8a0a-c1d4c510a352.png" ] ], "asset_id": "a5fe8439-24ea-489a-93f6-7f141004e989" }, "S2sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S3sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/conti/conti_S3sh3.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Inside the police-controlled section of the forest crime scene, among investigators conducting the daytime examination.\n\nSHOT TEXT (authoritative, Korean): 무리 지어 선 한국인 남성 형사들 사이에서 한쪽 팔을 뻗은 채 서 있는 혜수의 모습.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Present the scene as regional-news footage from an eye-level position slightly off one side of the detective group, with subtle screen raster and broadcast compression shaping the image. 혜수 holds the visual center in a medium-wide arrangement, one arm extended across the clustered male detectives while foreground shoulders create a restrained observational frame.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 폴리스 라인 (Installed around the scene) — Its marked outward-facing side is visible across the scene; used as The line identifies and separates the active examination area behind the detectives; 시신 수거 현장 (Police are processing and recovering the bodies); used as Background police activity situates 혜수's command within the ongoing recovery operation; 지역 뉴스 화면 (Showing regional-news footage) — The camera-facing image side displays the field footage of the investigation; used as The visible broadcast image acts as the mediated surface through which the scene is perceived.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:혜수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/reference/fc34fa94-eb87-4a28-8f88-18a140f55e54.png" ] ], "asset_id": "496d7044-23da-49de-84f2-23629fd74510" }, "S4sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S5sh7": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/conti/conti_S5sh7.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L04B04.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At the dining table in the rooftop apartment's small living area, reached by daylight from a small window.\n\nSHOT TEXT (authoritative, Korean): 컵 테두리에 입술을 댄 수리영의 얼굴이 미간을 찌푸린 채 멈춘 모습.\n\nCARRIED STATE (persist exactly): Minsuk already bears the small circular mark on her wrist, a long-standing feature present throughout this scene.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Settle the table-side dolly-in at seated eye level, framing 수리영's face tightly in three-quarter view as her lips remain against the cup rim. Her furrowed brow occupies the upper center and the cup stays below it at a natural scale, with only a narrow suggestion of table and room left around the reaction.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 수리영 in the middle-center of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: 컵 (Held with its rim against her lips) — Its open top angles toward 수리영 while the side remains visible to camera; used as The rim crosses the lower portion of 수리영's face and anchors her reaction to the drink; 식탁 (수리영 is seated beside it) — Its upper face is visible along the lower frame edge; used as A small portion of the table remains beneath the cup as spatial context; 거실의 작은 창 (Admitting a narrow shaft of sunlight) — Sunlight passes through it into the room; the view beyond is not specified; used as The window supplies the explicitly described narrow sunlight from the living area.\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/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L04B04.png" ], [ "char:수리영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/reference/a7bfea0b-d668-4ecd-9f0c-1b806add71cb.png" ] ], "asset_id": "09d78c37-97b5-4a7e-b840-28b106ed23e6" }, "S5sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S5sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S6sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/conti/conti_S6sh1.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: On the seaward lane of a coastal road in daylight.\n\nSHOT TEXT (authoritative, Korean): 해안가 도로에서 한쪽 페달을 밟아 내린 자세로 상체를 기울인 수리영의 측면.\n\nCARRIED STATE (persist exactly): Suri-young is riding her bicycle with her earphones in.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Track parallel at torso height from a direct side position, keeping 수리영 and the bicycle in a wide profile as she rides toward screen right. Place her leaned upper body in the middle-left and the lowered pedal and bent leg in the lower center, preserving enough road ahead on the right for her continued movement.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 수리영 in the middle-left of the frame, midground, moves toward open road at screen right.\n- KEY BACKGROUND ELEMENTS: 해안가 도로 (수리영 is riding along it); used as The road forms the horizontal travel axis and leaves visible space ahead of the bicycle; 바다 (Beside the road); used as The sea establishes the coastal setting behind the parallel side view; 자전거 (Moving forward under pedal power) — Its full side profile faces the tracking camera; used as The bicycle carries the downward pedal action central to the shot.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:수리영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/reference/a7bfea0b-d668-4ecd-9f0c-1b806add71cb.png" ] ], "asset_id": "b915b446-b697-4a6c-a6c9-5eb337cb7047" }, "S7sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/conti/conti_S7sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L06B01.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 shelter's dog-handling area, directly in front of the confined Rottweiler.\n\nSHOT TEXT (authoritative, Korean): 로트와일러의 눈을 정면으로 강렬하게 응시하는 수리영의 굳은 표정.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Place the camera statically at 수리영's eye height and close to her face, directly on the confrontation axis without becoming the dog's literal POV. Her rigid face occupies the center and most of the frame, while the 로트와일러 remains outside the frame just beside the lens so that her unwavering stare reads as a direct challenge.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 수리영 in the middle-center of the frame, foreground.\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/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L06B01.png" ], [ "char:수리영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/reference/a7bfea0b-d668-4ecd-9f0c-1b806add71cb.png" ] ], "asset_id": "185d4430-a971-4945-b5ef-12a6496077af" }, "S7sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S7sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S8sh6": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/conti/conti_S8sh6.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L08B03.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 supermarket's retail floor, beside the employees stocking merchandise.\n\nSHOT TEXT (authoritative, Korean): 눈을 동그랗게 뜨고 멈칫한 수리영의 얼굴.\n\nCARRIED STATE (persist exactly): Suri-young has already parked her bicycle outside the mart, and Minsuk remains absent from her workplace.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Finish the eye-line dolly-in inside the store at face-close distance and stop on 수리영's widened eyes. Center her face tightly with only narrow, softened traces of the store aisles at the edges, holding the startled pause before the exterior cut.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 수리영 in the middle-center of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: store display aisles (In use for merchandise display) — Their visible sides recede away behind her; used as Soft edge context that identifies the store while isolating her reaction.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L08B03.png" ], [ "char:수리영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/reference/a7bfea0b-d668-4ecd-9f0c-1b806add71cb.png" ] ], "asset_id": "539bb4cc-81a3-4224-ba5d-812722b5c562" }, "S8sh7": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/conti/conti_S8sh7.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L08B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Immediately outside the supermarket entrance at dusk, facing the adjoining commercial street.\n\nSHOT TEXT (authoritative, Korean): 마트 건물 밖으로 나온 수리영이 휴대전화를 귀에 댄 채 서 있는 정지 구도.\n\nCARRIED STATE (persist exactly): Suri-young's bicycle remains parked outside while she calls Minsuk on her mobile phone; Minsuk still does not answer.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From the fixed eye-level position near the entrance, observe 수리영 at a medium-wide distance after she has come outside. Keep her full figure slightly to one side of center with the phone at her ear, using the store entrance and commercial street as stable spatial context rather than moving with her.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: store entrance (Visible behind her) — The entrance front faces the camera at a slight angle; used as Frames the boundary between the store and exterior street behind 수리영; street signage (Present outside the store) — Display faces are directed toward the street; specific content is not established; used as Provides distant commercial context around the static call.\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/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L08B02.png" ], [ "char:수리영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/reference/a7bfea0b-d668-4ecd-9f0c-1b806add71cb.png" ] ], "asset_id": "1a8bfeac-4818-4658-9281-8b1c73f280d9" }, "S9sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/conti/conti_S9sh1.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: On the dark coastal road at night, along the route back home.\n\nSHOT TEXT (authoritative, Korean): 어두운 밤, 해안도로 위에서 상체를 숙인 채 자전거 핸들을 꽉 쥐고 한쪽 무릎을 굽혀 페달을 밟아 내리는 중간 상태인 수리영, 바람에 옷깃이 뒤로 펄럭이는 모습.\n\nCARRIED STATE (persist exactly): Suri-young is still using the same bicycle as she hurries home, with her mobile phone remaining among her belongings.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Track parallel beside 수리영 at upper-body height and medium distance, holding a strong side profile while retaining the handlebars and the active pedal downstroke in frame. Her forward-canted torso occupies the center-left, with the coastal road extending through the remaining frame to preserve speed and direction.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: coastal road (Visible at night); used as Provides the directional line along which the parallel tracking move travels; bicycle (Being ridden at speed) — Its side profile faces the camera during the parallel track; used as Connects her clenched grip, seated posture, and pedal action within one readable silhouette.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:수리영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/reference/a7bfea0b-d668-4ecd-9f0c-1b806add71cb.png" ] ], "asset_id": "dc095876-90a5-4187-ae34-e96d037690b8" }, "S10sh5": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/conti/conti_S10sh5.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/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: On the rooftop landing directly outside the rooftop apartment's metal entrance door at night.\n\nSHOT TEXT (authoritative, Korean): 정체불명의 남자의 손가락이 종이 전단지를 문틈 사이로 밀어 넣은 채 멈춘 클로즈업.\n\nCARRIED STATE (persist exactly): The advertising flyer has been removed from the door gap and is being used to force the lock.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: End the upward tilt at hand height beside the iron door frame, then hold completely still on the finger pinning the leaflet into the narrow gap. The finger and paper occupy less than the central third, with the door edge remaining visible as a scale reference and the man's face and body withheld.\n- FRAMING SCALE: insert close-up on a detail\n- FRAME LAYOUT: narrow iron-door gap in the middle-center of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: iron entrance door and frame (Closed until the lock releases) — The door edge and frame face the camera obliquely, exposing the gap between them; used as Forms the narrow vertical frame around the finger and leaflet; advertising leaflet (Pressed into the door gap) — A partial printed face of the paper is visible to camera; its specific content is not established; used as Isolated focal detail held inside the door gap.\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/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L03B03.png" ], [ "char:정체불명의 남자", "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/reference/12d665eb-f0f3-4672-8a0a-c1d4c510a352.png" ] ], "asset_id": "cbdeae18-7140-42c3-8e8d-6577914f02ec" }, "S10sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S11sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/conti/conti_S11sh4.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/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: Midway up the exterior staircase connecting the residential building's yard to the rooftop apartment.\n\nSHOT TEXT (authoritative, Korean): 계단 중간에 선 채 코끝을 찡그린 수리영의 얼굴 클로즈업.\n\nCARRIED STATE (persist exactly): Suri-young's bicycle has been left roughly parked in the rear corner of the courtyard while she climbs toward the rooftop room.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Hold statically one step above 수리영 at face height, looking back toward her in a subtly high close angle. Her halted face occupies most of the frame with her wrinkled nose as the focal point, while a small portion of the stair flight remains behind her to preserve the interrupted ascent.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: stair flight (Visible beneath and behind her) — The lower steps recede behind 수리영 while the camera remains one step above her; used as Provides the receding spatial line behind her face and confirms that she has stopped midway upward.\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/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L11B01.png" ], [ "char:수리영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/reference/a7bfea0b-d668-4ecd-9f0c-1b806add71cb.png" ] ], "asset_id": "7480506e-f0cc-41bb-a0fc-1629ec66105d" }, "S11sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S12sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S12sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S12sh15": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S13sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/conti/conti_S13sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L10B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: In the residential building's exterior yard at night, under the nearby streetlight.\n\nSHOT TEXT (authoritative, Korean): 초점을 잃은 눈으로 가로등 불빛 아래 멍하니 서 있는 수리영의 넋이 나간 상체.\n\nCARRIED STATE (persist exactly): Until the later unexplained cleanup is revealed, Minsuk's immobile corpse remains seated behind the curtain inside, with the blood, bite wounds, red wrist mark, and red wall circle still present.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At chest height directly before 수리영, the static camera holds her motionless upper body in a severe centered portrait, with only limited nighttime exterior context around her shoulders. Her body occupies roughly two-thirds of the frame, and the unbroken eye-level axis makes her unfocused stare feel exposed rather than confrontational.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: rooftop-room exterior area (visible at night); used as Visible exterior context behind the isolated figure; streetlight (on) — Its lit side faces toward 수리영's position; used as Motivated illumination on 수리영's arrested 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/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L10B01.png" ], [ "char:수리영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/reference/a7bfea0b-d668-4ecd-9f0c-1b806add71cb.png" ] ], "asset_id": "0afb165a-0f59-4983-b435-5b16d5320f4e" }, "S13sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S14sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S14sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S15sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/conti/conti_S15sh3.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At the bench of a coastal bus stop at night, facing the sea.\n\nSHOT TEXT (authoritative, Korean): 벤치에서 허리를 반쯤 일으켜 세운 채 결연하고 단호한 눈빛으로 혜수를 올려다보는 수리영의 자세.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At seated eye height beside the bench, the final increment of the dolly-in settles below 수리영's eye line as she lifts her torso halfway from the seat. She occupies the left foreground while 혜수 remains on the right in the midground, leaving a clear upward diagonal between 수리영's resolved gaze and 혜수's face.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 수리영 in the lower-left of the frame, foreground, looks toward 혜수; 혜수 in the middle-right of the frame, midground, looks toward 수리영.\n- KEY BACKGROUND ELEMENTS: bench (occupied by 수리영) — Its seat edge runs beneath 수리영 and toward the camera-side end used for the next pivot; used as Physical pivot and lower-frame anchor for 수리영's half-risen action; sea (visible from the bus-stop area); used as Distant setting context behind the pair.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:수리영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/reference/a7bfea0b-d668-4ecd-9f0c-1b806add71cb.png" ] ], "asset_id": "77b39823-4766-4956-8303-e66359075bae" }, "S16sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/conti/conti_S16sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L13B04.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At the doorway into the police office at night, with the interior duty area beyond.\n\nSHOT TEXT (authoritative, Korean): 휴대전화를 귀에 바짝 댄 채 미간을 좁히고 경찰서 사무실 문고리를 꽉 틀어쥔 혜수의 정지된 손과 심각한 상체.\n\nCARRIED STATE (persist exactly): Hye-soo has her mobile phone with her and is calling Minsuk, whose phone remains unanswered.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From chest height just inside the office entrance, hold a medium, shallow three-quarter view of 혜수, placing her tense upper body on the right and her hand locked around the open door handle in the lower-left foreground. The static observer framing keeps the phone tight to her ear and reserves deeper office space behind her for the impending retreat along her entry path.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 경찰서 사무실 문 (open as 혜수 enters) — Its open edge angles away from the camera into the office; used as The entrance edge forms a rigid lateral frame around 혜수 and visually arrests her movement; 문고리 (being tightly twisted and held) — Its graspable side faces 혜수 while remaining visible to the camera; used as Held in the lower-left foreground as the physical focus of her halted entry; 휴대전화 (in use during an unanswered call) — Its side and back are visible while the screen faces 혜수; used as Pressed beside 혜수's face as the unanswered call continues.\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/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L13B04.png" ], [ "char:혜수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/reference/fc34fa94-eb87-4a28-8f88-18a140f55e54.png" ] ], "asset_id": "fb019fde-caa6-44be-b9d0-a5cd24aafe2d" }, "S16sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S17sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S18sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/conti/conti_S18sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L04B05.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On the floor beside the bed in the rooftop apartment's main bedroom, with early daylight entering through a window.\n\nSHOT TEXT (authoritative, Korean): 창문으로 햇살이 스며드는 방 안, 침대 모서리에 이마를 기댄 채 바닥에 웅크려 잠들어 있는 수리영의 모습.\n\nCARRIED STATE (persist exactly): The house remains in its unnaturally clean, reordered state, with Minsuk's corpse, blood, and bedroom wall mark still absent.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Begin with a held low wide frame from a shallow angle across the bedroom, placing 수리영 curled beside the bed in the lower-middle area while the bed corner provides scale above her. After the stillness registers, start the slow dolly toward her sleeping form, keeping the window and surrounding room secondary to the contact between her forehead and the bed edge.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 침대 (used as support while 수리영 sleeps) — Its corner angles toward the camera, with 수리영 resting against its edge; used as The bed corner forms the dominant spatial anchor above 수리영 and supports her sleeping posture; 창문 (allowing sunlight into the room) — Its plane faces the room at an oblique angle; the exterior view is not emphasized; used as Kept in the background as the established path for incoming sunlight.\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/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L04B05.png" ], [ "char:수리영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/reference/a7bfea0b-d668-4ecd-9f0c-1b806add71cb.png" ] ], "asset_id": "f378e729-1f2b-4d84-b247-9b2ce8975da5" }, "S18sh11": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S18sh15": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S19sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/conti/conti_S19sh4.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L09B01.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 the supermarket, directly beneath a CCTV camera mounted high on an exterior corner of the building.\n\nSHOT TEXT (authoritative, Korean): 마트 밖, 고개를 든 채 건물 천장 모서리에 매달린 CCTV 카메라를 올려다보는 수리영의 뒷모습.\n\nCARRIED STATE (persist exactly): Suri-young continues to carry her doll-adorned backpack while investigating Minsuk's disappearance.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From behind 수리영 at upper-torso height, complete the upward tilt with her back and craned head occupying the lower center while the mounted CCTV camera remains small but distinct in the upper-right corner. Hold both in the same medium-wide frame so her eyeline forms a clean diagonal toward the surveillance unit before the camera begins its later descent and arc.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 수리영 in the lower-center of the frame, midground, looks toward overhead CCTV camera; overhead CCTV camera in the upper-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: CCTV 카메라 (mounted at the building corner) — Its lens-bearing front is angled down from the building's upper corner toward the exterior area; used as The overhead endpoint of 수리영's gaze and the evidence she is evaluating; 마트 건물 외부 모서리 (supporting the mounted CCTV camera) — The adjoining faces converge above and to the right of 수리영; used as Provides the high corner that spatially fixes the CCTV above 수리영.\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/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L09B01.png" ], [ "char:수리영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/reference/a7bfea0b-d668-4ecd-9f0c-1b806add71cb.png" ] ], "asset_id": "c87a928a-f60f-45f2-930b-791a8ae1e548" }, "S19sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S20sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/conti/conti_S20sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L16B01.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 supermarket's administrative security office, beside the CCTV monitor whose blue screen light falls across the viewers.\n\nSHOT TEXT (authoritative, Korean): 모니터 화면의 푸른빛이 혜수의 굳은 뺨을 비추는 측면 구도.\n\nCARRIED STATE (persist exactly): Suri-young remains at the CCTV review with her doll-adorned backpack.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Track laterally beside the workstation at seated eye level, then settle into a near-static close profile of 혜수 on the right, her cheek held between the camera and the monitor's blue cast. Keep a narrow oblique slice of the active monitor at the left edge so its unusually dark CCTV segment remains the source of her fixed attention.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: CCTV 모니터 (on and replaying the dark CCTV segment) — The active screen face is seen obliquely from the side, showing the exceptionally dark and unidentifiable portion of the footage; used as An oblique edge remains visible beside 혜수 and supplies the screen light across her cheek; 작업대 (in use for CCTV review) — Its near edge runs laterally beneath 혜수 and the monitor; used as Forms the lower spatial base beneath the close profile and marks the camera's tracking route.\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/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L16B01.png" ], [ "char:혜수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/reference/fc34fa94-eb87-4a28-8f88-18a140f55e54.png" ] ], "asset_id": "25e4c6fd-9d88-4458-86ee-a6a9ec761d75" }, "S20sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S21sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/conti/conti_S21sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L13B04.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At a detective's desk in the middle of the police office, after the other officers have left for a meeting.\n\nSHOT TEXT (authoritative, Korean): 텅 빈 사무실 한가운데 책상 앞에 덩그러니 앉아있는 수리영의 뒷모습.\n\nCARRIED STATE (persist exactly): Suri-young is left alone in the office with her doll-adorned backpack, while the enlarged murder-scene photographs remain scattered across Hye-soo's desk.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From the office entrance axis, hold a static wide frame at 수리영's seated shoulder height, directly behind her. She remains small and centered in the midground with the desk ahead, while vacant workstations spread across both sides to make the empty office outweigh her figure.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 혜수의 책상 (살인사건 확대 사진들이 어지럽게 놓여 있음) — The working side and desktop face 수리영 and remain visible beyond her shoulders; used as Forms the central destination of the rear-axis composition; 사무실 내 작업 공간 (형사들이 모두 빠져나가 비어 있음) — Vacated desks and seating are seen from the entrance side; used as Extends the negative space on both sides of 수리영; 살인사건 확대 사진들 (여러 장이 어지럽게 펼쳐져 있음) — The printed image sides face upward on the desktop, seen obliquely from behind 수리영; used as Creates scattered content across the desk without pulling focus from 수리영's isolation.\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/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L13B04.png" ], [ "char:수리영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/reference/a7bfea0b-d668-4ecd-9f0c-1b806add71cb.png" ] ], "asset_id": "29285c8f-ec57-45cf-a7f6-834b21c842c4" }, "S21sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S21sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S22sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/conti/conti_S22sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L13B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On the pavement directly outside the police station in broad daylight, beside the bicycle parking area.\n\nSHOT TEXT (authoritative, Korean): 대낮의 경찰서 앞, 자전거 페달을 밟고 선 수리영의 상체가 앞으로 크게 쏠린 측면 구도.\n\nCARRIED STATE (persist exactly): Suri-young departs on her bicycle with the coordinate note in her pocket and the doll-adorned backpack in her possession.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Track parallel to the bicycle at upper-torso height from a tight lateral position, holding 수리영 in profile as the environment slips behind her. Her pitched-forward torso occupies the central and upper frame while enough of the handlebar and pedaling leg remains visible below to preserve the force of acceleration.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 자전거 (주행 중) — Its lateral side faces the camera, with the handlebar and part of the pedal mechanism visible; used as Provides the moving support structure around 수리영's compressed riding posture; 경찰서 앞 공간 (대낮) — Seen laterally behind 수리영 as the camera moves parallel with her; used as Establishes the departure location behind the tracked rider.\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/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L13B01.png" ], [ "char:수리영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/reference/a7bfea0b-d668-4ecd-9f0c-1b806add71cb.png" ] ], "asset_id": "a50a5128-4361-48b9-be72-ab34a4a56bc2" }, "S23sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S24sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/conti/conti_S24sh1.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: On an exposed coastal road during a heavy thunderstorm, under lightning and dense rain clouds.\n\nSHOT TEXT (authoritative, Korean): 번개 빛이 번쩍여 해안가 도로 위 자전거 안장에 앉아 한쪽 다리로 페달을 힘껏 밟고 있는 수리영의 역동적인 실루엣이 드러난 찰나.\n\nCARRIED STATE (persist exactly): Suri-young rides with the doll-adorned backpack containing the folded printed maps, while continuing to use her bicycle.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At bicycle-saddle height, track parallel from the side in a wide profile that holds 수리영 and the full bicycle against the coastal road. Time the frame to the lightning flash as one leg drives the pedal downward, exposing her dynamic silhouette without changing the lateral tracking axis.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 자전거 (빗속에서 주행 중) — The full lateral side faces the camera during the downward pedal stroke; used as Carries 수리영 across the frame as a complete side-profile silhouette; 해안가 도로 (세찬 비가 내리고 있음); used as Establishes the route beneath and behind the tracked bicycle; 번개 (번쩍이는 순간); used as Temporarily reveals the rider's silhouette; 먹구름과 세찬 비 (천둥 번개와 함께 지속됨); used as Reduces clarity across the wider environment.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:수리영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/reference/a7bfea0b-d668-4ecd-9f0c-1b806add71cb.png" ] ], "asset_id": "518c9de9-0967-4f6a-948a-081a9f82f0c9" }, "S25sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/conti/conti_S25sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L04B04.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the rooftop apartment's dark living room at dusk, facing an open window and overturned dining chairs.\n\nSHOT TEXT (authoritative, Korean): 해질 무렵의 어두컴컴한 옥탑방 거실, 열린 창문과 바닥에 나뒹구는 의자들 앞에 멈춰 선 수리영의 굳은 뒷모습.\n\nCARRIED STATE (persist exactly): The rooftop room remains ransacked, with intruder footprints, an open living-room window, overturned dining chairs, and disturbed household objects. Suri-young still has her backpack containing the printed maps.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From near the living-room entrance at eye level, hold a static wide frame several paces behind 수리영. Her rigid back stays centered in the midground while the open window and overturned dining chairs remain fixed ahead, allowing the disturbed room to occupy most of the image.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 거실 창문 (열려 있음) — The room-facing frame and open aperture are visible ahead of 수리영; used as Creates the principal opening ahead of 수리영 and anchors the disrupted room layout; 식탁 의자들 (바닥에 쓰러져 있음) — Their sides and undersides are exposed at irregular angles toward the camera; used as Breaks the normal geometry of the living space around 수리영's path; 거실 바닥의 발자국 (누군가 다녀간 흔적으로 남아 있음) — The upward-facing floor surface carries visible footprints leading through the room; used as Leads from the entrance toward the disturbed interior; 헤집어진 가재도구 (집 안에 어질러져 있음); used as Provides environmental evidence of a search.\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/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L04B04.png" ], [ "char:수리영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/reference/a7bfea0b-d668-4ecd-9f0c-1b806add71cb.png" ] ], "asset_id": "514f7d69-5f45-44ee-abd3-3be20cd5ddeb" }, "S25sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S25sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S26sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/conti/conti_S26sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L17B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On the rocks at the edge of an empty, fogbound harbor at dusk.\n\nSHOT TEXT (authoritative, Korean): 수리영의 손에 들린 휴대전화 화면 위로 혜수의 부재중 전화 알림창이 떠 있는 클로즈업.\n\nCARRIED STATE (persist exactly): Suri-young still has her phone, the backpack containing the printed maps, and the bloodstained old photograph; Hye-soo's repeated missed calls remain logged on the phone.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Complete the dolly-in beside 수리영 at hand height, isolating her raised hand and phone while her seated body falls mostly outside the frame. Keep the phone below forty percent of the image, centered with the missed-call notification legible, while portions of her hand and lap provide human scale around it.\n- FRAMING SCALE: insert close-up on a detail\n- KEY BACKGROUND ELEMENTS: 휴대전화 화면 (부재중 전화 알림창이 떠 있음) — The active front face angles toward the camera and displays multiple missed calls from 혜수; used as Presents the missed calls as device-mediated information at the center of the insert; 빈 포구 (안개가 자욱하고 비가 그친 상태); used as Provides limited setting context beyond the hand without competing with the notification.\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/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L17B02.png" ], [ "char:수리영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/reference/a7bfea0b-d668-4ecd-9f0c-1b806add71cb.png" ] ], "asset_id": "455a53f9-8654-4f61-aaad-c8a53507128e" }, "S26sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S26sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S27sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S28sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/conti/conti_S28sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L18B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On the open deck of an aging small fishing boat at sea, beside the wheelhouse.\n\nSHOT TEXT (authoritative, Korean): 수리영의 손가락 끝이 낡은 흑백 사진을 쥔 채 인우의 눈앞으로 뻗어 있는 클로즈업.\n\nCARRIED STATE (persist exactly): Suri-young still carries her backpack of printed maps and holds the old photograph removed from the red wall circle, now extending it toward In-woo.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At 인우's face height and within arm's length, place the lens just beside 수리영's extended forearm so her fingertips and the old photograph sit sharp in the center foreground while 인우's eyes remain close behind them. End the dolly-in before the shallow arc begins, using the arm as a diagonal that pins his recoiling attention to the photograph.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 낡은 흑백 사진 (Old black-and-white photograph) — The printed front face is visible at a slight angle, with 수리영's fingertips gripping its edge; used as Central foreground focal surface held directly before 인우's eyes; 갑판 (On a small fishing boat at sea); used as Provides limited environmental context behind 인우 without distracting from his eyes.\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/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L18B01.png" ], [ "char:수리영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/reference/a7bfea0b-d668-4ecd-9f0c-1b806add71cb.png" ] ], "asset_id": "012d6fc9-27f7-4a40-b257-b3c6c1e28ec7" }, "S28sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S28sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S29sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/conti/conti_S29sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L19B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the cramped wheelhouse of the small fishing boat at dusk, directly at the helm.\n\nSHOT TEXT (authoritative, Korean): 해 질 무렵 좁은 조타실 안, 조타기를 꽉 쥔 인우와 그를 온몸으로 가로막은 수리영이 밀착해 뒤엉킨 구도.\n\nCARRIED STATE (persist exactly): The wheelhouse's numerous circles, including the red one, remain fixed around the struggling pair. Suri-young retains her backpack and the old photograph.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From chest height near the confined wheelhouse entrance, hold a static wide composition down the open line toward the helm, with 인우 compressed into the right midground and 수리영 blocking him from the left-center. Their overlapping bodies form a tight diagonal around his hands on the helm, while enough of the cramped interior remains visible to establish the trap-like space.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 조타기 (Firmly gripped by 인우) — Its operating side faces 인우, with his hands visibly gripping it from the right midground; used as Central physical anchor around which both bodies are compressed; 조타실 입구 (Open) — The entrance faces into the confined room, with its edges enclosing the pair; used as Creates a narrow foreground frame and the camera's line of approach; 좁은 조타실 내부 (Occupied by the struggling pair); used as The enclosing background that limits lateral escape and intensifies the confrontation.\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/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L19B01.png" ], [ "char:수리영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/reference/a7bfea0b-d668-4ecd-9f0c-1b806add71cb.png" ], [ "char:인우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/reference/b8f209e1-aded-463c-9691-23ca458cfe4c.png" ] ], "asset_id": "7cc59904-27a7-41d0-a4f8-fd077beec978" }, "S29sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S29sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S30sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null } }, "map_conti": {}, "conti_pack": "4.202607221110", "lane_conti": { "S2sh1": { "lane": "structure_plate", "group_id": "bg_city_back_alley", "segment_id": "SEG_01", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/background_chain/seed_bg_city_back_alley_sel.png", "seed_asset_id": "b18407f5-3e3a-45eb-85e0-43ce8eccbd24", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/background_chain/seed_bg_city_back_alley_sel.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/conti/conti_S2sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/background_chain/seed_bg_city_back_alley_sel.png" }, "S4sh1": { "lane": "structure_plate", "group_id": "bg_rooftop_villa", "segment_id": "SEG_ROOFTOP_STRUCTURE", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/background_chain/seed_bg_rooftop_villa_sel.png", "seed_asset_id": "43e496a8-bffd-428d-bf77-b87551da16f1", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L03B02.png", "bg_reason": "", "bypass_reason": "bg_only" }, "S8sh1": { "lane": "map_marker", "group_id": "bg_supermarket_complex", "segment_id": "SEG_01", "sketch_attempts": 1, "status": "ok", "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/conti/lane_sketch_S8sh1.png", "base_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/background_chain/canon_bg_supermarket_complex_map.png", "base_map_asset_id": "3b70eeba-d26e-4bc5-94ab-22bc3466ec29", "geometry": { "camera": { "look_target": { "x": 0.35, "y": 0.58 }, "origin": { "x": 0.43, "y": 0.58 } }, "entity_placements": [ { "slot": "E1", "subject_en": "young woman riding a bicycle", "x": 0.35, "y": 0.58 } ], "rationale_ko": "자전거를 탄 여성은 네온사인(C2)이 이어지는 항구 인접 상업도로(C1) 위에서 마트 입구 접근부(E3)로 향하는 위치에 배치했다. 카메라는 도로의 마트 쪽 가장자리에서 일정한 측면 거리를 두고 서쪽을 바라보게 하여, 도로 진행축과 직각인 완전한 측면 전신 및 페달링 자세를 담고 뒤쪽으로 네온사인과 항구 방향(C3)이 겹쳐 보이도록 설정했다." }, "geometry_attempts": 1, "leakage": { "has_marker_leakage": false, "details_ko": "다이어그램 기호나 도면 유출이 없습니다." }, "prompt": "Draw a single CAMERA-VIEW storyboard frame (16:9) of the scene staged\non the attached TOP-DOWN SITE PLAN, seen from the camera position\ngiven in the STAGING GEOMETRY data below.\n\nJurisdiction of sources — follow all three, they do not conflict:\n- The attached SITE PLAN is the SOT for what exists on the site and\n how its zones and landmarks are arranged relative to each other.\n- The STAGING GEOMETRY data below is the SOT for XY POSITIONS and\n horizontal heading ONLY: where each subject stands on that plan,\n where the camera stands, and which way it looks. Distances,\n directions and relative depths between subjects come from these\n coordinates. Subjects outside the camera's horizontal field of\n view are out of frame.\n- The CAMERA DIRECTION text below (when present) is the SOT for the\n VERTICAL angle, elevation, tilt and framing (eye-level, high angle,\n overhead crane, low angle, ...). If it asks for a high or overhead\n angle, draw that angle — the site plan being top-down does NOT mean\n the frame must be eye-level.\n\nSTYLE — LIGHT STORYBOARD FRAME: thin uniform dark outlines on plain\npaper. No shading, no hatching, no texture, no facial features beyond\na minimal head shape, no costume detail. Human figures are correctly\nproportioned full-body outlines in their canonical poses. Environment\nis reduced to a few placement lines (ground line, key landmark\nsilhouettes) — just enough to read positions and depth.\n\nSTAGING GEOMETRY — PLANNING DATA ONLY, NEVER RENDER IT: the lines\nbelow are normalized map coordinates on the attached site plan\n(x runs left→right 0..1, y runs top→bottom 0..1). Use them solely to\nplace the camera and subjects. Do NOT draw any of this data in the\nimage — no numbers, no coordinates, no labels, no arrows, no cones,\nno dots, no diagram symbols of any kind.\n- the camera stands at (x=0.43, y=0.58) and looks toward (x=0.35, y=0.58); subjects outside the camera's horizontal field of view are out of frame\n- young woman riding a bicycle stands at (x=0.35, y=0.58)\n\nCAMERA DIRECTION (vertical angle / elevation / framing SOT): Track parallel from the street side at the prescribed lateral distance and low-to-mid height, keeping 수리영 and the bicycle in complete profile. Her full pedaling posture occupies the middle third while taxis, neon signs, and street stalls pass in layered background bands without obscuring her path.\n\nTHE LOCATION: 대형 마트 외부와 입구\n\nSHOT TEXT (authoritative, Korean): 네온사인과 포장마차가 늘어선 번화가 거리에서 자전거 안장에 앉아 한쪽 무릎은 내려가고 반대쪽 무릎은 올라온 페달링 중 자세의 수리영 전신.\n\nCRITICAL — THE SITE PLAN IS A STAGING REFERENCE, NOT CONTENT: do NOT\ndraw the plan itself, and do NOT draw any diagram elements in the\nframe — no circles, dots, wedges, cones, arrows, callouts, codes or\nany other overlay symbols. The output is a clean storyboard drawing\nof the scene as seen by the camera only.\n\nNo text, no letters, no numbers, no captions anywhere in the image.", "asset_id": "8c44df5a-c8a6-4190-884c-b23cb6f7f9af" }, "S8sh7": { "lane": "structure_plate", "group_id": "bg_supermarket_complex", "segment_id": "SEG_02", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/background_chain/seed_bg_supermarket_complex_sel.png", "seed_asset_id": "719cdcdf-d466-4592-a7b5-dce92e27fa6e", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L08B02.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/conti/conti_S8sh7.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L08B02.png" }, "S10sh5": { "lane": "structure_plate", "group_id": "bg_rooftop_villa", "segment_id": "SEG_ROOFTOP_STRUCTURE", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/background_chain/seed_bg_rooftop_villa_sel.png", "seed_asset_id": "43e496a8-bffd-428d-bf77-b87551da16f1", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L03B03.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/conti/conti_S10sh5.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L03B03.png" }, "S10sh7": { "lane": "structure_plate", "group_id": "bg_rooftop_villa", "segment_id": "SEG_ROOFTOP_STRUCTURE", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/background_chain/seed_bg_rooftop_villa_sel.png", "seed_asset_id": "43e496a8-bffd-428d-bf77-b87551da16f1", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L03B03.png", "bg_reason": "", "bypass_reason": "prev" }, "S11sh6": { "lane": "structure_plate", "group_id": "bg_rooftop_villa", "segment_id": "SEG_ROOFTOP_STRUCTURE", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/background_chain/seed_bg_rooftop_villa_sel.png", "seed_asset_id": "43e496a8-bffd-428d-bf77-b87551da16f1", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L11B01.png", "bg_reason": "", "bypass_reason": "bg_only" }, "S15sh6": { "lane": "map_marker", "group_id": "bg_coastal_road_stop", "segment_id": "SEG_02", "sketch_attempts": 1, "status": "ok", "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/132fe629-d451-4f2f-ac9c-c33beb62bb0f/conti/lane_sketch_S15sh6.png", "base_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/background_chain/canon_bg_coastal_road_stop_map.png", "base_map_asset_id": "15585475-d08c-4113-a602-54791f540eef", "geometry": { "camera": { "look_target": { "x": 0.5, "y": 0.49 }, "origin": { "x": 0.375, "y": 0.65 } }, "entity_placements": [ { "slot": "E1", "subject_en": "standing woman near the bus-stop bench", "x": 0.466, "y": 0.47 }, { "slot": "E2", "subject_en": "running young woman with one leg lifted", "x": 0.531, "y": 0.505 } ], "rationale_ko": "카메라는 B1 남서쪽 풀숲 안의 낮은 위치에서 버스정류장 쪽을 정적으로 바라보게 했다. 혜수는 정류장 벤치 가까운 왼쪽에 멈춰 세우고, 수리영은 충분히 분리된 오른쪽 도로변에서 한쪽 다리를 든 채 달리는 순간으로 배치해 두 인물이 풀숲 틈 너머의 먼 실루엣으로 보이게 했다." }, "geometry_attempts": 1, "leakage": { "has_marker_leakage": false, "details_ko": "마커나 다이어그램 기호 없이 지시된 카메라 시점만 묘사되었습니다." }, "prompt": "Draw a single CAMERA-VIEW storyboard frame (16:9) of the scene staged\non the attached TOP-DOWN SITE PLAN, seen from the camera position\ngiven in the STAGING GEOMETRY data below.\n\nJurisdiction of sources — follow all three, they do not conflict:\n- The attached SITE PLAN is the SOT for what exists on the site and\n how its zones and landmarks are arranged relative to each other.\n- The STAGING GEOMETRY data below is the SOT for XY POSITIONS and\n horizontal heading ONLY: where each subject stands on that plan,\n where the camera stands, and which way it looks. Distances,\n directions and relative depths between subjects come from these\n coordinates. Subjects outside the camera's horizontal field of\n view are out of frame.\n- The CAMERA DIRECTION text below (when present) is the SOT for the\n VERTICAL angle, elevation, tilt and framing (eye-level, high angle,\n overhead crane, low angle, ...). If it asks for a high or overhead\n angle, draw that angle — the site plan being top-down does NOT mean\n the frame must be eye-level.\n\nSTYLE — LIGHT STORYBOARD FRAME: thin uniform dark outlines on plain\npaper. No shading, no hatching, no texture, no facial features beyond\na minimal head shape, no costume detail. Human figures are correctly\nproportioned full-body outlines in their canonical poses. Environment\nis reduced to a few placement lines (ground line, key landmark\nsilhouettes) — just enough to read positions and depth.\n\nSTAGING GEOMETRY — PLANNING DATA ONLY, NEVER RENDER IT: the lines\nbelow are normalized map coordinates on the attached site plan\n(x runs left→right 0..1, y runs top→bottom 0..1). Use them solely to\nplace the camera and subjects. Do NOT draw any of this data in the\nimage — no numbers, no coordinates, no labels, no arrows, no cones,\nno dots, no diagram symbols of any kind.\n- the camera stands at (x=0.38, y=0.65) and looks toward (x=0.50, y=0.49); subjects outside the camera's horizontal field of view are out of frame\n- standing woman near the bus-stop bench stands at (x=0.47, y=0.47)\n- running young woman with one leg lifted stands at (x=0.53, y=0.51)\n\nCAMERA DIRECTION (vertical angle / elevation / framing SOT): From a low, static position within the grass, the camera watches through a narrow irregular gap, with nearby blades obscuring portions of the lower and side edges without overwhelming the distant figures. 수리영 is caught mid-stride toward the right with one leg lifted, while 혜수 remains clearly separated to the left near the bench, both reduced to distant silhouettes.\n\nTHE LOCATION: 해안가 버스정류장\n\nSHOT TEXT (authoritative, Korean): 풀숲 그림자에 반쯤 가려진 불길한 주관적 시야 틈새로, 멀찍이 서 있는 혜수와 한쪽 다리를 공중에 띄운 채 달려가는 자세인 수리영의 실루엣이 담긴 구도.\n\nCRITICAL — THE SITE PLAN IS A STAGING REFERENCE, NOT CONTENT: do NOT\ndraw the plan itself, and do NOT draw any diagram elements in the\nframe — no circles, dots, wedges, cones, arrows, callouts, codes or\nany other overlay symbols. The output is a clean storyboard drawing\nof the scene as seen by the camera only.\n\nNo text, no letters, no numbers, no captions anywhere in the image.", "asset_id": "5a335c84-f04b-4316-a44c-ff668c1165bd" }, "S17sh1": { "lane": "structure_plate", "group_id": "bg_rooftop_villa", "segment_id": "SEG_ROOFTOP_STRUCTURE", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/background_chain/seed_bg_rooftop_villa_sel.png", "seed_asset_id": "43e496a8-bffd-428d-bf77-b87551da16f1", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L03B01.png", "bg_reason": "", "bypass_reason": "bg_only" }, "S26sh7": { "lane": "structure_plate", "group_id": "bg_harbor_fishing_boat", "segment_id": "SEG_02", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/background_chain/seed_bg_harbor_fishing_boat_sel.png", "seed_asset_id": "4a27d6a1-fd60-4638-983a-62a42ca0507f", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L17B02.png", "bg_reason": "", "bypass_reason": "prev" }, "S28sh7": { "lane": "structure_plate", "group_id": "bg_harbor_fishing_boat", "segment_id": "SEG_03", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/images/background_chain/seed_bg_harbor_fishing_boat_sel.png", "seed_asset_id": "4a27d6a1-fd60-4638-983a-62a42ca0507f", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L18B01.png", "bg_reason": "", "bypass_reason": "prev" } }, "plate_authority": { "S5sh7": { "assigned": "L04B04", "chosen": "L04B04", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L04B04.png", "record": { "candidates": { "A": "L04B01", "B": "L04B02", "C": "L04B03", "D": "L04B04", "E": "L04B05", "F": "L04B06", "G": "L04B07" }, "assigned": "L04B04", "choice": "Candidate D", "confident": true, "reason_ko": "\"컵 테두리에 입술을 댄\"이라는 행동으로 보아 컵을 사용하는 식탁 및 주방 공간이 가장 적합하므로 기존 할당을 유지함.", "kept": "L04B04" }, "fingerprint": "ebdc97a2a160a0e0" }, "S8sh6": { "assigned": "L08B03", "chosen": "L08B03", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L08B03.png", "record": { "candidates": { "A": "L08B01", "B": "L08B02", "C": "L08B03" }, "assigned": "L08B03", "choice": "Candidate C", "confident": false, "reason_ko": "수리영의 표정(눈을 동그랗게 뜨고 멈칫함)만 묘사되어 있어, 특정 서브공간을 지시하는 단서가 부족하므로 현재 할당된 후보를 유지함.", "kept": "L08B03" }, "fingerprint": "1eea20b098ecd0ee" }, "S8sh7": { "assigned": "L08B02", "chosen": "L08B02", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L08B02.png", "record": { "candidates": { "A": "L08B01", "B": "L08B02", "C": "L08B03" }, "assigned": "L08B02", "choice": "Candidate B", "confident": true, "reason_ko": "'마트 건물 밖'이라는 조건만 주어졌으며, 제시된 후보들(자전거 주차 구역, 노점 구역 등) 중 특정 공간을 요구하는 단서가 없으므로 기존 할당을 유지함.", "kept": "L08B02" }, "fingerprint": "1f3ca27a78489e36" }, "S10sh5": { "assigned": "L03B03", "chosen": "L03B03", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L03B03.png", "record": { "candidates": { "A": "L03B01", "B": "L03B02", "C": "L03B03" }, "assigned": "L03B03", "choice": "Candidate C", "confident": true, "reason_ko": "샷 텍스트에 '문틈'이 명시되어 있어 옥탑방의 철문 공간이 필요합니다. 세 후보 모두 해당 철문을 포함한 동일한 옥상 공간을 보여주고 있어 서브공간 상의 명확한 차이가 없으므로, 규칙에 따라 현재 배정된 후보를 유지합니다.", "kept": "L03B03" }, "fingerprint": "29f7a6a47832a777" }, "S16sh1": { "assigned": "L13B05", "chosen": "L13B05", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L13B04.png", "record": { "candidates": { "A": "L13B01", "B": "L13B02", "C": "L13B03", "D": "L13B04", "E": "L13B05", "F": "L13B06" }, "assigned": "L13B05", "choice": "Candidate C", "confident": true, "reason_ko": "원문의 '경찰서 사무실 문고리를 꽉 틀어쥔'이라는 묘사에 따라 출입문이 포함된 배경이 필요하므로 문이 명확히 보이는 공간을 선택함.", "kept": "L13B05" }, "fingerprint": "1a356fd8523d2c51" }, "S18sh1": { "assigned": "L04B05", "chosen": "L04B05", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L04B05.png", "record": { "candidates": { "A": "L04B01", "B": "L04B02", "C": "L04B03", "D": "L04B04", "E": "L04B05", "F": "L04B06", "G": "L04B07" }, "assigned": "L04B05", "choice": "Candidate E", "confident": true, "reason_ko": "햇살이 스며드는 방 안과 침대가 있다는 묘사(창문으로 햇살이 스며드는 방 안, 침대 모서리)를 충족하며, 현재 할당된 후보가 이를 정확히 보여주므로 변경할 이유가 없습니다.", "kept": "L04B05" }, "fingerprint": "795cd86b35b5117a" }, "S21sh3": { "assigned": "L13B04", "chosen": "L13B04", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L13B04.png", "record": { "candidates": { "A": "L13B01", "B": "L13B02", "C": "L13B03", "D": "L13B04", "E": "L13B05", "F": "L13B06" }, "assigned": "L13B04", "choice": "Candidate D", "confident": true, "reason_ko": "\"사무실 한가운데 책상 앞\"이라는 묘사에 사무실 내부 책상들이 배치된 현재 할당 이미지가 잘 부합하며, 다른 후보로 변경할 명확한 공간적/시간적 근거가 텍스트에 없습니다.", "kept": "L13B04" }, "fingerprint": "50cefb89dfeadb78" }, "S22sh1": { "assigned": "L13B01", "chosen": "L13B01", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L13B01.png", "record": { "candidates": { "A": "L13B01", "B": "L13B02", "C": "L13B03", "D": "L13B04", "E": "L13B05", "F": "L13B06" }, "assigned": "L13B01", "choice": "Candidate A", "confident": true, "reason_ko": "\"대낮의 경찰서 앞\"이라는 묘사와 자전거가 등장하는 것으로 보아, 경찰서 건물 외부 및 거리가 배경이 되어야 합니다.", "kept": "L13B01" }, "fingerprint": "2e81858954c3c930" }, "S25sh1": { "assigned": "L04B02", "chosen": "L04B02", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L04B04.png", "record": { "candidates": { "A": "L04B01", "B": "L04B02", "C": "L04B03", "D": "L04B04", "E": "L04B05", "F": "L04B06", "G": "L04B07" }, "assigned": "L04B02", "choice": "Candidate B", "confident": true, "reason_ko": "\"옥탑방 거실\"과 \"바닥에 나뒹구는 의자들\"이라는 묘사를 통해 거실/주방 공간이 배경임을 알 수 있으며, 다른 뚜렷한 차이가 없으므로 거실 서브공간을 보여주는 기존 할당을 유지합니다.", "kept": "L04B02" }, "fingerprint": "8f79f806e930e7bc" }, "S26sh3": { "assigned": "L17B02", "chosen": "L17B02", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L17B02.png", "record": { "candidates": { "A": "L17B01", "B": "L17B02" }, "assigned": "L17B02", "choice": "Candidate B", "confident": true, "reason_ko": "\"휴대전화 화면... 클로즈업\" 샷으로 배경의 특정 구역이 명확히 요구되지 않으며, 제공된 두 후보가 동일한 이미지이므로 기존 할당을 유지합니다.", "kept": "L17B02" }, "fingerprint": "975b9e2c95185aba" }, "S28sh3": { "assigned": "L18B02", "chosen": "L18B02", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L18B01.png", "record": { "candidates": { "A": "L18B01", "B": "L18B02" }, "assigned": "L18B02", "choice": "Candidate B", "confident": true, "reason_ko": "클로즈업 샷으로 인물들의 손과 사진만 묘사되어 선박 내 특정 공간(갑판 혹은 조타실 등)을 명확히 구분할 수 있는 근거가 없으므로, 현재 할당된 후보를 유지합니다.", "kept": "L18B02" }, "fingerprint": "e58941f957828104" }, "S29sh1": { "assigned": "L19B01", "chosen": "L19B01", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d61971a-7158-40f4-b742-8fd5e757dbbf/episodes/132fe629-d451-4f2f-ac9c-c33beb62bb0f/images/background_chain/L19B01.png", "record": { "candidates": { "A": "L19B01", "B": "L19B02", "C": "L19B03" }, "assigned": "L19B01", "choice": "A", "confident": true, "reason_ko": "\"조타기를 꽉 쥔 인우와 그를 온몸으로 가로막은 수리영이 밀착해 뒤엉킨 구도\"라는 묘사를 볼 때, 조타기 주변으로 두 인물이 몸싸움을 벌일 수 있는 공간감이 확보된 A가 적합합니다.", "chosen": "L19B01" }, "fingerprint": "ce5ec1f89433b9d7" } } }, "step_id": "shot_conti_light", "run_id": "faf85cee-c88d-478b-b4db-ca7653be2285", "resolved_model": "gpt-image-2", "updated_at": "2026-07-21T22:28:15.064483+00:00", "project_config_snapshot": {} }