{
 "S15sh2": {
  "input_fingerprint": "870c0a53a980ec06",
  "geometry": {
   "camera": {
    "look_target": {
     "x": 0.5,
     "y": 0.72
    },
    "look_target_anchor_en": "At lap level in the central part of the coastal bus stop vicinity.",
    "origin": {
     "x": 0.47,
     "y": 0.75
    },
    "origin_anchor_en": "In the central part of the coastal bus stop vicinity, slightly inland from the coastal edge.",
    "view_left": {
     "x": 0.496,
     "y": 0.713
    },
    "view_left_anchor_en": "On the seaward side of the central coastal bus stop vicinity.",
    "view_right": {
     "x": 0.511,
     "y": 0.727
    },
    "view_right_anchor_en": "On the inland side of the central coastal bus stop vicinity."
   },
   "entity_placements": [
    {
     "anchor_en": "In the central coastal bus stop vicinity, immediately beside the seated area facing the sea.",
     "camera_facing_evidence": "",
     "camera_facing_relation": "unspecified",
     "facing": {
      "x": 0.506,
      "y": 0.715
     },
     "facing_anchor_en": "At the adjacent seated spot in the central coastal bus stop vicinity.",
     "slot": "E1",
     "subject_en": "woman offering a canned drink",
     "x": 0.487,
     "y": 0.728
    },
    {
     "anchor_en": "At the central coastal bus stop vicinity near its seaward side.",
     "camera_facing_evidence": "",
     "camera_facing_relation": "unspecified",
     "facing": {
      "x": 0.56,
      "y": 0.56
     },
     "facing_anchor_en": "Toward the coastal edge beside the bus stop vicinity.",
     "slot": "E2",
     "subject_en": "seated young woman",
     "x": 0.505,
     "y": 0.715
    }
   ],
   "rationale_ko": "두 인물을 해안 버스정류장 구역 중앙에 매우 가깝게 배치해 캔을 든 손이 앉은 여성의 무릎 바로 위에 놓이도록 했다. 카메라는 두 사람 가까이에서 무릎 높이의 좁은 화각으로 바라보며, 얼굴 대신 손·캔·무릎 주변만 포착하는 클로즈업 구도다."
  },
  "marker_check": {
   "markers_ok": true,
   "details_ko": "정상"
  },
  "marker_prompt": "Edit the attached TOP-DOWN SITE PLAN image: draw STAGING MARKERS on it\nat the positions described below. This is a planning aid for a film\ncrew, drawn over the plan.\n\nPLACEMENT AUTHORITY: each marker line below places its marker relative\nto a fixed feature, zone or boundary VISIBLE on the attached plan —\nthat landmark-relative description is the placement authority. The\nnormalized fractions in parentheses are coarse estimates of the same\nspot (x runs left→right 0..1, y runs top→bottom 0..1 of the full\ncanvas) — use them only to confirm the rough region; when in doubt,\nthe landmark description wins. Do NOT relocate a marker onto a\ndifferent salient line or feature than the one its description names.\n\nNEVER move a marker to make the drawing fit. The camera circle and\nevery subject circle go exactly where their descriptions place them,\neven when that leaves the view wedge or an arrow running off the edge\nof the image — in that case just let the wedge or arrow continue to\nthe image border and stop there. Shifting the camera outward, pulling\na subject aside, or shrinking the wedge to keep it inside the canvas\nall break the plan this map exists to record.\n\nDraw EXACTLY these markers, flat and high-contrast, small enough not\nto hide the plan under them:\n- CAMERA: one filled circle at the camera position, labelled CAM, and\n  out of that circle a FIELD-OF-VIEW WEDGE showing what this shot\n  sees — two straight thin lines, one running toward each of the two\n  frame-edge positions given below, and a third thinner line to the\n  look-target position between them. Fill the area between the two\n  edge lines with a light translucent tint so the wedge reads as the\n  camera's view; the plan underneath must stay fully readable through\n  the tint. Every subject listed below stands inside this wedge —\n  if your drawing leaves one outside it, the wedge is drawn wrong,\n  not the subject.\n- SUBJECTS: one filled circle per subject at its position, labelled\n  with its slot code (E1, E2, ...) followed by its short description\n  in parentheses, and one short ARROW leaving that circle toward the\n  spot the subject faces, so the direction each subject is turned is\n  readable at a glance.\n\nChange NOTHING else: keep every zone, landmark, line, label and color\nof the plan exactly as attached — do not redraw, recolor, move or\nremove anything, do not add scenery, shadows or any other symbols or\ntext beyond the markers, wedge, arrows and labels specified above. The\noutput is the SAME plan image with only these staging markers added.\n\nMARKERS TO DRAW:\n- CAM (camera): circle In the central part of the coastal bus stop vicinity, slightly inland from the coastal edge. (coarse estimate x=0.47, y=0.75); its sight line ends at LOOK TARGET: At lap level in the central part of the coastal bus stop vicinity. (coarse estimate x=0.50, y=0.72); the frame's LEFT edge cuts through On the seaward side of the central coastal bus stop vicinity. (coarse estimate x=0.50, y=0.71) and its RIGHT edge through On the inland side of the central coastal bus stop vicinity. (coarse estimate x=0.51, y=0.73)\n- E1 (woman offering a canned drink): circle In the central coastal bus stop vicinity, immediately beside the seated area facing the sea. (coarse estimate x=0.49, y=0.73), facing At the adjacent seated spot in the central coastal bus stop vicinity. (coarse estimate x=0.51, y=0.71)\n- E2 (seated young woman): circle At the central coastal bus stop vicinity near its seaward side. (coarse estimate x=0.51, y=0.71), facing Toward the coastal edge beside the bus stop vicinity. (coarse estimate x=0.56, y=0.56)\n\n[REGENERATE — the previous attempt failed the marker check: E2 마커가 지정된 중앙 버스 정류장 부근이 아닌 우측 해안가 근처로 완전히 잘못된 위치에 배치되었습니다.. Draw exactly the specified markers and change nothing else on the plan.]",
  "marker_attempts": 3,
  "marker_map_sha256": "20f6b7862312d86706fd675489236834cea16e01b7750c4b60f3b6b1ffcc4bc4",
  "leakage": {
   "has_marker_leakage": false,
   "details_ko": "도면 기호나 평면도 같은 스테이징 유출 흔적이 없음."
  },
  "prompt": "Draw a single CAMERA-VIEW storyboard frame (16:9) of the scene staged\non the attached MARKER-ANNOTATED TOP-DOWN SITE PLAN, seen from the\ncamera position marked on it.\n\nThe attached plan carries STAGING MARKERS drawn over it: a\ncamera-position marker with a field-of-view wedge (where the camera\nstands, which way it looks and how wide it sees) and one labelled\ncircle per subject with an arrow (where each subject stands and which\nway that subject is turned). Jurisdiction of sources — follow all three, they do not\nconflict:\n- The SITE PLAN under the markers is the SOT for what exists on the\n  site and how its zones and landmarks are arranged relative to each\n  other. The markers themselves are staging aids, NOT site content.\n- The markers on the plan are the SOT for XY POSITIONS, horizontal\n  heading and body facing ONLY: where each subject stands on that\n  plan, which way each one is turned, where the camera stands, which\n  way it looks and how wide its wedge opens. Distances, directions\n  and relative depths between subjects come from the marked\n  positions; what the wedge covers is what this frame contains, and\n  subjects outside the wedge are out of frame. The STAGING GEOMETRY\n  text below restates the same staging with coarse normalized\n  estimates — it never overrides the marked plan.\n- The CAMERA DIRECTION text below (when present) is the SOT for the\n  VERTICAL angle, elevation, tilt and framing (eye-level, high angle,\n  overhead crane, low angle, ...). If it asks for a high or overhead\n  angle, draw that angle — the site plan being top-down does NOT mean\n  the frame must be eye-level. It does NOT govern horizontal\n  placement: which side of the frame a subject occupies and which way\n  that subject is turned come from the marked plan and the staging\n  text, even when that memo also mentions left, right, foreground or\n  background.\n\nSTYLE — MANNEQUIN BLOCKING SKETCH: thin uniform dark outlines on plain\npaper, nothing else. Draw every person as a PLAIN ARTIST'S MANNEQUIN:\na featureless oval head with NO face, NO hair, NO clothing and no\ncostume detail — simple tapered limbs and torso, like a wooden posing\nfigure. Because the head has no face and no hair, the ONLY thing that\nshows which way a figure is turned is the BODY ITSELF: the direction\nthe chest, hips and feet point, and the way the head-oval sits on the\nshoulders. Aim each mannequin's chest and feet at the spot the staging\ntext says that person faces, and let the arms carry the action. A\nmannequin turned to the wrong side is the single worst error in this\ndrawing. Environment is reduced to a few placement lines (ground line,\nkey landmark silhouettes) — just enough to read positions and depth.\n\nSTAGING GEOMETRY — PLANNING DATA ONLY, NEVER RENDER IT: the lines\nbelow restate, marker by marker, the staging already marked on the\nattached plan: each landmark-relative description restates the\nmarker-map authority in words, and the normalized fractions in\nparentheses (x left→right 0..1, y top→bottom 0..1) are coarse audit\nestimates only — neither ever overrides the marked plan.\n\nThose fractions are TOP-DOWN bookkeeping. Never read them as left and\nright of your frame: on a plan seen from above, a subject \"to the\nright\" can sit on either side of a camera that looks any direction.\nEach subject line therefore ends with the SAME staging expressed from\nTHIS camera — which part of the frame the subject occupies, and which\nway that subject faces in screen terms (toward the left or right of\nthe frame, toward or away from the camera or side-on to it in\nprofile, and whom they are looking at). Those screen-space statements\nare what your drawing must match:\na figure said to face the right of the frame is turned to the right in\nyour drawing, never mirrored.\n\nDo NOT draw any of this data in the image — no numbers, no\ncoordinates, no labels, no arrows, no cones, no dots, no diagram\nsymbols of any kind.\n\nWhere the CAMERA DIRECTION text below also describes horizontal\nplacement (which side of the frame someone occupies, foreground left,\nbackground right), treat that as background reading only: for anything\nabout left, right and where a subject sits in this frame, the staging\nabove wins. CAMERA DIRECTION governs the vertical angle, elevation,\ntilt and framing.\n\nFor whether a subject faces the camera or is turned away from it, each\nsubject line above already states it in screen terms and the SHOT TEXT\nis the source it was derived from — draw exactly what the subject line\nsays, and never mirror it.\n- the camera stands In the central part of the coastal bus stop vicinity, slightly inland from the coastal edge. (coarse estimate x=0.47, y=0.75); its sight line ends at LOOK TARGET: At lap level in the central part of the coastal bus stop vicinity. (coarse estimate x=0.50, y=0.72); the frame's LEFT edge cuts through On the seaward side of the central coastal bus stop vicinity. (coarse estimate x=0.50, y=0.71) and its RIGHT edge through On the inland side of the central coastal bus stop vicinity. (coarse estimate x=0.51, y=0.73) — everything between those two edges is in frame, anything outside them is out of frame\n- woman offering a canned drink stands In the central coastal bus stop vicinity, immediately beside the seated area facing the sea. (coarse estimate x=0.49, y=0.73), facing At the adjacent seated spot in the central coastal bus stop vicinity. (coarse estimate x=0.51, y=0.71) — from this camera the subject is near the CENTER of the frame and faces away from the camera, into the depth of the shot, so the camera sees this subject from behind; this subject is turned toward the seated young woman\n- seated young woman stands At the central coastal bus stop vicinity near its seaward side. (coarse estimate x=0.51, y=0.71), facing Toward the coastal edge beside the bus stop vicinity. (coarse estimate x=0.56, y=0.56) — from this camera the subject is near the CENTER of the frame and faces toward the LEFT of the frame and away from the camera, into the depth of the shot, so the camera sees this subject from behind\n\nCAMERA DIRECTION (vertical angle / elevation / framing SOT): At lap height beside the bench, finish the dolly in on 혜수's hand holding the canned drink just above 수리영's knees. Keep the can below forty percent of the image, using 수리영's lap and the bench edge as scale references while both faces remain outside the frame.\n\nTHE LOCATION: 해안가 버스정류장과 주변 도로\n\nSHOT TEXT (authoritative, Korean): 혜수의 손에 들린 차가운 캔 음료가 수리영의 무릎 위 허공에 멈춰 있는 클로즈업.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, head-oval and chest turned toward the target the\nSHOT TEXT implies; avoid a stiff attention stance (feet together, arms\nhanging straight down) and a head-oval squared flat to the lens. If the\nSHOT TEXT or any POSE contract above stages stillness, death, sleep,\nunconsciousness, restraint, drill or an explicit direct-to-camera look,\ndraw THAT exactly — this clause never overrides it.\n\nCRITICAL — THE SITE PLAN IS A STAGING REFERENCE, NOT CONTENT: do NOT\ndraw the plan itself, and do NOT draw any diagram elements in the\nframe — no circles, dots, wedges, cones, arrows, callouts, codes or\nany other overlay symbols. The output is a clean storyboard drawing\nof the scene as seen by the camera only.\n\nNo text, no letters, no numbers, no captions anywhere in the image."
 }
}