{ "status": "completed", "applicable_count": 11, "completed_count": 11, "failed_count": 0, "schema_version": 3, "config_hash": "b9c71c81b67c097c", "data": { "contis": { "S1sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/46575226-4c2f-4334-b16a-429b11371e24/images/5a7f5cfd-5b80-4f10-a4e5-1c8519aa244c/conti/conti_S1sh4.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/46575226-4c2f-4334-b16a-429b11371e24/episodes/5a7f5cfd-5b80-4f10-a4e5-1c8519aa244c/images/background_chain/L01B01.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 a high-school classroom, beside the window overlooking the sky. White LED classroom lighting fills the room.\n\nSHOT TEXT (authoritative, Korean): 창밖을 향해 고개를 돌린 현석의 눈동자에 희미한 생기가 도는 측면 얼굴.\n\nCARRIED STATE (persist exactly): Hyunseok is no longer wearing his transparent AR glasses; they remain discarded on his desk. Jeho remains seated in his own AR glasses with a writing instrument in his tense hand.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At Hyunseok's seated eye height, the tracking camera briefly tightens from just behind his shoulder into a clean profile close-up, with his face held in the left half and generous look space opening toward the classroom window on the right. His head is caught midway through the turn, and shallow focus holds on the faint vitality returning to his eyes as he watches the birds outside.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: classroom window (visible beside Hyunseok; opening state unspecified) — The camera looks toward the window area with the flying flock visible outside beyond it; used as Provides right-side look space and the destination of Hyunseok's turning gaze; rows of seated students (wearing transparent AR glasses and watching the same government promotional video) — Only soft, partial figures remain behind Hyunseok along the classroom rows; used as Recedes out of focus to contrast collective uniformity with Hyunseok's private response.\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/46575226-4c2f-4334-b16a-429b11371e24/episodes/5a7f5cfd-5b80-4f10-a4e5-1c8519aa244c/images/background_chain/L01B01.png" ], [ "char:현석", "/Users/manta/Documents/Projects/TheRoad-I1/projects/46575226-4c2f-4334-b16a-429b11371e24/images/5a7f5cfd-5b80-4f10-a4e5-1c8519aa244c/reference/24359dc0-6703-4e64-93d9-71408195ee41.png" ] ], "asset_id": "9f6d8dfe-d37d-443b-bb45-56e0d1940a11" }, "S1sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S2sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/46575226-4c2f-4334-b16a-429b11371e24/images/5a7f5cfd-5b80-4f10-a4e5-1c8519aa244c/conti/conti_S2sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/46575226-4c2f-4334-b16a-429b11371e24/episodes/5a7f5cfd-5b80-4f10-a4e5-1c8519aa244c/images/background_chain/L02B01.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 a quiet school stairwell, midway along the gray concrete steps.\n\nSHOT TEXT (authoritative, Korean): 낡고 건조한 질감의 회색 콘크리트 계단 한가운데에 제호가 홀로 앉아 핸드폰 화면을 뚫어지게 내려다보는 전경.\n\nCARRIED STATE (persist exactly): Jeho continues to hold his smartphone, whose screen is still on the central “조회하기” button before he checks the result.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From high above the lower side of the staircase, a steep downward wide composition holds Jeho alone near the middle of the steps before the crane begins its descent. His seated figure remains small within the gray stair geometry, torso folded toward the phone held between his hands and attention sealed to its screen.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: gray concrete staircase (old and dry in texture; otherwise empty around Jeho) — The flights and step edges run diagonally through the overhead frame around the isolated figure; used as Creates a severe geometric field that emphasizes Jeho's isolation; Jeho's phone (held in both hands with the '조회하기' button on screen) — The screen faces Jeho and is seen only at a steep, distant oblique angle from above; used as Forms the small focal point toward which the later crane descent will tighten.\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/46575226-4c2f-4334-b16a-429b11371e24/episodes/5a7f5cfd-5b80-4f10-a4e5-1c8519aa244c/images/background_chain/L02B01.png" ], [ "char:제호", "/Users/manta/Documents/Projects/TheRoad-I1/projects/46575226-4c2f-4334-b16a-429b11371e24/images/5a7f5cfd-5b80-4f10-a4e5-1c8519aa244c/reference/257f4438-7fc3-45f2-bdbf-6a16d624b717.png" ] ], "asset_id": "ec41c5d6-7814-4d0a-a7ec-08eb9db47376" }, "S2sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S2sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S3sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/46575226-4c2f-4334-b16a-429b11371e24/images/5a7f5cfd-5b80-4f10-a4e5-1c8519aa244c/conti/conti_S3sh2.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Outside in a narrow, worn urban alley bordered by advertising-covered walls and neon light.\n\nSHOT TEXT (authoritative, Korean): '너는 내 마지막 희망이다'라고 적힌 종이를 움켜쥔 제호의 주먹에 핏대가 선 클로즈업.\n\nCARRIED STATE (persist exactly): Jeho keeps the note from his father's opened package clenched and crumpled in his hand. Hyunseok is nearby with his camera and two backpacks, as established moments later.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Beside Jeho at waist height, the dolly-in ends on the explicitly extreme close oblique view of his fist crushing the note, with raised tendons and knuckles carrying most of the frame while the paper remains below the nonhuman-object occupancy limit. The words '너는 내 마지막 희망이다' stay legible across the creased section, and a narrow edge of the opened package provides physical context behind his hand.\n- FRAMING SCALE: insert close-up on a detail\n- KEY BACKGROUND ELEMENTS: father's note (being tightly crumpled; message remains legible) — The written face is angled obliquely toward camera, exposing the phrase '너는 내 마지막 희망이다' across the creased paper; used as Serves as the emotional focal detail pressed against Jeho's tense knuckles; opened delivery package (opened by Jeho) — Only a narrow portion sits beyond the fist as scale and narrative context; used as Prevents the note from becoming an ungrounded isolated graphic.\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:제호", "/Users/manta/Documents/Projects/TheRoad-I1/projects/46575226-4c2f-4334-b16a-429b11371e24/images/5a7f5cfd-5b80-4f10-a4e5-1c8519aa244c/reference/257f4438-7fc3-45f2-bdbf-6a16d624b717.png" ] ], "asset_id": "b206f38f-0c1f-4c0a-91ff-cd7c355b12e4" }, "S3sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S3sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S4sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/46575226-4c2f-4334-b16a-429b11371e24/images/5a7f5cfd-5b80-4f10-a4e5-1c8519aa244c/conti/conti_S4sh4.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Outside on the playing surface of an empty, worn basketball court near its old hoop.\n\nSHOT TEXT (authoritative, Korean): 치열한 시합 중, 땀방울이 흩날리며 현석과 제호의 어깨가 공중에서 강하게 부딪히는 찰나.\n\nCARRIED STATE (persist exactly): Hyunseok's camera remains set up at the side of the court and recording throughout the basketball game.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: The lateral track tightens along the side of the playing area and dips slightly below shoulder level, holding Hyunseok and Jeho in opposing crossing profiles at the instant their airborne shoulders collide. Their torsos divide the left and right halves, legs caught in different phases of lift, while scattered sweat crosses the narrow central gap and each remains absorbed in overpowering the other.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 현석 in the middle-left of the frame, midground, moves toward 제호's shoulder; 제호 in the middle-right of the frame, midground, moves toward 현석's shoulder.\n- KEY BACKGROUND ELEMENTS: court floor (part of the empty basketball court) — Its plane cuts diagonally below the airborne players and leaves visible landing space beneath them; used as Provides a stable horizon and makes the collision's lift readable; worn basketball hoop (old and standing on the empty court) — The hoop is seen off-axis in the background rather than aligned behind either player's head; used as Anchors the competitive setting while remaining secondary to the collision.\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:현석", "/Users/manta/Documents/Projects/TheRoad-I1/projects/46575226-4c2f-4334-b16a-429b11371e24/images/5a7f5cfd-5b80-4f10-a4e5-1c8519aa244c/reference/24359dc0-6703-4e64-93d9-71408195ee41.png" ], [ "char:제호", "/Users/manta/Documents/Projects/TheRoad-I1/projects/46575226-4c2f-4334-b16a-429b11371e24/images/5a7f5cfd-5b80-4f10-a4e5-1c8519aa244c/reference/257f4438-7fc3-45f2-bdbf-6a16d624b717.png" ] ], "asset_id": "43802d27-0be6-4e5f-a75b-0282eeb4e4b5" }, "S4sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S5sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/46575226-4c2f-4334-b16a-429b11371e24/images/5a7f5cfd-5b80-4f10-a4e5-1c8519aa244c/conti/conti_S5sh2.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Outside on a central-city street under a red sunset, with wind moving fallen leaves through the open roadway.\n\nSHOT TEXT (authoritative, Korean): 제호가 목에 핏대를 세운 채 얼굴을 찌푸리며 현석을 향해 격렬하게 소리치는 찰나.\n\nCARRIED STATE (persist exactly): Hyunseok continues to carry the camera he has been using to photograph the city scenery.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Place the handheld camera close behind Hyunseok's three-quarter shoulder, slightly below Jeho's eye line, with Hyunseok forming a soft foreground edge on the left and Jeho's strained face occupying the right half. Jeho pitches forward in the instant of shouting, neck taut and eyes fixed on Hyunseok's face, while restrained handheld drift preserves the unstable space between them.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: urban street (visible as limited background context); used as Held softly behind Jeho so the close confrontation remains grounded in the street.\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:현석", "/Users/manta/Documents/Projects/TheRoad-I1/projects/46575226-4c2f-4334-b16a-429b11371e24/images/5a7f5cfd-5b80-4f10-a4e5-1c8519aa244c/reference/24359dc0-6703-4e64-93d9-71408195ee41.png" ], [ "char:제호", "/Users/manta/Documents/Projects/TheRoad-I1/projects/46575226-4c2f-4334-b16a-429b11371e24/images/5a7f5cfd-5b80-4f10-a4e5-1c8519aa244c/reference/257f4438-7fc3-45f2-bdbf-6a16d624b717.png" ] ], "asset_id": "662ca270-70dc-4b2a-ba37-7b838d4e874d" }, "S5sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S6sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/46575226-4c2f-4334-b16a-429b11371e24/images/5a7f5cfd-5b80-4f10-a4e5-1c8519aa244c/conti/conti_S6sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/46575226-4c2f-4334-b16a-429b11371e24/episodes/5a7f5cfd-5b80-4f10-a4e5-1c8519aa244c/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: Outside at the bench directly in front of a massive futuristic examination-facility entrance and its metal facade.\n\nSHOT TEXT (authoritative, Korean): '유니타스 프로젝트' 로고가 박힌 육중한 미래식 금속 건물 앞, 낡은 벤치에 제호와 현석이 굳은 묵념 자세로 나란히 앉아 있는 전경.\n\nCARRIED STATE (persist exactly): Hyunseok has brought his camera to the bench and retains it until he hands it to Jeho.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At the widest point of the elevated crane path, look diagonally down across Jeho and Hyunseok on the bench toward the examination building, briefly holding before the descent begins. The two seated figures remain separated but small in the lower third, the worn bench spans beneath them, and the visible Unitus Project logo anchors the upper portion of the building without flattening the oblique axis.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 제호 in the lower-left of the frame, midground; 현석 in the lower-center of the frame, midground; Unitus Project logo on examination building in the upper-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: future-style examination building (fully visible behind the bench) — Its main mass faces the camera obliquely, preserving both the front and one receding side; used as Establishes the institutional scale over the two seated figures; Unitus Project logo (clearly visible on the building) — The logo-bearing face is turned toward the camera and displays the text “유니타스 프로젝트.”; used as Occupies the upper background as the institutional narrative anchor; worn bench (occupied by Jeho and Hyunseok) — The bench is seen from an elevated diagonal angle, with its seat length running across the lower frame; used as Links both characters within the same silent foreground plane.\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/46575226-4c2f-4334-b16a-429b11371e24/episodes/5a7f5cfd-5b80-4f10-a4e5-1c8519aa244c/images/background_chain/L06B01.png" ], [ "char:제호", "/Users/manta/Documents/Projects/TheRoad-I1/projects/46575226-4c2f-4334-b16a-429b11371e24/images/5a7f5cfd-5b80-4f10-a4e5-1c8519aa244c/reference/257f4438-7fc3-45f2-bdbf-6a16d624b717.png" ], [ "char:현석", "/Users/manta/Documents/Projects/TheRoad-I1/projects/46575226-4c2f-4334-b16a-429b11371e24/images/5a7f5cfd-5b80-4f10-a4e5-1c8519aa244c/reference/24359dc0-6703-4e64-93d9-71408195ee41.png" ] ], "asset_id": "6ac60dff-2248-4420-bf37-c2164aed6f5c" }, "S6sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S7sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/46575226-4c2f-4334-b16a-429b11371e24/images/5a7f5cfd-5b80-4f10-a4e5-1c8519aa244c/conti/conti_S7sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/46575226-4c2f-4334-b16a-429b11371e24/episodes/5a7f5cfd-5b80-4f10-a4e5-1c8519aa244c/images/background_chain/L07B01.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 corner recess of a broad, cold metal corridor in the examination facility. Red guide lights blink along the passage.\n\nSHOT TEXT (authoritative, Korean): 복도 모퉁이 구석 바닥에 주저앉은 현석이 자신의 목을 강하게 움켜쥔 채 고통으로 일그러진 얼굴로 오열하는 모습.\n\nCARRIED STATE (persist exactly): The camera entrusted to Jeho remains in Jeho's possession, although its exact placement is not specified in the corridor.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Just beyond the corridor corner at seated chest height, complete the dolly-in on an off-axis three-quarter view of Hyunseok pressed into the corner. His folded body occupies the right two-thirds, keeping his throat-gripping hand and anguished face in the same focal plane as the move settles into a brief near-static hold; the receding corridor remains visible along the left edge.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: metal corridor corner (encloses Hyunseok on two sides) — The inner corner opens diagonally toward the camera, with one wall receding into the corridor; used as Compresses Hyunseok into the right side while leaving the corridor as a narrow escape line; corridor floor (supporting Hyunseok's seated body); used as Keeps his collapsed posture physically legible beneath him; red guide light (blinking) — Its visible signaling face is angled along the corridor rather than square to the lens; used as Adds intermittent red emphasis within the wider corridor context.\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/46575226-4c2f-4334-b16a-429b11371e24/episodes/5a7f5cfd-5b80-4f10-a4e5-1c8519aa244c/images/background_chain/L07B01.png" ], [ "char:현석", "/Users/manta/Documents/Projects/TheRoad-I1/projects/46575226-4c2f-4334-b16a-429b11371e24/images/5a7f5cfd-5b80-4f10-a4e5-1c8519aa244c/reference/24359dc0-6703-4e64-93d9-71408195ee41.png" ] ], "asset_id": "7552d22d-dc73-4e5b-8088-f36727f1e4a3" }, "S7sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S8sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S8sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S9sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/46575226-4c2f-4334-b16a-429b11371e24/images/5a7f5cfd-5b80-4f10-a4e5-1c8519aa244c/conti/conti_S9sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/46575226-4c2f-4334-b16a-429b11371e24/episodes/5a7f5cfd-5b80-4f10-a4e5-1c8519aa244c/images/background_chain/L08B01.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 low-lit procedure area of an examination laboratory, centered on two adjacent tilted metal tables with restraints. Red warning lights glow through dense white vapor around the operating machinery.\n\nSHOT TEXT (authoritative, Korean): 통제된 낮은 조도 아래 붉은 경고등과 짙은 흰 연기가 깔린 실험실, 45도 기울어진 차가운 금속 실험대 위에 현석과 제호가 두꺼운 구속구로 나란히 결박된 전경.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Hyunseok is positioned lengthwise on the 45-degree-inclined metal experiment table beside Jeho, with his torso, arms, and legs held against the table by thick restraints. His head rests against the inclined surface as his body faces upward.\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Jeho is positioned lengthwise on the 45-degree-inclined metal experiment table beside Hyunseok, with his torso, arms, and legs held against the table by thick restraints. His head rests against the inclined surface as his body faces upward.\n\nCARRIED STATE (persist exactly): Hyunseok is held by restraints beside Jeho as they lose consciousness. Jeho is positioned lengthwise on the 45-degree-inclined metal experiment table beside Hyunseok, with his torso, arms, and legs held against the table by thick restraints. His head rests against the inclined surface as his body faces upward. The camera remains Jeho's entrusted possession, though the script does not establish its placement around the restraints.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From a high three-quarter position beyond the foot end of the forty-five-degree inclined table, hold a static diagonal wide view that preserves the full table, both restrained figures, and the surrounding laboratory. Hyunseok and Jeho lie side by side across the middle of frame with their secured limbs following the table's incline, while the foot end remains nearer the lower foreground and their faces recede toward the upper background.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 현석 in the middle-left of the frame, midground; 제호 in the middle-right of the frame, midground; forty-five-degree inclined experimental table in the middle-center of the frame, midground.\n- KEY BACKGROUND ELEMENTS: inclined experimental table (fixed at a forty-five-degree angle and occupied by both men) — The foot end faces the lower foreground while the table rises diagonally toward the restrained men's heads; used as Defines the dominant diagonal and displays both captives in one institutional apparatus; thick restraints (fastened around both men) — Their fastening sections cross the bodies and follow the angled plane of the table; used as Makes the loss of movement legible within the wide composition; red warning light (active) — Its signaling face is visible obliquely within the wider laboratory space; used as Provides the red warning illumination specified in the laboratory; white smoke (thick across the laboratory); used as Layers the open space around the inclined table without obscuring both restrained 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/46575226-4c2f-4334-b16a-429b11371e24/episodes/5a7f5cfd-5b80-4f10-a4e5-1c8519aa244c/images/background_chain/L08B01.png" ], [ "char:현석", "/Users/manta/Documents/Projects/TheRoad-I1/projects/46575226-4c2f-4334-b16a-429b11371e24/images/5a7f5cfd-5b80-4f10-a4e5-1c8519aa244c/reference/24359dc0-6703-4e64-93d9-71408195ee41.png" ], [ "char:제호", "/Users/manta/Documents/Projects/TheRoad-I1/projects/46575226-4c2f-4334-b16a-429b11371e24/images/5a7f5cfd-5b80-4f10-a4e5-1c8519aa244c/reference/257f4438-7fc3-45f2-bdbf-6a16d624b717.png" ] ], "asset_id": "436d380b-8294-4bd6-8c76-487ca58584f1" }, "S10sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/46575226-4c2f-4334-b16a-429b11371e24/images/5a7f5cfd-5b80-4f10-a4e5-1c8519aa244c/conti/conti_S10sh4.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/46575226-4c2f-4334-b16a-429b11371e24/episodes/5a7f5cfd-5b80-4f10-a4e5-1c8519aa244c/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: Inside a home bathroom, directly before the mirror and washbasin area.\n\nSHOT TEXT (authoritative, Korean): 현석이 고통스럽게 입을 크게 벌리고 처절한 눈물을 쏟아내는 얼굴 클로즈업.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At slightly below eye height and offset from the mirror axis, the dolly-in ends on an extreme off-axis close-up of 현석, his tear-streaked face occupying roughly four-fifths of the frame as his jaw opens in anguish. His face is held in a three-quarter angle rather than toward the lens, with the camera-distance change carrying the escalation while the bathroom surroundings fall outside the narrow frame.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 현석 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/46575226-4c2f-4334-b16a-429b11371e24/episodes/5a7f5cfd-5b80-4f10-a4e5-1c8519aa244c/images/background_chain/L10B01.png" ], [ "char:현석", "/Users/manta/Documents/Projects/TheRoad-I1/projects/46575226-4c2f-4334-b16a-429b11371e24/images/5a7f5cfd-5b80-4f10-a4e5-1c8519aa244c/reference/24359dc0-6703-4e64-93d9-71408195ee41.png" ] ], "asset_id": "459bd549-42b4-4d7f-8de9-697897232749" }, "S10sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S10sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S11sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null } }, "map_conti": {}, "conti_pack": "5.202607222353", "lane_conti": { "S3sh4": { "lane": "structure_plate", "group_id": "bg_narrow_alley", "segment_id": "SEG_01", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/46575226-4c2f-4334-b16a-429b11371e24/images/background_chain/seed_bg_narrow_alley_sel.png", "seed_asset_id": "2ebe2c69-b115-43c8-9ce0-b0bc0a4ea213", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/46575226-4c2f-4334-b16a-429b11371e24/images/background_chain/seed_bg_narrow_alley_sel.png", "bg_reason": "", "bypass_reason": "prev" }, "S4sh7": { "lane": "map_marker", "group_id": "bg_outdoor_basketball_court", "segment_id": "SEG_01", "status": "ok", "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/46575226-4c2f-4334-b16a-429b11371e24/images/5a7f5cfd-5b80-4f10-a4e5-1c8519aa244c/conti/lane_sketch_S4sh7.png", "base_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/46575226-4c2f-4334-b16a-429b11371e24/images/background_chain/canon_bg_outdoor_basketball_court_map.png", "base_map_asset_id": "6e928f61-8ed9-4545-afd0-ddba88e0f246", "marker_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/46575226-4c2f-4334-b16a-429b11371e24/images/5a7f5cfd-5b80-4f10-a4e5-1c8519aa244c/conti/lane_marker_map_S4sh7.png", "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 On the court side edge directly beside the midcourt line. (coarse estimate x=0.21, y=0.53); its sight line ends at LOOK TARGET: At the center circle on the court playing surface. (coarse estimate x=0.60, y=0.53); the frame's LEFT edge cuts through On the right side of the court playing surface near the upper three-point arc. (coarse estimate x=0.86, y=0.25) and its RIGHT edge through On the right side of the court playing surface near the lower three-point arc. (coarse estimate x=0.86, y=0.81)\n- E1 (exhausted young man lying supine): circle On the court playing surface just left of the center circle. (coarse estimate x=0.47, y=0.53), facing On the court playing surface below the old basketball hoop. (coarse estimate x=0.47, y=0.32)\n- E2 (exhausted young man lying supine): circle On the court playing surface just right of the center circle. (coarse estimate x=0.73, y=0.53), facing On the court playing surface below the old basketball hoop. (coarse estimate x=0.73, y=0.32)", "marker_attempts": 1, "geometry": { "entity_placements": [ { "slot": "E1", "subject_en": "exhausted young man lying supine", "x": 0.47, "y": 0.53, "anchor_en": "On the court playing surface just left of the center circle.", "facing": { "x": 0.47, "y": 0.32 }, "facing_anchor_en": "On the court playing surface below the old basketball hoop.", "camera_facing_relation": "unspecified", "camera_facing_evidence": "" }, { "slot": "E2", "subject_en": "exhausted young man lying supine", "x": 0.73, "y": 0.53, "anchor_en": "On the court playing surface just right of the center circle.", "facing": { "x": 0.73, "y": 0.32 }, "facing_anchor_en": "On the court playing surface below the old basketball hoop.", "camera_facing_relation": "unspecified", "camera_facing_evidence": "" } ], "camera": { "origin": { "x": 0.21, "y": 0.53 }, "look_target": { "x": 0.6, "y": 0.53 }, "origin_anchor_en": "On the court side edge directly beside the midcourt line.", "look_target_anchor_en": "At the center circle on the court playing surface.", "view_left": { "x": 0.86, "y": 0.25 }, "view_right": { "x": 0.86, "y": 0.81 }, "view_left_anchor_en": "On the right side of the court playing surface near the upper three-point arc.", "view_right_anchor_en": "On the right side of the court playing surface near the lower three-point arc." }, "rationale_ko": "두 인물을 센터서클 좌우에 충분히 떨어뜨려 전신이 겹치지 않도록 배치했다. 현석은 왼쪽에서 팔을 넓게 벌리고, 제호는 오른쪽에서 다리를 벌린 채 누운 구도이며, 넓은 프레임이 두 사람을 모두 포함한다." }, "leakage": { "has_marker_leakage": false, "details_ko": "스케치에 화살표나 다이어그램 기호가 없습니다. 지시된 탑다운 앵글을 입체적으로 표현했습니다." }, "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 On the court side edge directly beside the midcourt line. (coarse estimate x=0.21, y=0.53); its sight line ends at LOOK TARGET: At the center circle on the court playing surface. (coarse estimate x=0.60, y=0.53); the frame's LEFT edge cuts through On the right side of the court playing surface near the upper three-point arc. (coarse estimate x=0.86, y=0.25) and its RIGHT edge through On the right side of the court playing surface near the lower three-point arc. (coarse estimate x=0.86, y=0.81) — everything between those two edges is in frame, anything outside them is out of frame\n- exhausted young man lying supine stands On the court playing surface just left of the center circle. (coarse estimate x=0.47, y=0.53), facing On the court playing surface below the old basketball hoop. (coarse estimate x=0.47, y=0.32) — from this camera the subject is near the CENTER of the frame and faces toward the LEFT of the frame\n- exhausted young man lying supine stands On the court playing surface just right of the center circle. (coarse estimate x=0.73, y=0.53), facing On the court playing surface below the old basketball hoop. (coarse estimate x=0.73, y=0.32) — from this camera the subject is near the CENTER of the frame and faces toward the LEFT of the frame\n\nCAMERA DIRECTION (vertical angle / elevation / framing SOT): At the apex of the crane rise, the camera locks into an exact top-down wide hold containing both exhausted bodies at full length, separated across the court floor rather than overlapping. Hyunseok lies to the left with his arms spread broadly while Jeho lies to the right with his legs splayed, both staring upward but carrying sharply different emotional weight.\n\nTHE LOCATION: 낡은 야외 농구코트\n\nSHOT TEXT (authoritative, Korean): 짙은 붉은색 석양빛이 내려앉은 코트 바닥에 현석과 제호가 대자로 넓게 뻗어 누운 부감 샷.\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.", "reused": true, "lane_sketch_pack": "14.202607270344", "lane_geometry_pack": "4.202607270248", "mannequin_chain_contract": "1", "asset_id": "fbebc7fe-a75e-48d1-b0ec-ec761bf36a14" }, "S6sh1": { "lane": "structure_plate", "group_id": "bg_testing_facility", "segment_id": "SEG_FRONTAGE", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/46575226-4c2f-4334-b16a-429b11371e24/images/background_chain/seed_bg_testing_facility_sel.png", "seed_asset_id": "2d749cfd-06fa-4381-808b-b8ad65961980", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/46575226-4c2f-4334-b16a-429b11371e24/episodes/5a7f5cfd-5b80-4f10-a4e5-1c8519aa244c/images/background_chain/L06B01.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/46575226-4c2f-4334-b16a-429b11371e24/images/5a7f5cfd-5b80-4f10-a4e5-1c8519aa244c/conti/conti_S6sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/46575226-4c2f-4334-b16a-429b11371e24/episodes/5a7f5cfd-5b80-4f10-a4e5-1c8519aa244c/images/background_chain/L06B01.png" }, "S11sh1": { "lane": "map_marker", "group_id": "bg_city_street", "segment_id": "SEG_2", "status": "failed", "error": "operator_exempt short-circuit — 운영자 무콘티 선언, 유료 시도 생략", "operator_exempt": true } } }, "step_id": "shot_conti_light", "run_id": "de2db824-3cae-45ed-9840-129b91a942e4", "resolved_model": "gpt-image-2", "updated_at": "2026-08-24T11:20:31.088571+00:00", "project_config_snapshot": {} }