{
 "S4sh7": {
  "input_fingerprint": "e75b81b00f67f532",
  "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."
  },
  "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,
  "marker_map_sha256": "dc618772f53a2488d2983b2ad90aa178a00e621e9f4b2167754edc4b6a3cf76b",
  "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."
 }
}