{ "S15sh2::bgfirst_bg": { "input_fingerprint": "52870c211f80d86d", "prompt": "Turn the attached storyboard sketch into a photorealistic film still of\nits LOCATION ONLY, keeping the figures exactly as they are.\n\nKEEP EXACTLY: the camera framing, the horizon, and where every element\nsits in the frame. Each mannequin figure stays a plain grey featureless\nmannequin standing in the very same spot, at the same size, in the same\npose, turned the same way — do not turn them into people, do not move,\nrotate, mirror or re-pose them, do not add or remove figures.\n\nBUILD PHOTOREALISTICALLY: everything that is not a figure — ground,\nsurfacing, structures, vegetation, sky, water, distance. The bare lines\nof the sketch are a layout guide; replace them with the real materials,\ndepth and lighting of the place described below.\n\nSHOT TEXT this background must serve (Korean): 혜수의 손에 들린 차가운 캔 음료가 수리영의 무릎 위 허공에 멈춰 있는 클로즈업.\n\nLOCATION (lock): A bus stop area along the coast, with seating positioned toward the sea and an adjacent roadside space.\n\nTIME OF DAY (lock): night, exterior light unspecified.\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 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- FRAMING SCALE: close-up\n- FRAME LAYOUT: 혜수 offering the canned drink in the middle-left of the frame, foreground, reaches for space above 수리영's lap; 수리영 seated on the bench in the lower-center of the frame, midground.\n- KEY BACKGROUND ELEMENTS: bench (occupied by 수리영) — Its seat edge runs across the lower background behind 수리영's knees; used as The bench edge provides a fixed horizontal reference beneath 수리영's lap; canned drink (held in 혜수's hand) — Its side faces the lens at a slight angle while the can remains suspended above 수리영's knees; used as The offered object is held between 혜수's hand and 수리영's lap as the shot's focal detail.\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: Natural nighttime ambient light appropriate to the coastal setting keeps the close interaction subdued and tonally restrained.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nTHINGS AT THIS PLACE:\nThe filming site is organized around a coastal bus stop vicinity on land. The bus stop vicinity adjoins a coastal edge, and the sea extends beyond that edge as the site's principal outward view. The source establishes no permanent road, path, shelter, sign, lighting fixture, or fixed seating alignment, so those details remain unspecified.\n- bus stop: coastal bus stop vicinity\n- coast: coastal edge beside the bus stop vicinity\n- sea: sea facing the coastal bus stop vicinity\n\nWORLD FACTS (creator-confirmed — always true):\n- Region (real-world reference): 대한민국 서해안권과 대한민국 영토 내 가상의 외딴섬 공동체\n- Era: 현대, 2020년대 중반. 일부 사진·기억 매개 이미지는 1970~1980년대의 과거 시각 정보를 포함함.\n- 현재 장면은 현대 한국의 생활상을 따르고, 1970~1980년대 자료는 인화 사진 특유의 낮은 선명도, 바랜 색감, 당시의 복식과 촬영 질감으로 한정한다. 과거 자료의 시대 요소를 현재 공간으로 확장하지 않는다.\n- 현대형 스마트폰, 디지털 감시 화면, 위치정보 인터페이스, 평면 모니터와 현대 교통·통신 장비를 사용한다. 미래형 홀로그램이나 과도하게 첨단화된 인터페이스는 배제하며, 화면 정보는 실제 디스플레이 내부에만 표시한다.\n\nTHINGS THAT LIVE AT THIS PLACE (what they are, not where they go): the\nlist above names what permanently belongs to this site. Where each one\nsits in this frame is decided by the attached sketch alone — do not add\nor reposition anything on the strength of the list, build only what the\nsketch already has lines for, and do not invent facilities that are not\nlisted.\n\nNo text, no captions, no diagram symbols, no markers anywhere in the\nimage.", "effective_prompt": "Turn the attached storyboard sketch into a photorealistic film still of\nits LOCATION ONLY, keeping the figures exactly as they are.\n\nKEEP EXACTLY: the camera framing, the horizon, and where every element\nsits in the frame. Each mannequin figure stays a plain grey featureless\nmannequin standing in the very same spot, at the same size, in the same\npose, turned the same way — do not turn them into people, do not move,\nrotate, mirror or re-pose them, do not add or remove figures.\n\nBUILD PHOTOREALISTICALLY: everything that is not a figure — ground,\nsurfacing, structures, vegetation, sky, water, distance. The bare lines\nof the sketch are a layout guide; replace them with the real materials,\ndepth and lighting of the place described below.\n\nSHOT TEXT this background must serve (Korean): 혜수의 손에 들린 차가운 캔 음료가 수리영의 무릎 위 허공에 멈춰 있는 클로즈업.\n\nLOCATION (lock): A bus stop area along the coast, with seating positioned toward the sea and an adjacent roadside space.\n\nTIME OF DAY (lock): night, exterior light unspecified.\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 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- FRAMING SCALE: close-up\n- FRAME LAYOUT: 혜수 offering the canned drink in the middle-left of the frame, foreground, reaches for space above 수리영's lap; 수리영 seated on the bench in the lower-center of the frame, midground.\n- KEY BACKGROUND ELEMENTS: bench (occupied by 수리영) — Its seat edge runs across the lower background behind 수리영's knees; used as The bench edge provides a fixed horizontal reference beneath 수리영's lap; canned drink (held in 혜수's hand) — Its side faces the lens at a slight angle while the can remains suspended above 수리영's knees; used as The offered object is held between 혜수's hand and 수리영's lap as the shot's focal detail.\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: Natural nighttime ambient light appropriate to the coastal setting keeps the close interaction subdued and tonally restrained.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nTHINGS AT THIS PLACE:\nThe filming site is organized around a coastal bus stop vicinity on land. The bus stop vicinity adjoins a coastal edge, and the sea extends beyond that edge as the site's principal outward view. The source establishes no permanent road, path, shelter, sign, lighting fixture, or fixed seating alignment, so those details remain unspecified.\n- bus stop: coastal bus stop vicinity\n- coast: coastal edge beside the bus stop vicinity\n- sea: sea facing the coastal bus stop vicinity\n\nWORLD FACTS (creator-confirmed — always true):\n- Region (real-world reference): 대한민국 서해안권과 대한민국 영토 내 가상의 외딴섬 공동체\n- Era: 현대, 2020년대 중반. 일부 사진·기억 매개 이미지는 1970~1980년대의 과거 시각 정보를 포함함.\n- 현재 장면은 현대 한국의 생활상을 따르고, 1970~1980년대 자료는 인화 사진 특유의 낮은 선명도, 바랜 색감, 당시의 복식과 촬영 질감으로 한정한다. 과거 자료의 시대 요소를 현재 공간으로 확장하지 않는다.\n- 현대형 스마트폰, 디지털 감시 화면, 위치정보 인터페이스, 평면 모니터와 현대 교통·통신 장비를 사용한다. 미래형 홀로그램이나 과도하게 첨단화된 인터페이스는 배제하며, 화면 정보는 실제 디스플레이 내부에만 표시한다.\n\nTHINGS THAT LIVE AT THIS PLACE (what they are, not where they go): the\nlist above names what permanently belongs to this site. Where each one\nsits in this frame is decided by the attached sketch alone — do not add\nor reposition anything on the strength of the list, build only what the\nsketch already has lines for, and do not invent facilities that are not\nlisted.\n\nNo text, no captions, no diagram symbols, no markers anywhere in the\nimage.", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d854b4e-d628-4d4e-a68c-c81a9c8fbf00/images/69af710d-a81f-4102-b000-cf2ef259c91b/canary_lane_mannequin/still_legacy/recipe/S15sh2__bgfirst_bg.png", "asset_id": "034d580f-9b85-4d74-8d57-8667250f63a7", "input_asset_ids": [ "d01fa87c-654b-44c2-8e24-c5ca58f96049" ] }, "S15sh2": { "input_fingerprint": "8678700142940bbf", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — coastal Incheon, South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night, exterior light unspecified.\n\nSHOT TEXT (authoritative, Korean): 혜수의 손에 들린 차가운 캔 음료가 수리영의 무릎 위 허공에 멈춰 있는 클로즈업.\n\nLOCATION (lock): A bus stop area along the coast, with seating positioned toward the sea and an adjacent roadside space. The shot takes place here — the attached STORYBOARD SKETCH fixes the staging, camera and figure placement of this exact place. No location photograph is attached — build the location itself strictly from the location text above and the shot text, inventing nothing beyond them.\n\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: Natural nighttime ambient light appropriate to the coastal setting keeps the close interaction subdued and tonally restrained.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 젊은 여성, 21세, 타원형 얼굴, 짙은색 긴 머리, 묶은 머리); 혜수 (한국인 중년 여성, 40대 중반, 성숙한 얼굴, 짙은색 머리, 중간 길이 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere.", "roll_prompts": { "A": "Replace every grey or outlined mannequin figure in the FIRST attached\nimage with the real people the CHARACTER REFERENCE images show, and\noutput a photorealistic film still. Each mannequin becomes the character\nwhose POSE CANON and the shot text match that figure's pose and\nposition; never repeat one person across two mannequins. If no CHARACTER\nREFERENCE image is attached for a figure, still replace it with a\nplausible real person consistent with the text. Every mannequin becomes\na person — erasing a figure, or leaving one out, is not a replacement,\nand the number of figures never changes.\n\nKEEP EXACTLY: the background of the first image, the camera framing,\nand each mannequin's position, size, pose and the direction it is\nturned. A person must be exactly where their mannequin was, at the same\nscale, in the same pose, facing the same way — never mirrored, never\nre-staged, never straightened up, stood upright or otherwise re-posed.\nNo mannequin, grey figure or sketch line may remain anywhere in the\noutput.\n\nCreate ONE FINAL photorealistic live-action film still of the moment below — coastal Incheon, South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night, exterior light unspecified.\n\nSHOT TEXT (authoritative, Korean): 혜수의 손에 들린 차가운 캔 음료가 수리영의 무릎 위 허공에 멈춰 있는 클로즈업.\n\nLOCATION (lock): A bus stop area along the coast, with seating positioned toward the sea and an adjacent roadside space. The shot takes place here — the FIRST attached image (SHOT BACKGROUND) is this exact place, already built: its ground, structures, horizon, materials and lighting are the finished truth of this location and must not be redesigned or replaced. No location photograph is attached — read the place from that image alone, and add no scenery, structure, vehicle or fixture that it does not already show. This lock governs the place only; the figures in the shot follow the staging and pose instructions.\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 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- FRAMING SCALE: close-up\n- FRAME LAYOUT: 혜수 offering the canned drink in the middle-left of the frame, foreground, reaches for space above 수리영's lap; 수리영 seated on the bench in the lower-center of the frame, midground.\n- KEY BACKGROUND ELEMENTS: bench (occupied by 수리영) — Its seat edge runs across the lower background behind 수리영's knees; used as The bench edge provides a fixed horizontal reference beneath 수리영's lap; canned drink (held in 혜수's hand) — Its side faces the lens at a slight angle while the can remains suspended above 수리영's knees; used as The offered object is held between 혜수's hand and 수리영's lap as the shot's focal detail.\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: Natural nighttime ambient light appropriate to the coastal setting keeps the close interaction subdued and tonally restrained.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 젊은 여성, 21세, 타원형 얼굴, 짙은색 긴 머리, 묶은 머리); 혜수 (한국인 중년 여성, 40대 중반, 성숙한 얼굴, 짙은색 머리, 중간 길이 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere.", "B": "Replace every grey or outlined mannequin figure in the FIRST attached\nimage with the real people the CHARACTER REFERENCE images show, and\noutput a photorealistic film still. Each mannequin becomes the character\nwhose POSE CANON and the shot text match that figure's pose and\nposition; never repeat one person across two mannequins. If no CHARACTER\nREFERENCE image is attached for a figure, still replace it with a\nplausible real person consistent with the text. Every mannequin becomes\na person — erasing a figure, or leaving one out, is not a replacement,\nand the number of figures never changes.\n\nKEEP EXACTLY: the background of the first image, the camera framing,\nand each mannequin's position, size, pose and the direction it is\nturned. A person must be exactly where their mannequin was, at the same\nscale, in the same pose, facing the same way — never mirrored, never\nre-staged, never straightened up, stood upright or otherwise re-posed.\nNo mannequin, grey figure or sketch line may remain anywhere in the\noutput.\n\nCreate ONE FINAL photorealistic live-action film still of the moment below — coastal Incheon, South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night, exterior light unspecified.\n\nSHOT TEXT (authoritative, Korean): 혜수의 손에 들린 차가운 캔 음료가 수리영의 무릎 위 허공에 멈춰 있는 클로즈업.\n\nLOCATION (lock): A bus stop area along the coast, with seating positioned toward the sea and an adjacent roadside space. The shot takes place here — the FIRST attached image (SHOT BACKGROUND) is this exact place, already built: its ground, structures, horizon, materials and lighting are the finished truth of this location and must not be redesigned or replaced. No location photograph is attached — read the place from that image alone, and add no scenery, structure, vehicle or fixture that it does not already show. This lock governs the place only; the figures in the shot follow the staging and pose instructions.\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 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- FRAMING SCALE: close-up\n- FRAME LAYOUT: 혜수 offering the canned drink in the middle-left of the frame, foreground, reaches for space above 수리영's lap; 수리영 seated on the bench in the lower-center of the frame, midground.\n- KEY BACKGROUND ELEMENTS: bench (occupied by 수리영) — Its seat edge runs across the lower background behind 수리영's knees; used as The bench edge provides a fixed horizontal reference beneath 수리영's lap; canned drink (held in 혜수's hand) — Its side faces the lens at a slight angle while the can remains suspended above 수리영's knees; used as The offered object is held between 혜수's hand and 수리영's lap as the shot's focal detail.\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: Natural nighttime ambient light appropriate to the coastal setting keeps the close interaction subdued and tonally restrained.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 젊은 여성, 21세, 타원형 얼굴, 짙은색 긴 머리, 묶은 머리); 혜수 (한국인 중년 여성, 40대 중반, 성숙한 얼굴, 짙은색 머리, 중간 길이 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere.", "C": "Replace every grey or outlined mannequin figure in the FIRST attached\nimage with the real people the CHARACTER REFERENCE images show, and\noutput a photorealistic film still. Each mannequin becomes the character\nwhose POSE CANON and the shot text match that figure's pose and\nposition; never repeat one person across two mannequins. If no CHARACTER\nREFERENCE image is attached for a figure, still replace it with a\nplausible real person consistent with the text. Every mannequin becomes\na person — erasing a figure, or leaving one out, is not a replacement,\nand the number of figures never changes.\n\nKEEP EXACTLY: the background of the first image, the camera framing,\nand each mannequin's position, size, pose and the direction it is\nturned. A person must be exactly where their mannequin was, at the same\nscale, in the same pose, facing the same way — never mirrored, never\nre-staged, never straightened up, stood upright or otherwise re-posed.\nNo mannequin, grey figure or sketch line may remain anywhere in the\noutput.\n\nCreate ONE FINAL photorealistic live-action film still of the moment below — coastal Incheon, South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night, exterior light unspecified.\n\nSHOT TEXT (authoritative, Korean): 혜수의 손에 들린 차가운 캔 음료가 수리영의 무릎 위 허공에 멈춰 있는 클로즈업.\n\nLOCATION (lock): A bus stop area along the coast, with seating positioned toward the sea and an adjacent roadside space. The shot takes place here — the FIRST attached image (SHOT BACKGROUND) is this exact place, already built: its ground, structures, horizon, materials and lighting are the finished truth of this location and must not be redesigned or replaced. No location photograph is attached — read the place from that image alone, and add no scenery, structure, vehicle or fixture that it does not already show. This lock governs the place only; the figures in the shot follow the staging and pose instructions.\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 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- FRAMING SCALE: close-up\n- FRAME LAYOUT: 혜수 offering the canned drink in the middle-left of the frame, foreground, reaches for space above 수리영's lap; 수리영 seated on the bench in the lower-center of the frame, midground.\n- KEY BACKGROUND ELEMENTS: bench (occupied by 수리영) — Its seat edge runs across the lower background behind 수리영's knees; used as The bench edge provides a fixed horizontal reference beneath 수리영's lap; canned drink (held in 혜수's hand) — Its side faces the lens at a slight angle while the can remains suspended above 수리영's knees; used as The offered object is held between 혜수's hand and 수리영's lap as the shot's focal detail.\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: Natural nighttime ambient light appropriate to the coastal setting keeps the close interaction subdued and tonally restrained.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 젊은 여성, 21세, 타원형 얼굴, 짙은색 긴 머리, 묶은 머리); 혜수 (한국인 중년 여성, 40대 중반, 성숙한 얼굴, 짙은색 머리, 중간 길이 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere." }, "roll_refs": { "A": [ { "label": "SHOT BACKGROUND", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d854b4e-d628-4d4e-a68c-c81a9c8fbf00/images/69af710d-a81f-4102-b000-cf2ef259c91b/canary_lane_mannequin/still_legacy/recipe/S15sh2__bgfirst_bg.png" }, { "label": "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "path": "" }, { "label": "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly.", "path": "" } ], "B": [ { "label": "SHOT BACKGROUND", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d854b4e-d628-4d4e-a68c-c81a9c8fbf00/images/69af710d-a81f-4102-b000-cf2ef259c91b/canary_lane_mannequin/still_legacy/recipe/S15sh2__bgfirst_bg.png" }, { "label": "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "path": "" }, { "label": "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly.", "path": "" } ], "C": [ { "label": "SHOT BACKGROUND", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d854b4e-d628-4d4e-a68c-c81a9c8fbf00/images/69af710d-a81f-4102-b000-cf2ef259c91b/canary_lane_mannequin/still_legacy/recipe/S15sh2__bgfirst_bg.png" }, { "label": "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "path": "" }, { "label": "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly.", "path": "" } ] }, "totals": { "C": 7, "B": 4, "A": 2 }, "selected": "C", "ranking": [ "C", "B", "A" ], "verdicts": [ { "label": "C", "score": 7, "verdict_ko": "스토리보드의 좌우 인물 배치와 액션을 정확히 따랐으나, 텍스트가 요구한 클로즈업보다 프레임이 다소 넓게 잡혔습니다." }, { "label": "B", "score": 4, "verdict_ko": "프레이밍은 클로즈업에 더 가깝지만, 스토리보드가 지정한 인물의 좌우 배치를 완전히 반대로 뒤집는 오류를 범했습니다." }, { "label": "A", "score": 2, "verdict_ko": "수리영의 상체가 사라지고 빈 옷만 남아 있는 심각한 해부학적 오류(Hard Violation)로 인해 실격입니다." } ], "refs": [ { "label": "SHOT BACKGROUND", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d854b4e-d628-4d4e-a68c-c81a9c8fbf00/images/69af710d-a81f-4102-b000-cf2ef259c91b/canary_lane_mannequin/still_legacy/recipe/S15sh2__bgfirst_bg.png" }, { "label": "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "path": "" }, { "label": "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly.", "path": "" } ], "critique": { "issues": [ { "issue_ko": "우측 인물의 얼굴이 화면에 노출되었습니다. 두 사람의 얼굴이 모두 프레임 밖에 있어야 한다는 지시를 위반했습니다.", "fix_en": "Exclude the right figure's face from the frame to comply with the framing constraint.", "unfixable": true }, { "issue_ko": "캔을 든 우측 인물의 손이 좌측 인물의 무릎에 닿아 있습니다. 샷 텍스트에 따라 무릎 위 허공에 떠 있어야 합니다.", "fix_en": "Lift the hand holding the can slightly so it is completely suspended in the air above the knee without touching it.", "unfixable": false }, { "issue_ko": "우측 하단 벤치 위에 참고 이미지의 포즈에는 없는 우측 인물의 왼손이 추가되어 있습니다.", "fix_en": "Remove the hand resting on the bench in the lower right corner to match the reference pose.", "unfixable": false }, { "issue_ko": "캔 표면에 'Hite' 등의 텍스트가 있습니다. 화면 내에 텍스트가 없어야 한다는 지시를 위반했습니다.", "fix_en": "Erase all text and logos from the surface of the can.", "unfixable": false }, { "issue_ko": "좌측 인물의 왼쪽 허벅지에 얹힌 손의 손가락 구조가 기형적이며 바지 표면과 뭉개져 있습니다.", "fix_en": "Redraw the left figure's left hand to have anatomically correct, distinct fingers resting naturally on the jeans.", "unfixable": false } ] }, "composition_critique": { "issues": [ { "issue_ko": "혜수의 얼굴과 머리가 우측 상단 프레임 안에 들어와 있지만, 계약상 두 인물의 얼굴은 모두 프레임 밖이어야 한다.", "fix_en": "Raise Hyesu's head and face completely above the top edge while preserving her hand, can, torso placement, and all other geometry.", "unfixable": false } ] }, "fix_prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Lift the hand holding the can slightly so it is completely suspended in the air above the knee without touching it.\n- Remove the hand resting on the bench in the lower right corner to match the reference pose.\n- Erase all text and logos from the surface of the can.\n- Redraw the left figure's left hand to have anatomically correct, distinct fingers resting naturally on the jeans.\n- Raise Hyesu's head and face completely above the top edge while preserving her hand, can, torso placement, and all other geometry.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere.", "fix_rejudge": { "forward_raw": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 7, "verdict_ko": "레퍼런스의 구도와 포즈를 정확히 유지했으며, 두 인물의 얼굴이 프레임에 들어오지 않도록 한 지시를 잘 따랐습니다." }, { "label": "A", "score": 3, "verdict_ko": "혜수의 얼굴이 프레임에 노출되었고, 벤치 위에 해부학적으로 불가능한 여분의 손이 생성되어 치명적인 오류가 있습니다." } ] }, "forward_normalized": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 7, "verdict_ko": "레퍼런스의 구도와 포즈를 정확히 유지했으며, 두 인물의 얼굴이 프레임에 들어오지 않도록 한 지시를 잘 따랐습니다." }, { "label": "A", "score": 3, "verdict_ko": "혜수의 얼굴이 프레임에 노출되었고, 벤치 위에 해부학적으로 불가능한 여분의 손이 생성되어 치명적인 오류가 있습니다." } ] }, "reverse_raw": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 9, "verdict_ko": "지정된 프레이밍(두 사람의 얼굴이 프레임 밖으로 나감)을 정확히 준수하였으며, 레퍼런스의 포즈와 배경을 충실히 반영한 우수한 결과물입니다." }, { "label": "B", "score": 3, "verdict_ko": "오른쪽 인물의 얼굴이 프레임 안에 들어와 샷 크기 지침을 어겼으며, 인물 뒤 벤치에 정체불명의 손이 추가되어 치명적인 신체 구조 오류(Hard Violation)가 발생했습니다." } ] }, "reverse_normalized": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 9, "verdict_ko": "지정된 프레이밍(두 사람의 얼굴이 프레임 밖으로 나감)을 정확히 준수하였으며, 레퍼런스의 포즈와 배경을 충실히 반영한 우수한 결과물입니다." }, { "label": "A", "score": 3, "verdict_ko": "오른쪽 인물의 얼굴이 프레임 안에 들어와 샷 크기 지침을 어겼으며, 인물 뒤 벤치에 정체불명의 손이 추가되어 치명적인 신체 구조 오류(Hard Violation)가 발생했습니다." } ] }, "combined": { "totals": { "A": 6, "B": 16 }, "ranking": [ "B", "A" ], "agreement": true, "policy": 1 }, "winner": "B", "fix_won": true, "policy": "fix_rejudge_v1_flip" }, "bgfirst": { "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/3d854b4e-d628-4d4e-a68c-c81a9c8fbf00/images/69af710d-a81f-4102-b000-cf2ef259c91b/canary_lane_mannequin/still_legacy/recipe/S15sh2__bgfirst_bg.png", "bg_asset_id": "034d580f-9b85-4d74-8d57-8667250f63a7", "bg_record_key": "S15sh2::bgfirst_bg", "chain_winner": true, "authority": "lane_conti_only" }, "ref_mode": "lane(map_marker): 스케치+엔티티" } }