{ "status": "partial", "applicable_count": 91, "completed_count": 86, "failed_count": 5, "schema_version": 3, "config_hash": "b9c71c81b67c097c", "data": { "contis": { "S1sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S1sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S2sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S2sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L02B02.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the cramped wooden storehouse, enclosed by roughly patched boards and dim in daytime.\n\nSHOT TEXT (authoritative, Korean): 판자가 얼기설기 덧대어진 어두운 창고 안, 바닥에 웅크려 모인 채 양손으로 입을 꽉 틀어막고 눈물을 흘리는 조선인들의 모습.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\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 near standing eye level at the rear of the warehouse, a static wide composition places the crouching Koreans in a compressed cluster across the lower middle of frame. The rough interior structure encloses them on all sides, while the door lies beyond the group on the same axis that the following dolly will take.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: crouching Korean survivors in the lower-center of the frame, midground; warehouse door in the upper-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: 덧댄 판자와 각목 벽 (Roughly pieced together as described); used as The visible gaps and overlapping boards compress the group within an improvised enclosure; 창고 문 (Closed before the soldiers enter) — The interior-facing side is visible beyond the group; used as Acts as the distant threat axis beyond the crouching survivors.\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L02B02.png" ] ], "asset_id": "ee393b5d-a7f2-4384-bf69-58f31d208031" }, "S2sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S3sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S3sh13": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S3sh17": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S4sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S4sh3.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: A window-side passenger seat inside a moving city commuter bus at night, lit by the phone and passing urban lights.\n\nSHOT TEXT (authoritative, Korean): 수십 개의 부재중 전화 기록이 빼곡히 채워진 핸드폰 화면을 보며 미간을 찌푸린 김지후(강수리영)의 얼굴.\n\nCARRIED STATE (persist exactly): Jihu continues to wear the arrowhead-shaped animal-bone necklace that she has worn since her first appearance.\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 the aisle edge slightly above seated eye level, the camera pushes into an oblique close composition that places 김지후(강수리영)’s furrowed three-quarter face in the upper half and the tilted phone screen in the lower third. Sufficient depth keeps the missed-call list readable while her hand and the seat edge provide scale and prevent the device from becoming an isolated insert.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: active phone screen in the lower-center of the frame, foreground; 김지후(강수리영) in the upper-right of the frame, midground.\n- KEY BACKGROUND ELEMENTS: 핸드폰 화면 (On, displaying numerous unanswered calls from her mother) — The active front display faces the camera at a readable angle and shows the densely filled missed-call history; used as Shares focus with 김지후(강수리영)’s expression and carries the missed-call narrative information; 버스 좌석 (Occupied by 김지후(강수리영)) — The aisle-facing edge and backrest frame her seated posture; used as Creates a narrow foreground boundary along the aisle side of her body; 차창 (Beside her window seat) — The window shows passing urban neon signs and miscellaneous city lights outside; used as Supplies moving night context beyond her row without displacing the phone as the focus.\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:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/c969307e-1950-4a99-9ffd-4bc6633079ba.png" ] ], "asset_id": "1c271367-434e-4b68-8422-1af97a53f483" }, "S4sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S5sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S5sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L06B03.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: The narrow service space behind a convenience-store beverage refrigerator, screened from the sales floor by rows of cans.\n\nSHOT TEXT (authoritative, Korean): 캔 음료가 가득한 편의점 냉장고 뒤편 좁은 공간에서 유통기한이 지난 도시락을 손에 꽉 쥔 김지후(강수리영)의 상체.\n\nCARRIED STATE (persist exactly): Jihu continues to wear her arrowhead-shaped animal-bone necklace while holding the expired lunchbox.\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 chest height in the narrow space behind the stocked refrigerator rows, hold a tight medium view of 김지후(강수리영) with her upper body on the right half and the expired lunch box prominent near the lower center. Keep the camera static and slightly off her frontal axis, using the drink rows along the left edge to compress the space without obscuring her drained expression and blue vest.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: rows of canned drinks (packed tightly inside the refrigerator) — The cylindrical sides and visible fronts face obliquely toward the camera from the left edge; used as The tightly packed rows form a foreground edge that visually confines the character; expired lunch box (expired and held tightly) — Its upper and near side face the camera while it is clenched in both hands; used as Held near the lower center as the concrete evidence of her hurried late meal; basket of discarded food (filled with food marked for disposal) — Its open top angles toward the camera behind the lunch box; used as Provides contextual depth behind and below the primary figure.\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L06B03.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/c969307e-1950-4a99-9ffd-4bc6633079ba.png" ] ], "asset_id": "1067f982-dd47-4941-906a-08f535e2715c" }, "S5sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S5sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S6sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S6sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/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: A sidewalk bench directly outside a convenience store at night.\n\nSHOT TEXT (authoritative, Korean): 편의점 앞 벤치에 나란히 앉은 가운데 정인우가 김지후(강수리영)의 얼굴 앞까지 캔커피를 불쑥 내민 순간.\n\nCARRIED STATE (persist exactly): Jihu continues to wear her arrowhead-shaped animal-bone necklace.\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 seated eye level directly before the bench, hold a medium two-person view as 정인우 thrusts the opened canned coffee close to 김지후(강수리영)'s face. The can sits near center without exceeding the figures in scale; 정인우 leans in from frame left while 김지후(강수리영) recoils slightly on frame right, keeping both seated bodies and the bench readable.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 정인우 in the middle-left of the frame, midground, reaches for 김지후 with canned coffee; 김지후(강수리영) in the middle-right of the frame, midground, looks toward offered canned coffee; canned coffee in the middle-center of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: bench (occupied by both characters) — Its front edge faces the camera with both characters seated side by side; used as Shared seating anchor that keeps both figures on a single confrontation line; canned coffee (opened and being offered) — Its cylindrical side angles toward the camera in 정인우's extended hand; used as Central handoff object positioned close to 김지후(강수리영)'s face; convenience store exterior (night exterior) — The store-facing side lies behind the seated pair; used as Establishes the exterior convenience-store location behind the bench.\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L08B01.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/c969307e-1950-4a99-9ffd-4bc6633079ba.png" ], [ "char:정인우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/6b0f3cd2-734f-4a32-b184-d1fb581fa402.png" ] ], "asset_id": "388c1280-6872-4715-90be-04e0e68404af" }, "S6sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S6sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S7sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S7sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L09B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: An open parking area immediately outside a police station in daylight.\n\nSHOT TEXT (authoritative, Korean): 금방이라도 눈물을 터뜨릴 듯 절박한 눈빛으로 정인우의 눈을 똑바로 올려다보는 강민숙(홍은미)의 붉어진 얼굴.\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 강민숙(홍은미)'s eye level and slightly on 정인우's side of the eyeline, finish the dolly-in with a tight close view of her reddened face angled upward toward him. Her face occupies the center-left while 정인우's soft shoulder edge on the right preserves the height relationship and the direction of her plea.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 강민숙(홍은미) in the middle-left of the frame, foreground, looks toward 정인우 at frame right; 정인우 in the middle-right of the frame, foreground, looks toward 강민숙 pleading.\n- KEY BACKGROUND ELEMENTS: police station parking area (daytime); used as A restrained background cue establishing the remembered police-station encounter.\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L09B01.png" ], [ "char:강민숙(홍은미)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/deb30f47-158f-46fe-8c97-9c100f80d959.png" ] ], "asset_id": "b631f7c8-52c8-4af0-8215-fc7a0005f764" }, "S7sh6": { "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 }, "S8sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S9sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S9sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L10B02.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: The small living room of a modest two-room multi-family home, viewed from the entryway under indoor nighttime light.\n\nSHOT TEXT (authoritative, Korean): 소파 쪽을 바라보며 두 눈이 커진 채 얼어붙은 강민숙(홍은미)의 하얗게 질린 얼굴.\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 the sofa side at eye level, the inward move ends with 강민숙(홍은미)'s face occupying most of the frame while her body remains angled toward the unseen seated woman. Her enlarged eyes are held above center and the edge of one raised shoulder compresses the lower frame, preserving the terrified eyeline toward the sofa without revealing its occupant.\n- FRAMING SCALE: close-up\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L10B02.png" ], [ "char:강민숙(홍은미)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/deb30f47-158f-46fe-8c97-9c100f80d959.png" ] ], "asset_id": "8540f759-f4d9-4bfa-a4a9-c4140ecbb688" }, "S9sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S10sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S10sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/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: Behind the checkout counter on the convenience-store sales floor at night, under the store’s active lighting.\n\nSHOT TEXT (authoritative, Korean): 두툼한 흰색 돈봉투를 손가락으로 꽉 쥐고 있는 김지후(강수리영)의 양손 클로즈업.\n\nCARRIED STATE (persist exactly): Jihu still wears her bone necklace and continues handling the same thick money envelope taken from Inwoo.\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: Immediately across the counter at hand height, the static insert isolates 김지후(강수리영)'s two hands crushing the thick white money envelope, while a narrow strip of counter and her forearms retain scale and location. The envelope remains below forty percent of the image, angled across the lower center as whitening knuckles and compressed fingers carry the tension.\n- FRAMING SCALE: insert close-up on a detail\n- KEY BACKGROUND ELEMENTS: thick white money envelope (tightly gripped) — Its broad face is angled toward the camera while the compressed edge shows its thickness; used as Primary handled prop held between both hands in the lower-center of frame; convenience-store counter (present); used as Provides a narrow spatial reference beneath the hands.\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L07B01.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/c969307e-1950-4a99-9ffd-4bc6633079ba.png" ] ], "asset_id": "af6b6d5c-a1fe-4cc2-a494-933f4fa5dffa" }, "S10sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S11sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S11sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L11B02.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: A narrow residential alley at the curb beside a stopped police car at night.\n\nSHOT TEXT (authoritative, Korean): 활짝 열린 경찰차 운전석 문밖으로 다급한 표정을 한 채 몸을 한껏 내밀고 있는 정인우의 상체.\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 outside the fully open driver's door at upper-body height, the dolly-in settles on 정인우 leaning urgently through the doorway, his torso isolated beyond the angled door edge. He occupies the center-right of the frame in three-quarter view, while enough of the car body and roofline remains visible to establish where he has emerged from.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: driver's door (fully open) — The door is fully open, with its inner side angled toward the camera; used as Creates a hard foreground edge around Inwoo's emerging upper body; police car (stopped) — The driver's side and roofline face the camera at an oblique angle; used as Provides vehicle context behind and below the open door; red warning beacon (mounted; operating state unspecified) — Mounted on the police-car roof with its side visible to camera; used as A restrained red visual marker along the visible roofline.\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L11B02.png" ], [ "char:정인우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/6b0f3cd2-734f-4a32-b184-d1fb581fa402.png" ] ], "asset_id": "5403ac85-c5cf-4b23-a167-d91df3619c15" }, "S11sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S12sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S12sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/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: The wrecked central living area of the multi-family home, among broken furnishings and visible bloodstains.\n\nSHOT TEXT (authoritative, Korean): 피 묻은 난장판 한가운데 서서 부서진 사진 액자를 손에 든 채 서 있는 날카로운 눈매의 고산들의 전신.\n\nCARRIED STATE (persist exactly): Sandeul is holding the photograph frame taken from Minsook's wrecked home; the broken furniture, shattered objects, and bloodstains remain throughout the room.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\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 inside the entrance at eye level, a static wide composition places 고산들 full-length in the central depth of the room, isolated by the surrounding destruction. His body faces the entrance while his head and broken photograph frame turn slightly off-axis, allowing the damaged frame and his cold stillness to register without flattening him into a frontal portrait.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: broken photograph frame (broken) — The photograph-bearing face is visible obliquely to camera, but its image remains indistinct; the damaged frame edge is evident; used as Held at Sandeul's torso as the key narrative prop within the wider reveal; broken furniture (broken and disordered) — Broken forms point at varied angles around Sandeul, leaving him readable in the central depth; used as Surrounds the centered figure and establishes the violent disorder; broken lamp (broken) — Its damaged body is visible among the displaced room contents; used as Adds evidence of destruction within the room around the figure; broken flowerpot (broken) — Its broken form lies among the surrounding disorder; used as Provides scattered evidence of the ransacked interior; blood marks (clearly visible in multiple areas); used as Creates visible evidence of violence around the central figure.\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L10B01.png" ], [ "char:고산들", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/8139958c-054d-4ade-82e6-840d628ed6b9.png" ] ], "asset_id": "b2a14138-70e4-489f-9899-ae8d4fca9bbb" }, "S12sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S12sh16": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S13sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S13sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L13B03.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: The driver’s seat of an older SUV traveling along a dark rural road at night, with the cabin dimly lit.\n\nSHOT TEXT (authoritative, Korean): 핸드폰을 귀에 댄 채 뒷좌석 쪽으로 상체를 반쯤 돌린 자세로 멈춰서 뒤를 주시하는 고산들의 상반신.\n\nCARRIED STATE (persist exactly): Jihu remains bound hand and foot and lying unconscious across the rear seat, still wearing her bone necklace. Sandeul also retains the photograph frame taken from Minsook's house.\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 shoulder height inside the front passenger area, the pan finishes its rearward pivot and settles on 고산들 in a medium three-quarter view, his upper body twisted toward the back while the phone remains pressed to his ear. He occupies the left-center of frame, with the front-seat gap opening behind his gaze toward the unseen rear passenger; the brief stillness makes his divided attention legible.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: gap between the front seats (Unobstructed) — The gap faces the camera obliquely and opens toward the rear bench; used as The opening behind 고산들 extends his sightline toward the rear seat without revealing its occupant yet; driver's seat (Occupied) — Its side and upper back are visible from the front passenger area; used as Provides the immediate spatial boundary around his turned torso; mobile phone (Pressed to his ear) — Its screen face is turned away from the camera while its back and edge remain visible; used as Held beside his face as the active call prop.\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L13B03.png" ], [ "char:고산들", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/8139958c-054d-4ade-82e6-840d628ed6b9.png" ] ], "asset_id": "23e37876-8bf7-43b5-9ce7-b0c2e83c5f6c" }, "S13sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S14sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S14sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L11B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At the open rear threshold of an ambulance parked in the residential alley.\n\nSHOT TEXT (authoritative, Korean): 구급차 뒷문턱에 걸터앉은 채 한쪽 팔에 팔걸이 밴드를 매고 지친 표정으로 땅을 보는 정인우의 전신.\n\nCARRIED STATE (persist exactly): Inwoo's injured arm remains supported in the sling.\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 정인우's seated eye level, the forward dolly reaches its endpoint in a wide, nearly axial composition that preserves his entire seated figure at the ambulance threshold. He sits slightly off-center with his supported arm crossing his body and his lowered face separated from the police and residents active deeper in the alley.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: ambulance rear entrance (Open) — The open rear side faces the camera, with the threshold directly beneath him; used as Frames 정인우 from behind and establishes where he is receiving aid; police car light bars (Flashing red and blue); used as Creates intermittent colored illumination across the alley and the seated figure; multi-unit house (Police moving through the building) — Its alley-facing frontage is visible beyond the ambulance area; used as Provides the incident location behind the emergency response activity; neighborhood residents (Gathered and murmuring); used as Creates a dispersed background line of witnesses looking toward the residence.\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L11B01.png" ], [ "char:정인우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/6b0f3cd2-734f-4a32-b184-d1fb581fa402.png" ] ], "asset_id": "bb7ae2b7-0264-4ae2-a6d7-743ac9913e92" }, "S14sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S15sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S15sh4.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L13B02.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: The rear seating area inside the parked older SUV before dawn, with faint dawn light entering through the windows.\n\nSHOT TEXT (authoritative, Korean): 눈을 번쩍 뜬 채 몸이 묶인 상태로 누워 두려움 가득한 눈빛으로 앞을 올려다보는 김지후(강수리영)의 얼굴.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): She is stretched across the SUV's rear seat with her torso and head supported by the seat, both hands and both feet bound, and all four limbs held close to her body.\n\nCARRIED STATE (persist exactly): Jihu remains stretched across the SUV's rear seat with her torso and head supported by the seat, both hands and both feet bound, and all four limbs held close to her body, with her bone necklace on, now awake.\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: Inside the rear half of the SUV, the camera finishes slightly above 김지후(강수리영)'s eye line and angles down as the move tightens onto his suddenly opened eyes. His fearful face occupies most of the frame, but the line of his restrained shoulders and a small edge of the bindings remain visible below to establish that he is still lying immobilized.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 김지후(강수리영) in the middle-center of the frame, foreground, looks toward 고산들 beyond the frame.\n- KEY BACKGROUND ELEMENTS: rear bench seat (Occupied) — The seat surface runs beneath his shoulders and recedes toward the side of the cabin; used as Supports the restrained figure while its seam supplies a restrained diagonal beneath his face; bindings (Securing his limbs); used as Makes the captive posture legible at the lower frame boundary; SUV side window (Closed) — The window remains at the background edge, with the pale dawn exterior only narrowly visible through it; used as Provides a narrow environmental edge behind his head rather than a separate focal point.\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L13B02.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/c969307e-1950-4a99-9ffd-4bc6633079ba.png" ] ], "asset_id": "358e8646-775a-42d9-b286-5ca954003fdc" }, "S15sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S16sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S16sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L14B01.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: A workstation inside a police detective office, directly before a computer monitor under office lighting.\n\nSHOT TEXT (authoritative, Korean): 경찰서 형사과 안, 컴퓨터 모니터 화면에 바짝 얼굴을 들이댄 정인우의 미간이 잔뜩 찌푸려진 굳은 얼굴.\n\nCARRIED STATE (persist exactly): Inwoo continues to wear the sling on his injured arm.\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 seated eye level beside the computer monitor, the camera presses into a close, slightly frontal three-quarter view of 정인우 leaning toward the screen. His furrowed brow and rigid face occupy most of the frame, while only an oblique sliver of the active monitor remains along the near-left edge as the source of his hostile concentration.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: computer monitor (Displaying CCTV footage) — Only a narrow oblique portion of the display face is visible, carrying the CCTV footage while most of the image remains cropped; used as Acts as the near-edge spatial reference and the object of 정인우's fixed attention; arm support band (Supporting one arm); used as Remains visible on his injured side and links this shot to the prior alley scene; detective desk (In use) — Its near edge recedes out of frame beneath the monitor; used as Supplies a minimal office boundary behind the tight portrait.\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L14B01.png" ], [ "char:정인우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/6b0f3cd2-734f-4a32-b184-d1fb581fa402.png" ] ], "asset_id": "cdb65e79-453a-4c9a-9f78-55046564e663" }, "S16sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S17sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S17sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L16B05.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: The exposed bow of a moving fishing boat on open sea in daylight.\n\nSHOT TEXT (authoritative, Korean): 뱃머리 끝에 홀로 꼿꼿하게 선 채 탁 트인 바다를 굽어보는 고산들의 단단한 뒷모습.\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 waist height on the bow centerline several steps behind 고산들, a static wide frame places his rigid back in the middle against the open sea. His braced figure remains relatively small within the environment, with the bow converging below him and uninterrupted water beyond, turning his isolation into the dominant visual fact.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 고산들 in the middle-center of the frame, midground; open sea in the upper-center of the frame, background; boat bow in the lower-center of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: boat bow (Advancing with the fishing boat) — Its forward-pointing sides converge toward the center beneath 고산들; used as Forms the converging foreground path that directs the eye into 고산들's back; open sea (Blue and rolling); used as Creates the open background against which 고산들 is isolated; central passage (Clear) — Its long axis aligns with the camera and points from the bow toward the stern; used as Extends behind the camera path and establishes the route of the following backward move.\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L16B05.png" ], [ "char:고산들", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/8139958c-054d-4ade-82e6-840d628ed6b9.png" ] ], "asset_id": "31406af8-1e2f-4396-9c0b-dd6dec8514dd" }, "S17sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S18sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S18sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S19sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S19sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S19sh11": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S20sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S20sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L19B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The landing area of a small island pier beside the newly arrived fishing boat.\n\nSHOT TEXT (authoritative, Korean): 어선 선착장에 서서 낯선 한국인 마을 사람들의 시선을 받으며 눈을 둥글게 뜬 채 당황한 표정을 짓는 김지후(강수리영)의 상체.\n\nCARRIED STATE (persist exactly): Jihu arrives on Geumwoldo still wearing her arrowhead-shaped animal-bone necklace.\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 김지후(강수리영)'s chest height on the dock, end the inward dolly in a medium view through the surrounding villagers, using partial shoulders and heads at both edges as a compressed human frame. Place Jihoo near center with her body momentarily stalled and her rounded eyes moving past the camera-side crowd, while the gathered villagers remain contextual rather than individually prominent.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: gathered Korean villagers (Crowding toward the arrived boat, applauding and cheering for Jihoo); used as Partial foreground bodies create a corridor of attention converging on Jihoo; fishing boat and dock (The fishing boat has arrived at the dock) — The arrived boat sits behind the crowd, while the dock runs through Jihoo's position toward the village; used as Visible behind the gathering to establish the point of arrival; small island village (Fewer than roughly fifty households, surrounded by trees and forest in peak autumn foliage) — The colorful-roofed houses face the dock from beyond the gathered villagers; used as Distant environmental context beyond the crowd.\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L19B01.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/c969307e-1950-4a99-9ffd-4bc6633079ba.png" ] ], "asset_id": "792c1899-121c-4752-b29e-d5e2f465717c" }, "S20sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S21sh11": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S21sh16": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S21sh19": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S22sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S23sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S23sh3.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: A narrow, unlit trail beneath dense maritime pines, illuminated only by moonlight.\n\nSHOT TEXT (authoritative, Korean): 달빛을 받아 차갑게 빛나는 고산들의 단호하고 무심한 옆얼굴.\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 camera tracks at eye level directly beside 고산들, matching his fast stride and holding a tight perpendicular profile as the forest slips behind him. His coldly lit cheek and set jaw occupy the right two-thirds, leaving a narrow leading-space channel in the direction of travel.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 고산들 in the middle-right of the frame, midground, moves toward forest path ahead; forest path ahead in the middle-left of the frame, background.\n- KEY BACKGROUND ELEMENTS: 울창한 해송 나무 숲 (달빛만 비치는 밤) — The trunks pass laterally behind his profile as the camera tracks beside him; used as Moving background layers that convey his uninterrupted pace; 어두운 숲길 (불빛이 없음); used as A narrow channel of leading space beside his face.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:고산들", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/8139958c-054d-4ade-82e6-840d628ed6b9.png" ] ], "asset_id": "387a3a7b-93e3-4c2f-a36d-68a1cbd6b195" }, "S24sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S24sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L20B06.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: The doorway between a back room and the dark restaurant hall, with weak moonlight entering through the windows.\n\nSHOT TEXT (authoritative, Korean): 어두컴컴한 식당 안, 아주 살짝 열린 방문 틈 사이로 어둠 속을 엿보는 김지후(강수리영)의 불안한 눈동자.\n\nCARRIED STATE (persist exactly): Jihu still wears her arrowhead-shaped bone necklace as she leaves her room that night.\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 the dining-room side of the barely open doorway, a static eye-level camera peers into the narrow gap and frames 김지후(강수리영)'s anxious eye with only part of her brow and cheek. The two door edges compress her into the center-left sliver, while the dark dining room remains faintly legible beyond the foreground edge.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: left edge of the barely open doorway in the middle-left of the frame, foreground; right edge of the barely open doorway in the middle-right of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: 살짝 열린 방문 (아주 살짝 열려 있음) — The camera sees the inner edges of the door and frame, with the opening aimed into the dining room; used as Two close foreground edges form a narrow through-object frame around the visible eye; 식당 내부 (어두컴컴하고 반응하는 사람이 없음); used as Sparse negative space behind the doorway slit.\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L20B06.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/c969307e-1950-4a99-9ffd-4bc6633079ba.png" ] ], "asset_id": "5e25d74f-0bfc-4886-8832-a2e56c84c397" }, "S24sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S25sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S25sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L29B01.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: The forest clearing directly before a large natural cave mouth reinforced with wooden posts.\n\nSHOT TEXT (authoritative, Korean): 검은 아가리처럼 뻥 뚫린 동굴 입구 앞에 멈춰 서서 안쪽을 가만히 들여다보는 고산들의 뒷모습.\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: Directly behind 고산들 at shoulder height, the static camera looks past his motionless back and between his shoulders into the open cave. His figure occupies the lower central third while the cave mouth and its added wooden supports remain fully legible around him, sharing his hesitant line of sight.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 자연동굴 입구 (열려 있고 안쪽이 끝없이 깜깜함) — The entrance faces the camera behind 고산들, exposing the unlit cave interior; used as The central background void directly aligned with 고산들's gaze; 입구의 나무 기둥 (사람이 덧댄 것처럼 설치되어 있음) — Their inward-facing sides border the cave mouth on either side of 고산들; used as An enclosing structural frame around the cave opening.\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L29B01.png" ], [ "char:고산들", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/8139958c-054d-4ade-82e6-840d628ed6b9.png" ] ], "asset_id": "e6bc229d-60d4-45e9-a662-301f38503ec9" }, "S25sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S26sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S26sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L31B03.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: The small yard immediately outside a rough wooden shed behind the restaurant at night.\n\nSHOT TEXT (authoritative, Korean): 창고의 거친 나무 문 표면에 한쪽 귀를 바짝 갖다 댄 채 숨을 죽인 김지후(강수리영)의 상체.\n\nCARRIED STATE (persist exactly): Jihu still wears her arrowhead-shaped bone necklace while listening at the shed door.\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 upper-torso height beside 김지후(강수리영), the static camera sits perpendicular to the storage-room door and tightens around her shoulder, cheek, and ear pressed to its rough surface. She occupies the left two-thirds, while the door and a narrow trace of escaping light remain on the right to establish what she is listening through.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 창고의 거친 나무 문 (문 밖으로 불빛이 새어나옴) — Its outer face lies nearly parallel to the image plane, with the narrow opening positioned beyond her ear; used as The contact surface for her ear and the dominant vertical plane beside her profile; 식당 뒤뜰 (밤); used as A restrained background sliver establishing the exterior location.\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L31B03.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/c969307e-1950-4a99-9ffd-4bc6633079ba.png" ] ], "asset_id": "61cf28ae-b401-4a1a-afd9-3b2bc59ef086" }, "S26sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S27sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S27sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S28sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S29sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S29sh3.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: A narrow nighttime trail deep within the maritime-pine forest.\n\nSHOT TEXT (authoritative, Korean): 어두운 숲길, 표면이 불룩하게 튀어나온 커다란 포댓자루 두 개가 실린 리어카를 끄는 방향으로 몸을 기울여 앞으로 한 발을 내디딘 중간 동작, 한국인 마을 청년들의 짙은 실루엣.\n\nCARRIED STATE (persist exactly): The two large, moving sacks remain loaded on the youths' handcart, and Jihu still wears her bone necklace while watching them.\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 eye level beside the concealed position, the camera tracks perpendicular to the Korean village youths as they pass across the frame with the cart and its two bulging sacks. Their dark bodies are caught mid-stride in the middle ground, leaning into the pull, while the cart remains fully legible behind them and the forest path supplies scale.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 마을 청년#1 in the middle-right of the frame, midground, moves toward far side of the forest path; cart with two sacks in the middle-center of the frame, midground.\n- KEY BACKGROUND ELEMENTS: cart (Moving along the path) — Its side faces the camera while its front points along the youths' direction of travel; used as Travels with the youths as the principal load-bearing shape in the tracking composition; two large sacks (Loaded on the cart and moving from within) — Their bulging sides face the camera from atop the cart; used as Creates two distinct irregular masses on the cart without revealing their contents; forest path (Dark) — The path crosses laterally through the frame along the group's travel axis; used as Provides the transverse corridor through which the group passes.\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:마을 청년#1", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/ef7717a6-c23c-4ddd-926a-3a545c743941.png" ] ], "asset_id": "4aa11ff2-bcf7-492d-b11e-a03bf7799a40" }, "S29sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S29sh11": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S30sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S30sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S31sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S31sh2.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: The narrow exterior passage running through a forest goat enclosure at night.\n\nSHOT TEXT (authoritative, Korean): 축사 사이의 좁은 길에서 한쪽 다리를 들어 올려 앞으로 뻗은 mid-stride 자세로, 핏물이 떨어지는 포댓자루를 어깨에 멘 한국인 마을 청년들의 뒷모습.\n\nCARRIED STATE (persist exactly): The youths continue carrying the two blood-leaking sacks through the goat enclosure, with the contents still struggling. Jihu still wears her bone necklace while following.\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 waist height several steps behind the Korean village youths, the tracking frame widens enough to catch 마을 청년#1 with one leg extended forward while the group enters the narrow route between the enclosures. His back and the sack on his shoulder stay centered, with falling dark-red liquid legible below the load and black goats held to both sides as spatial context.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 마을 청년#1 in the middle-center of the frame, midground, moves toward narrow route between the enclosures; narrow route between goat enclosures in the upper-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: goat enclosures (Holding dozens of black goats) — Their inward-facing sides flank the path on the left and right; used as Forms the confined travel corridor around the moving group; black goats (Gathered inside the enclosures); used as Crowds both sides of the youths' route and deepens the sense of confinement; large sack (Moving violently from within and dripping dark-red liquid) — Its rear and lower side face the following camera; used as Rides over the carrier's shoulder as the secondary focal mass.\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:마을 청년#1", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/ef7717a6-c23c-4ddd-926a-3a545c743941.png" ] ], "asset_id": "5553f879-eeb6-4a01-b18f-bdd9046f3be9" }, "S31sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S32sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S32sh13": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S32sh17": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S33sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S33sh4.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: The edge of a steep forest slope beside the nighttime escape route.\n\nSHOT TEXT (authoritative, Korean): 김여상이 사라진 언덕 아래를 내려다보며 경악한 채 우뚝 선 김지후(강수리영)의 굳은 전신\n\nCARRIED STATE (persist exactly): Yeosang has fallen out of sight down the slope and does not return to Jihu; Jihu still wears her bone necklace.\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 full-body distance beside and slightly behind 김지후(강수리영), hold completely static near the top of the slope and aim downward past her. Her halted body occupies the center-left while the descending ground opens beneath her, leaving the place where 김여상 vanished conspicuously empty.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: slope below where 김여상 disappeared in the lower-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: 언덕 아래 경사면 (김여상이 굴러 떨어져 시야에서 사라진 상태) — The slope falls away from the camera through the lower and central frame; used as The downward visual anchor beyond 수리영 and the empty destination of her shocked gaze; 잔가지와 수풀 (Crowding the sides of the forest route); used as Frames 수리영's silhouette and preserves the forest pursuit setting.\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:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/c969307e-1950-4a99-9ffd-4bc6633079ba.png" ] ], "asset_id": "e51c4800-b2f4-48a0-91d4-c87b1ac16b71" }, "S33sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S33sh13": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S34sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S34sh2.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: The driver’s seat inside a moving compact sedan on a rural highway in daylight.\n\nSHOT TEXT (authoritative, Korean): 한쪽 팔에 깁스를 한 채 인상을 잔뜩 찌푸리고 운전대를 꽉 쥔 정인우의 상체\n\nCARRIED STATE (persist exactly): Inwoo's previously injured arm is now immobilized in a cast.\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: Inside the moving car from the front passenger side, finish the dolly-in at 정인우's chest height and an arm's-length distance. Frame his tense upper body in three-quarter profile with his cast arm and gripping hand readable around the steering wheel, while his worried face remains oriented toward the road rather than the camera.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 운전대 (Held tightly while the car is moving) — The rim is seen obliquely from the passenger side with In-woo's hands gripping it; used as Foreground action anchor linking In-woo's rigid hands to the moving vehicle; 앞유리 (The car is traveling along a rural road) — The camera sees the rural road ahead through it from the passenger-side cabin angle; used as Provides the forward driving context behind In-woo's profile; 핸드폰 (Being used for a hands-free call to 지후) — Its screen side is angled away from full view in this shot, with the call interface not yet clearly readable; used as The next focal destination as the camera prepares to tilt and shift away from In-woo.\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:정인우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/6b0f3cd2-734f-4a32-b184-d1fb581fa402.png" ] ], "asset_id": "8a2e4c46-105d-40a7-aa34-bda695608e7e" }, "S34sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S35sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S35sh1.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: A sunlit, unnaturally still footpath within the island forest, presented as a dream.\n\nSHOT TEXT (authoritative, Korean): 햇살이 비치는 고요한 오솔길 한가운데 홀로 선 김지후(강수리영)의 멍한 전신\n\nCARRIED STATE (persist exactly): Within the dream, Jihu appears with the same bone necklace she wore before losing consciousness.\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 eye level on the lower section of the path, hold a static wide view several body lengths from 김지후(강수리영), facing her and the path extending beyond. She is isolated at center with her full body rigid and unfocused, while the open path above her creates a deep, unreachable axis toward the unseen figure ahead.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: path extending uphill beyond 수리영 in the upper-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: 숲속 오솔길 (Quiet and sunlit in the dream) — The path runs from the lower camera position through 수리영 and continues upward behind her; used as Central depth axis that establishes both 수리영's isolation and the impossible distance she will attempt to cross; 주변 숲 (Bordering both sides of the path); used as Side enclosure that leaves the path as the only visual route forward.\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:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/c969307e-1950-4a99-9ffd-4bc6633079ba.png" ] ], "asset_id": "3d8a08b3-a368-4f7f-b67a-283a64f7cf0f" }, "S35sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S35sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S36sh5": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S36sh5.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L21B01.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: A neatly arranged back room of the restaurant, warmed by daylight entering through its window.\n\nSHOT TEXT (authoritative, Korean): 허전한 목 부위를 향해 황급히 손을 가져다 댄 김지후(강수리영)의 당황한 손\n\nCARRIED STATE (persist exactly): Jihu's arrowhead-shaped bone necklace is now missing from her neck; she remains lying in the neatly arranged back room after waking.\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 camera close beside 김지후(강수리영)'s upper torso at neck level, tracking only enough to keep her hurried hand and the bare neck area centered in a tight close frame. Her fingers enter from the lower edge and press against the empty space where the necklace should be, while her face remains partially cropped at the upper edge to make the absence immediately legible.\n- FRAMING SCALE: close-up\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L21B01.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/c969307e-1950-4a99-9ffd-4bc6633079ba.png" ] ], "asset_id": "0f068fb8-f760-49a3-a6da-c7b5ff8950a5" }, "S36sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S37sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S37sh6": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S37sh6.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L31B01.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: The restaurant’s rear doorway opening onto its daylight yard.\n\nSHOT TEXT (authoritative, Korean): 식당 뒷문 앞에 선 채 빤히 시선을 고정한 강영란(흰 머리 여자)의 정면 전신.\n\nCARRIED STATE (persist exactly): Jihu remains without her arrowhead-shaped bone necklace.\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: Settle the tracking move into a static eye-level wide shot directly opposite the restaurant back door, holding 강영란(흰 머리 여자)'s full body centered within the opening. The frontal symmetry is purposeful here: her planted figure and unwavering look block the visual route back into the restaurant and confront 김지후(강수리영)'s position in the yard.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 강영란(흰 머리 여자) in the middle-center of the frame, midground; restaurant back doorway in the middle-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: restaurant back doorway (open) — The open entrance faces the yard and camera directly; used as Frames her complete figure and fixes the confrontation axis; restaurant yard (visible in daytime); used as Provides the exterior space separating the viewer from the doorway.\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L31B01.png" ], [ "char:강영란(흰 머리 여자)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/e13b0c29-78bb-4593-9ff2-de124196823d.png" ] ], "asset_id": "b959ff0a-3252-4c4a-b1a7-eae89a279e11" }, "S38sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S38sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L19B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Beside a moored fishing boat along the island pier in daylight.\n\nSHOT TEXT (authoritative, Korean): 고개를 돌린 채 김지후(강수리영)를 서늘하게 쏘아보는 황봉업(황 씨·민숙 집의 거구 남자)의 적대적인 얼굴.\n\nCARRIED STATE (persist exactly): Jihu remains without her bone necklace.\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: Track to 황봉업's eye level just beyond his working reach and settle slightly off his frontal axis in a close three-quarter view. His shoulder and paused hands remain along the lower frame edge while his head turns toward 김지후(강수리영), allowing the hostile eyeline to cut sharply out of frame.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: rope decoration with paper figures (being attached to the fishing boat); used as Appears near the lower edge as evidence of the work he has interrupted; moored fishing boat (moored) — A partial side of the boat is visible behind 황봉업; used as Provides a limited scale reference behind his close profile.\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L19B02.png" ], [ "char:황봉업", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/16cfeff8-4234-4666-9c95-a9902946a7d6.png" ] ], "asset_id": "5ae19279-84b9-4729-b7a0-c9fdcd405841" }, "S38sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S39sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S39sh3.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: A narrow lane through the island’s coastal village, beside homes growing aromatic plants.\n\nSHOT TEXT (authoritative, Korean): 코를 찌르는 악취에 미간을 잔뜩 찌푸리며 코를 쥔 김지후(강수리영)의 굳은 얼굴.\n\nCARRIED STATE (persist exactly): Jihu remains without her bone necklace.\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: Dolly in at 김지후(강수리영)'s eye height from a three-quarter frontal position, stopping in a close frame that contains her clenched expression and the hand pinching her nose. Catch her between steps with the village plants and low wall compressed behind her, making the bodily reaction read before its source is revealed.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: low wall (visible) — Its lane-facing side runs laterally behind 김지후(강수리영); used as Provides partial village context behind her close reaction; green seokchangpo plants (grown in abundance by the houses); used as Appears behind her as the residents' stated explanation for the smell.\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:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/c969307e-1950-4a99-9ffd-4bc6633079ba.png" ] ], "asset_id": "83c3144a-6163-4d66-b599-2a3d15bdfab2" }, "S39sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S39sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S40sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S40sh1.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: The shaded mouth of a narrow forest trail at the edge of the village in daylight.\n\nSHOT TEXT (authoritative, Korean): 한낮임에도 빛이 들지 않아 시커먼 오솔길 입구에 우두커니 선 김지후(강수리영)의 전신.\n\nCARRIED STATE (persist exactly): Jihu remains without her bone necklace at the forest entrance.\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: Hold a static wide shot from outside the path entrance at eye level, with 김지후(강수리영)'s full figure placed low and near center against the opening. Show her from behind with her weight arrested at the threshold, while the dark path continues above and beyond her into the forest, preserving the axis for the coming forward move.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 김지후(강수리영) in the lower-center of the frame, midground, looks toward dark forest path; dark forest path in the upper-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: forest path entrance (open) — The entrance faces the camera, opening directly into the path's depth; used as Frames 김지후(강수리영)'s solitary full figure at the decision point; forest path (dark despite daytime); used as Extends behind her as the destination of her fixed attention; forest (light does not appear to reach its interior); used as Encloses the path and isolates her silhouette within the entrance.\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:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/c969307e-1950-4a99-9ffd-4bc6633079ba.png" ] ], "asset_id": "f64abac1-e735-44a0-82d8-fc97acf653a9" }, "S40sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S41sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S42sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S42sh2.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: Beside a fuel pump at a rural roadside gas station in daylight.\n\nSHOT TEXT (authoritative, Korean): 정인우의 손에 들린 핸드폰 화면 위로 여러 섬에서 멀리 떨어진 '금월도'라는 위치가 선명하게 뜬 찰나.\n\nCARRIED STATE (persist exactly): Inwoo continues to have one arm immobilized in a cast.\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 static camera looks almost perpendicularly down onto the phone, keeping the screen within the central two-fifths while 정인우's supporting fingers remain at the edges as scale reference. The isolated island and the label “금월도” are sharp at center, with several neighboring islands retained around it to prove the geographic separation.\n- FRAMING SCALE: insert close-up on a detail\n- FRAME LAYOUT: map phone screen in the middle-center of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: 핸드폰 지도앱 화면 (지도앱이 열린 상태) — The illuminated front face is visible, showing “금월도” separated from several nearby islands; used as Primary information surface held nearly square to the lens.\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:정인우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/6b0f3cd2-734f-4a32-b184-d1fb581fa402.png" ] ], "asset_id": "f0f5eaae-b59e-4dd9-9161-735a69db1c08" }, "S43sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S43sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S44sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S44sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L37B01.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: The bloodstained main floor inside the slaughterhouse, lit by daylight through a broken window.\n\nSHOT TEXT (authoritative, Korean): 한낮의 햇살이 스며드는 도축장 안, 핏자국 가득한 바닥에 납작 엎드려 바짝 움츠러든 마을 청년#1과 한국인 청년 무리의 전신.\n\nCARRIED STATE (persist exactly): The slaughterhouse retains the bloodstains on its floor and walls and the fixed array of slaughter tools.\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 waist height across the room, the static wide frame shows 마을 청년#1 and the other Korean village youths pressed flat along the blood-marked floor, their full bodies forming an uneven receding line toward the far side. The broken window and hanging implements remain environmental evidence rather than foreground spectacle, while the first youth lifts only his eyes toward 고산들 outside the frame.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 깨진 창 (깨진 상태) — The damaged opening faces the camera obliquely, with midday light entering through it; used as Admits the stated midday sunlight and breaks the upper boundary of the room; 바닥의 핏자국 (핏자국이 가득한 상태); used as Provides the low plane beneath the prostrate group and makes their submission physically legible; 도축용 칼과 고기 걸이 금속 걸개 (빛을 받아 반짝이는 상태) — Their edges and hooked profiles catch the incoming light at oblique angles; used as Adds sharp vertical and suspended shapes behind the youths; 벽의 핏자국 (핏자국이 선명한 상태); used as Extends the marked enclosure behind the group.\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L37B01.png" ], [ "char:마을 청년#1", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/ef7717a6-c23c-4ddd-926a-3a545c743941.png" ] ], "asset_id": "9dd7a517-67a9-4bc6-aebd-999d26709792" }, "S44sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S44sh11": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S45sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S45sh3.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: A descending maritime-pine trail leading away from the forest slaughterhouse in daylight.\n\nSHOT TEXT (authoritative, Korean): 몸을 반쯤 돌린 채 고산들을 날카롭게 쏘아보는 강영란(흰 머리 여자)의 서늘한 얼굴.\n\nCARRIED STATE (persist exactly): The youth killed in the slaughterhouse remains behind with his throat cut; Youngran's claw may retain traces of his blood.\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 강영란(흰 머리 여자)'s eye height, the dolly-in ends between her frontal and profile lines as she arrests her turn, placing her cold three-quarter face on one side and leaving gaze room toward 고산들 beyond the opposite edge. The close framing preserves part of her turned shoulder and the forest path behind her, so the accusation reads as an interruption of forward movement rather than a posed portrait.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 강영란(흰 머리 여자) in the middle-left of the frame, foreground, looks toward 고산들 beyond the opposite frame edge.\n- KEY BACKGROUND ELEMENTS: 숲길 (보이는 상태); used as Retains the direction of travel behind her turned shoulder; 숲의 나무와 수풀 (보이는 상태); used as Creates compressed vertical depth behind the confrontation close-up.\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:강영란(흰 머리 여자)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/e13b0c29-78bb-4593-9ff2-de124196823d.png" ] ], "asset_id": "67c0e71f-b039-4941-910a-5a32415c9c01" }, "S45sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S45sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S46sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S46sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S46sh18": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S47sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S47sh1.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: Beside a barrel fire on a mainland fishing harbor pier under an overcast sky.\n\nSHOT TEXT (authoritative, Korean): 흐린 하늘 아래 선착장의 드럼통 모닥불 옆에 쪼그려 앉아 수심 가득한 표정으로 불꽃을 응시하는 정인우의 전신.\n\nCARRIED STATE (persist exactly): Inwoo continues to wear the cast on his injured arm.\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 low standing height several meters away, frame 정인우 full-body across the drum-barrel fire as he crouches beside it, placing the flames below his lowered gaze and retaining the cloudy sky above him. Keep the frame static and wide, using the distance between fire and figure to make his worry feel exposed on the pier.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 정인우 in the middle-right of the frame, midground, looks toward drum-barrel fire; drum-barrel fire in the lower-center of the frame, foreground; cloudy sky in the upper-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: drum barrel fire (Burning beside the seated group) — The open top and flames face upward between camera and 정인우; used as Foreground visual barrier and the object beneath 정인우's eyeline; pier (Occupied by fishermen near the fire) — Its length recedes behind and beside 정인우; used as Open spatial context around the isolated crouching figure; cloudy sky (Cloudy as specified); used as Upper-frame atmosphere retained by the slight upward tilt.\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:정인우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/6b0f3cd2-734f-4a32-b184-d1fb581fa402.png" ] ], "asset_id": "a0501868-d04a-4e84-90e9-fcd29b8cba01" }, "S47sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S47sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S48sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S48sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L20B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At the chopping board in the restaurant kitchen, with the hall and open room visible nearby in daylight.\n\nSHOT TEXT (authoritative, Korean): 어두컴컴한 주방 도마 위, 커다란 식칼을 강하게 내리쳐 검은 염소의 목에 칼날이 깊숙이 박힌 순간의 고산들의 힘 실린 팔.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): The dead goat is stretched on the kitchen cutting surface with its torso supported horizontally, all four legs slack, and its neck placed beneath the descending cleaver as the head is severed.\n\nCARRIED STATE (persist exactly): The dead goat is stretched on the kitchen cutting surface with its torso supported horizontally, all four legs slack, and its neck placed beneath the descending cleaver as the head is severed, and Sandeul begins butchering its bloody flesh. Jihu remains without her necklace.\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: Set the camera low beside the cutting board, close to its surface, with the goat's neck held in the lower middle and 고산들's driving forearm descending diagonally from the upper side. Freeze the peak impact as the large knife bites into the neck, retaining enough of his tightened torso and the board edges to preserve realistic scale rather than isolating the blade.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: cutting board (In active use for butchering) — Its top surface is seen at a shallow angle beneath the goat's neck; used as Low ground plane for the impact and scale reference around the neck and knife; kitchen opening (Provides passage toward the dining area) — The opening recedes behind the cutting area toward the dining space; used as Secondary context beyond the impact point.\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L20B01.png" ], [ "char:고산들", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/8139958c-054d-4ade-82e6-840d628ed6b9.png" ] ], "asset_id": "b64fa413-b509-4ca6-a451-70b72b32722a" }, "S48sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S49sh5": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S49sh5.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: An outdoor table at a coastal seafood restaurant, overlooking the dark night sea.\n\nSHOT TEXT (authoritative, Korean): CCTV 캡처 사진이 띄워진 핸드폰 화면을 형사들 앞으로 내민 채 고정된 정인우의 손.\n\nCARRIED STATE (persist exactly): Inwoo continues to hold up his phone displaying the CCTV capture of Youngran and Hwang outside Minsook's house; his injured arm remains cast.\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 just above table height, hold a static close view along 정인우’s extended hand, with the phone occupying the lower central third and its bezel preserving the sense of a captured image rather than an unmediated alley. The CCTV frame of 강영란(흰 머리 여자) and 황봉업 remains sharp while 정인우’s wrist and the detectives’ seated forms provide soft scale references at opposite edges; the composition is poised to tilt up along their shared sightline.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: phone displaying the CCTV capture in the lower-center of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: 핸드폰 화면 (On, displaying the CCTV capture) — Its front face is angled toward the detectives and camera, visibly carrying the CCTV capture of 강영란 and 황봉업 in a dim alley; used as Primary focal surface held within the lower central third; 테이블 가장자리 (In use during the drinking conversation) — Its near edge runs laterally across the bottom of frame; used as A narrow foreground baseline beneath the extended hand.\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:정인우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/6b0f3cd2-734f-4a32-b184-d1fb581fa402.png" ] ], "asset_id": "9cf04efb-56f9-403b-a902-3c0b1506535e" }, "S49sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S50sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S50sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L21B02.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 restaurant’s dark back room at a curtained window overlooking the village lane.\n\nSHOT TEXT (authoritative, Korean): 김지후(강수리영)의 시선 너머, 골목길에 우두커니 서서 식당 쪽을 감시하듯 쳐다보는 한국인 마을 청년 둘의 실루엣.\n\nCARRIED STATE (persist exactly): Jihu remains without her bone necklace while the village youths maintain surveillance outside the restaurant.\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 inside the room at eye level just behind 김지후(강수리영)’s shoulder, begin the pan through the narrow curtain opening and pause on two Korean village youths arranged apart in the alley, both watching toward the restaurant. Her blurred shoulder and lifted curtain edge form the foreground aperture while the youths remain readable as full silhouettes in the middle distance; only their screen position is emphasized relative to the preceding window-side view.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 김지후(강수리영) shoulder in the middle-left of the frame, foreground, looks toward two village youths in the alley; two village youths in the middle-center of the frame, midground, looks toward restaurant window.\n- KEY BACKGROUND ELEMENTS: 커튼 틈 (Slightly opened) — The room-facing folds flank a narrow opening aimed into the alley; used as Foreground aperture that conceals most of the observer; 창문 (Unobstructed within the curtain gap) — The camera sees through it from the dark room toward the two youths in the alley; used as Transparent layer between the hidden observer and the watchers; 골목길 (Occupied by the two watching youths); used as Spatial ground separating the watchers from the restaurant.\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L21B02.png" ], [ "char:마을 청년#1", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/ef7717a6-c23c-4ddd-926a-3a545c743941.png" ] ], "asset_id": "62409aca-f712-466f-a019-6932d0f64aab" }, "S50sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S51sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S51sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L30B03.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: A confined chamber deep inside the natural cave, lit by a low-wattage electric bulb.\n\nSHOT TEXT (authoritative, Korean): 쇠사슬에 묶인 채 초췌한 모습으로 앉아 있는 강민숙(홍은미)을 안타까운 시선으로 내려다보는 고산들의 상체.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): She is seated on the cave floor with her exhausted torso upright and her limbs confined by a heavy chain, facing 고산들 as he stands over her.\n\nCARRIED STATE (persist exactly): Minsook remains chained in the cave in a weakened, disheveled condition.\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: Track at 강민숙(홍은미)’s seated eyeline and angle slightly upward, framing 고산들’s upper body in the center-right while her bound shoulder and chain remain low in the near foreground. His torso bends subtly toward her and his downward eyeline completes the confrontation axis; only his foreground prominence is emphasized over the preceding close view of her.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 강민숙(홍은미) in the lower-left of the frame, foreground, looks toward 고산들; 고산들 in the middle-right of the frame, midground, looks toward 강민숙(홍은미).\n- KEY BACKGROUND ELEMENTS: 쇠사슬 (Securing 강민숙) — The chain runs from 강민숙’s bound position toward the edge of frame; used as Visible restraint crossing the captive’s foreground body; 촉 낮은 전구 등 (On); used as Established practical source above the confrontation; 동굴 내부 (Occupied by the two characters); used as Compressed enclosure behind 고산들.\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L30B03.png" ], [ "char:고산들", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/8139958c-054d-4ade-82e6-840d628ed6b9.png" ], [ "char:강민숙(홍은미)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/deb30f47-158f-46fe-8c97-9c100f80d959.png" ] ], "asset_id": "5b39231c-71ab-4e3b-9741-9b95173bcaed" }, "S51sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S52sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S52sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/seed_bg_forest_ritual_clearing_sel.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: An open ritual clearing deep in the forest, directly before a massive blood-marked rock.\n\nSHOT TEXT (authoritative, Korean): 거대한 바위 앞에 두 무릎을 꿇은 채 양손을 뻗어 바위 표면에 바짝 대고 있는 고산들의 굽은 등.\n\nCARRIED STATE (persist exactly): The giant ritual rock retains the dark-red animal-blood smears across its surface while Sandeul kneels before it.\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: Dolly inward directly behind 고산들 at upper-back height, keeping his bowed back and kneeling legs in the lower center as both arms converge on the giant rock beyond. The rock is held to roughly the upper third rather than overwhelming the human scale, and the blood-marked hand placements lead the eye toward his pressed palms; the single emphasized change from the establishing view is camera distance.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 고산들 in the lower-center of the frame, midground, reaches for giant ritual rock; giant ritual rock in the upper-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: 거대한 바위 (Marked in many places with dark-red animal blood traces resembling hand smears) — Its broad face is presented toward camera beyond 고산들’s back and hands; used as Ritual focal mass beyond the kneeling figure, limited to the upper portion of frame; 숲속 공터 (Open around the giant rock); used as Spatial boundary around the rock and supplicant; 주변 숲 (Surrounding the clearing at night); used as Vertical enclosure at the clearing’s perimeter.\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/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/seed_bg_forest_ritual_clearing_sel.png" ], [ "char:고산들", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/8139958c-054d-4ade-82e6-840d628ed6b9.png" ] ], "asset_id": "393db544-8fc5-4474-a5f8-f9c8837077bb" }, "S53sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S53sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/seed_bg_mainland_harbor_sel.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The boarding edge of a mainland fishing pier beside a moored boat.\n\nSHOT TEXT (authoritative, Korean): 낚시꾼 복장으로 선착장에 서서 어선 위를 잔뜩 찌푸린 눈으로 올려다보는 정인우의 전신.\n\nCARRIED STATE (persist exactly): Inwoo continues to wear a cast on his injured arm.\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 waist height on the dock, hold a static wide three-quarter view of 정인우’s full fishing-costumed figure below the boat deck, his head tilted up toward 황봉업. Keep 황봉업 smaller on the raised deck so the vertical confrontation reads immediately, with dock and vessel establishing scale; the stage-entry composition remains deliberately still.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 정인우 in the lower-left of the frame, midground, looks toward 황봉업 on the raised boat deck; 황봉업 in the upper-right of the frame, background, looks toward 정인우 on the dock; raised boat deck in the upper-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: 선착장 (Occupied by 정인우) — Its working edge runs toward the boat and beneath 정인우; used as Lower plane supporting 정인우’s full figure; 낚시 어선 갑판 (Occupied by 황봉업) — The side and upper deck face the camera above 정인우’s eyeline; used as Raised opposing plane that establishes 황봉업’s height advantage; 어선 조타실 (Part of the moored confrontation setting) — Its dock-facing side is visible behind the raised deck; used as Upper structural mass behind 황봉업.\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/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/seed_bg_mainland_harbor_sel.png" ], [ "char:정인우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/6b0f3cd2-734f-4a32-b184-d1fb581fa402.png" ] ], "asset_id": "ea6da879-773b-4cff-8ac9-492206d631ad" }, "S53sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S54sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S54sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L16B03.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 fishing boat’s wheelhouse, looking through its windows toward the exposed bow in daylight.\n\nSHOT TEXT (authoritative, Korean): 조타실 안에서 둥근 핸들을 잡은 채 뱃머리에 선 정인우를 죽일 듯이 노려보는 황봉업(황 씨·민숙 집의 거구 남자)의 살벌한 얼굴.\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: Inside the wheelhouse at 황봉업’s eye level, finish the dolly-in on his murderous three-quarter glare while preserving both hands clamped around the round wheel in the lower third. Through the forward opening, 정인우 remains a small back-facing figure on the bow along 황봉업’s sightline, with fog obscuring the distance; the emphasized change is the tightening camera distance onto 황봉업.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 황봉업 in the middle-left of the frame, foreground, looks toward 정인우 on the bow; 정인우 in the middle-right of the frame, background; boat bow in the lower-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: 둥근 조타 핸들 (Held firmly by 황봉업) — Its wheel face is angled toward camera beside the steering position; used as Lower-frame circular anchor containing both of 황봉업’s gripping hands; 조타실 (Occupied by 황봉업) — The steering side faces camera while the forward opening remains behind him; used as Interior enclosure framing 황봉업’s face and forward glare; 어선 뱃머리 (Moving forward through the sea) — It extends forward from the wheelhouse with 정인우 positioned at its end; used as Long depth anchor holding 정인우 beyond the wheelhouse; 바다 안개 (Dense across the sea); used as Obscures the forward view beyond 정인우.\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L16B03.png" ], [ "char:황봉업", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/16cfeff8-4234-4666-9c95-a9902946a7d6.png" ] ], "asset_id": "d368d438-7739-4191-83fc-bc7b6ce6e092" }, "S54sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S55sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S55sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L19B01.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\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: The island pier’s landing area between the moored boat and the village approach.\n\nSHOT TEXT (authoritative, Korean): 선착장에 모여 적대적인 눈빛으로 정인우를 노려보는 한국인 마을 사람들의 굳은 얼굴.\n\nCARRIED STATE (persist exactly): Inwoo continues to wear the cast on his injured arm.\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 head height a few meters in front of the gathering, let the continuing pan settle slightly closer on a compressed band of rigid Korean villagers, while 정인우 remains just behind the camera axis and outside the image. Faces overlap across the middle of the frame at varied three-quarter and profile angles, creating a collective wall of hostile attention rather than a formal lineup.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 금월도 선착장 (Occupied by villagers awaiting 정인우); used as Provides shallow spatial context behind the concentrated row of faces; 마을 쪽 진입로 (정인우 has entered from the dock side); used as Background route aligned with the villagers’ hostile eyelines.\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L19B01.png" ] ], "asset_id": "b5814425-d19e-4f4c-b900-264aabaec18b" }, "S55sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S55sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S56sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S56sh3.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: A narrow rocky coastal path between the island village and the forest.\n\nSHOT TEXT (authoritative, Korean): 정인우의 의심 어린 시선에 입술을 굳게 다물고 싸늘하게 식어버린 김지후(강수리영)의 굳은 표정.\n\nCARRIED STATE (persist exactly): Jihu remains without her bone necklace, and Inwoo continues to have one arm in a cast.\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: Finish the eye-level dolly-in on 김지후(강수리영)’s front three-quarter side, isolating her firmly closed lips and suddenly frozen expression while 정인우 remains beyond the frame on her eyeline. Her face occupies most of the image, with only a narrow trace of the coastal path retained at the edge before the camera is ready to ease past her shoulder.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 김지후(강수리영) in the middle-center of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: 해안가 좁은 길 (The two had been walking along it before 정인우 stopped); used as Narrow peripheral context indicating that the conversation has stopped along the route.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/c969307e-1950-4a99-9ffd-4bc6633079ba.png" ] ], "asset_id": "f69df416-f47b-485d-8470-a711c431ca17" }, "S56sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S57sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S57sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S58sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S58sh2.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: The empty passage through the forest goat enclosure in daylight.\n\nSHOT TEXT (authoritative, Korean): 축사를 쳐다보며 과거의 공포가 떠오른 듯 한 손으로 가슴을 부여잡은 채 딱딱하게 굳어버린 김지후(강수리영)의 상체.\n\nCARRIED STATE (persist exactly): The goat enclosure remains empty of the black goats. Jihu remains without her necklace, and Inwoo continues wearing his cast.\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 upper-torso height and slightly off 김지후(강수리영)’s frontal axis, hold a static medium-close composition as her halted body occupies the right half and the empty enclosure remains along her off-screen eyeline to the left. Her hand clutches her chest at the center of the frame while her rigid shoulders and fixed gaze make the remembered terror readable without turning the image into a flashback.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 김지후(강수리영) in the middle-right of the frame, midground, looks toward empty goat enclosure; empty goat enclosure in the middle-left of the frame, background.\n- KEY BACKGROUND ELEMENTS: 텅 빈 염소 축사 (Empty; the black goat is absent) — The enclosure side facing the passing route is visible beside her eyeline; used as Fear trigger positioned along 김지후’s rigid eyeline; 축사 옆 길 (김지후와 정인우 are passing along it); used as Route context linking the present passage to 김지후’s previous experience.\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:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/c969307e-1950-4a99-9ffd-4bc6633079ba.png" ] ], "asset_id": "b4edf495-d808-4e99-9dfa-5daa28468674" }, "S59sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S59sh11": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S59sh11.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L37B02.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: A cramped inner storeroom within the slaughterhouse, packed with sacks containing dismembered remains.\n\nSHOT TEXT (authoritative, Korean): 창고 구석 어둠 속에 웅크린 채 양손으로 입을 꽉 틀어막은 김지후(강수리영)와 정인우의 굳은 얼굴.\n\nCARRIED STATE (persist exactly): The storage space remains packed with blood-soaked sacks of dismembered human bodies, including the spilled limbs. Jihu remains without her necklace, and Inwoo still wears his cast.\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 crouched head height in the storage corner, hold a close, low eye-level two-shot about one meter in front of 김지후(강수리영) and 정인우, with their compressed bodies occupying opposite halves of the frame. Keep the blood-marked sacks soft but recognizable along the lower foreground while both faces remain sharply held in the same shallow plane, preserving the track’s settled concealment position before the pan toward the door.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 피 묻은 포대자루들 (속이 차 있고 검붉은 핏자국이 배어남) — The bulging sides nearest the hiding pair face the camera; used as Soft lower-foreground obstruction that compresses the hiding pair into the corner; 창고 구석 (어둠 속); used as Dark spatial boundary enclosing the pair behind and to both sides; 창고 문 (닫혀 있음) — The interior-facing side is angled away from the camera position; used as Off-axis destination for the pair's fixed attention and the coming pan.\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L37B02.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/c969307e-1950-4a99-9ffd-4bc6633079ba.png" ], [ "char:정인우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/6b0f3cd2-734f-4a32-b184-d1fb581fa402.png" ] ], "asset_id": "9f31835c-1bad-489e-9a0a-54e9e9907b0c" }, "S59sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S60sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S61sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S61sh11": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S62sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S62sh4.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L45B02.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: The open aft deck of a police patrol boat stopped on dark evening water.\n\nSHOT TEXT (authoritative, Korean): 김여상의 손목에서 번쩍이는 금속 시계를 절반쯤 빼낸 채 팽팽하게 힘을 주고 있는 구창모의 탐욕스러운 손아귀.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): His corpse is stretched motionless on the patrol boat's deck, with the torso supported by the deck and the arms resting slack while 구창모 handles one wrist and searches his clothing.\n\nCARRIED STATE (persist exactly): Yeosang's corpse is stretched motionless on the patrol boat's deck, with the torso supported by the deck and the arms resting slack while Changmo handles one wrist and searches his clothing; the wet cash and ring are transferred to Changmo's pocket.\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 wrist height on the patrol-boat deck, hold a static insert inches from 김여상's slack forearm as 구창모's gripping hand strains the metal watch halfway free. Keep a narrow portion of the corpse's clothing and deck at the frame edges for scale, with the watch, wrist, and whitening grip forming the central diagonal rather than allowing the object alone to occupy the image.\n- FRAMING SCALE: insert close-up on a detail\n- KEY BACKGROUND ELEMENTS: 금속 시계 (손목에서 절반쯤 빠져 있음) — Its outer face and loosened band are angled toward the camera as it slides over the hand; used as Central evidence of theft, held between the corpse's wrist and 구창모's grip; 순찰정 갑판 (엔진을 끈 배 위); used as Thin lower-edge context fixing the action aboard the patrol boat; 김여상의 옷 (구창모가 뒤진 상태); used as Frame-edge evidence of the ongoing search.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L45B02.png" ], [ "char:구창모", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/4b7cc43b-b56b-4ecc-b04f-4bf14c877420.png" ], [ "char:김여상", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/5385b03c-9920-446b-be04-1103280c7d52.png" ] ], "asset_id": "27bc1894-fc46-4c44-97b3-dc91fa8ff411" }, "S62sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S62sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S63sh17": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S63sh17.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L20B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At the raw-meat dinner table inside the restaurant hall under nighttime interior light.\n\nSHOT TEXT (authoritative, Korean): 입안 가득 붉은 생고기를 물고 있는 김지후(강수리영)의 핏물 묻은 입가.\n\nCARRIED STATE (persist exactly): Jihu remains without her bone necklace and has fresh blood and raw meat smeared around her mouth and hands. Inwoo continues to wear his cast.\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 the table side at mouth height, complete the dolly-in on an extreme close three-quarter view of 김지후(강수리영), isolating her blood-marked mouth and the raw meat between her teeth while excluding the rest of the table. Her lower face occupies most of the frame, with shallow focus holding the wet bite and smeared lips as the only readable action.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 김지후(강수리영) mouth and bite in the middle-center of the frame, midground.\n- KEY BACKGROUND ELEMENTS: raw meat (raw and blood-red); used as Held in the central mouth-level focal plane as the grotesque narrative 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\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L20B01.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/c969307e-1950-4a99-9ffd-4bc6633079ba.png" ] ], "asset_id": "62a7ec6a-d597-409d-bec5-e834f480e23b" }, "S63sh28": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S63sh30": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S64sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S64sh2.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: A steep, unlit ascent through the maritime-pine forest beneath the nearly full moon.\n\nSHOT TEXT (authoritative, Korean): 칠흑 같은 숲길 오르막에서 한 발을 앞서 내디딘 채 걷는 도중인 강영란(흰 머리 여자)의 꼿꼿한 뒷모습.\n\nCARRIED STATE (persist exactly): Youngran continues wearing the red shaman's robe as she travels toward the ritual site.\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: Track at standing eye level several paces behind 강영란(흰 머리 여자), aligned directly with her uphill route, and hold a wide rear composition as one foot advances. Her erect back occupies the central vertical axis while the climbing path and forest retain enough space to establish her fearless progress before the camera lowers in the next stage.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 강영란(흰 머리 여자) in the middle-center of the frame, midground, moves toward upper stretch of the uphill path; upper stretch of the uphill path in the upper-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: uphill forest path (dark at night); used as Forms the central route and carries the forward tracking axis; forest (dark at night); used as Encloses both sides of the path and narrows the visible route.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:강영란(흰 머리 여자)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/e13b0c29-78bb-4593-9ff2-de124196823d.png" ] ], "asset_id": "10047cab-1ea1-4e24-8fb8-972507aee326" }, "S66sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S67sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S67sh1.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: A moonlit uphill trail through dense maritime pines.\n\nSHOT TEXT (authoritative, Korean): 달빛이 비치는 오르막 숲길에서 한쪽 다리를 들어 올리고 거친 숨을 내쉬며 걷는 중간 자세의 김지후(강수리영)와 정인우의 전신.\n\nCARRIED STATE (persist exactly): Jihu remains without her bone necklace, and Inwoo continues to wear the cast on his injured arm as they flee through the forest.\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 chest height seven meters ahead, track backward on the uphill axis in a wide full-body two-shot as 김지후(강수리영) and 정인우 climb toward the lens. Hold them on opposite sides of the centerline with each caught on a different lifted leg, allowing the path between them to express both shared urgency and emotional separation.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 김지후(강수리영) in the middle-left of the frame, midground, moves toward camera-side stretch of the uphill path; 정인우 in the middle-right of the frame, midground, moves toward camera-side stretch of the uphill path.\n- KEY BACKGROUND ELEMENTS: forest path (ascending through the forest at night); used as Provides the central uphill axis for the backward tracking move; forest (dark at night); used as Encloses the pair and limits lateral escape routes.\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:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/c969307e-1950-4a99-9ffd-4bc6633079ba.png" ], [ "char:정인우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/6b0f3cd2-734f-4a32-b184-d1fb581fa402.png" ] ], "asset_id": "5c18da0c-47ad-4484-9693-b403336cd969" }, "S67sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S67sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S68sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S68sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/seed_bg_forest_ritual_clearing_sel.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The ritual clearing before the massive rock altar, ringed by burning campfires and low smoke.\n\nSHOT TEXT (authoritative, Korean): 희뿌연 연기가 깔린 거대한 바위 제단 앞에 무릎을 꿇고 앉은 강영란(흰 머리 여자)의 무거운 뒷모습.\n\nCARRIED STATE (persist exactly): Youngran remains in her red shaman's robe before the blood-smeared rock, and the ritual fires and altar stay arranged around it.\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 the establishing flow position behind 강영란(흰 머리 여자), hold a wide, eye-level composition on the central axis, with her kneeling back in the lower center and the large rock altar rising beyond her. Keep the circular fires and surrounding smoke visible at the lateral edges, making her figure feel small within the ritual space while the camera remains static before the planned reverse pan.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: large rock altar (Set before the kneeling woman for the ritual) — Its broad altar-facing side is presented toward the camera behind 강영란(흰 머리 여자); used as The primary background mass aligned directly beyond the kneeling figure; multiple campfires (Burning strongly in a circle); used as Forms a broken circular boundary around the central ritual axis; pale smoke (Surrounding the ritual area); used as Softens the outer depth while leaving the central silhouette and altar readable.\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/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/seed_bg_forest_ritual_clearing_sel.png" ], [ "char:강영란(흰 머리 여자)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/e13b0c29-78bb-4593-9ff2-de124196823d.png" ] ], "asset_id": "5bf52522-8b57-4b7e-ba88-e4ba059841a5" }, "S68sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S69sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S69sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S69sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S70sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S70sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L29B01.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: The wooded ground immediately before the reinforced mouth of a large natural cave.\n\nSHOT TEXT (authoritative, Korean): 시커먼 어둠이 입을 벌린 거대한 동굴 입구 앞에 나란히 멈춰 선 김지후(강수리영)와 정인우의 뒷모습.\n\nCARRIED STATE (persist exactly): Jihu remains without her necklace, and Inwoo retains his backpack, flashlight, and arm cast at the cave entrance.\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: Hold the flow's static, eye-level establishing view several meters behind 김지후(강수리영) and 정인우, placing their backs side by side in the lower center and the large cave entrance directly ahead. Preserve enough surrounding space to show their hesitation, with the dark opening held as a substantial background shape without allowing it to exceed a natural environmental proportion.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: large cave entrance (Open, with a dark interior) — The camera faces into its open front, with the interior visible as darkness beyond the threshold; used as The central destination and visual void directly beyond the two 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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L29B01.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/c969307e-1950-4a99-9ffd-4bc6633079ba.png" ], [ "char:정인우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/6b0f3cd2-734f-4a32-b184-d1fb581fa402.png" ] ], "asset_id": "19e0f73b-5078-4063-b983-1f0ad67209e5" }, "S70sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S71sh8": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S71sh8.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L30B07.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: A deep passage inside the natural cave, its bone-strewn floor revealed by a failing flashlight.\n\nSHOT TEXT (authoritative, Korean): 정인우의 손에 손목이 잡힌 채로 흔들림 없이 굳건한 눈빛을 발산하는 김지후(강수리영)의 단호한 얼굴.\n\nCARRIED STATE (persist exactly): Inwoo keeps the failing flashlight and backpack while his injured arm remains cast; Jihu remains without her necklace.\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: Complete the eye-level dolly-in beside the pair, holding 김지후(강수리영)'s face close in three-quarter view while 정인우's shoulder and gripping hand enter from the near frame edge. Her restrained wrist remains visible in the lower portion as her unwavering eyes meet him, turning the physical pull and her refusal into one compact visual conflict.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 김지후(강수리영) held by the wrist in the middle-center of the frame, midground; 정인우 in the lower-left of the frame, foreground, reaches for 김지후(강수리영)'s wrist.\n- KEY BACKGROUND ELEMENTS: cave interior (Dark around the pair); used as Kept indistinct behind the close confrontation to preserve the dangerous location; flashlight (Flickering as its battery weakens) — Its beam is directed toward 김지후(강수리영) from 정인우's side; used as Creates intermittent illumination across 김지후(강수리영)'s face and the restraining hand.\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L30B07.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/c969307e-1950-4a99-9ffd-4bc6633079ba.png" ], [ "char:정인우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/6b0f3cd2-734f-4a32-b184-d1fb581fa402.png" ] ], "asset_id": "7bd8938e-fe31-4bee-9cfa-0ccf5e57c9fd" }, "S71sh13": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S71sh16": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S72sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S72sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S73sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S74sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S74sh2.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: A dark escape route through dense island forest away from the cave.\n\nSHOT TEXT (authoritative, Korean): 걸음을 멈춘 채 고개를 뒤로 돌려 분노로 눈을 부릅뜬 강민숙(홍은미)의 매서운 얼굴.\n\nCARRIED STATE (persist exactly): Minsook is no longer fixed to the cave spot and leads the escape through the forest; Jihu remains without her necklace, while Inwoo retains his backpack and arm cast.\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 end of the curved track, settle at Minsook's eye level on her front three-quarter side and move slightly closer until her fierce face becomes the primary close subject. Her stopped body remains twisted back toward Suriyoung, with a sliver of the unlit forest path behind her shoulder preserving the direction from which the group came.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 숲길 (Dark, with no light visible); used as Narrow background corridor preserving the group's direction of travel; 숲 (Dark); used as Dense background boundary around Minsook's turned silhouette.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:강민숙(홍은미)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/deb30f47-158f-46fe-8c97-9c100f80d959.png" ] ], "asset_id": "54716564-8572-4460-b16e-b3e9929532cb" }, "S74sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S75sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S76sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S77sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S77sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L37B01.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 dark slaughterhouse beside buckets of collected goat blood.\n\nSHOT TEXT (authoritative, Korean): 어두운 도축장 안, 양동이에 가득 담긴 검붉은 염소 피를 자신의 머리 위로 쏟아붓는 도중인 강민숙(홍은미)의 젖은 상체.\n\nCARRIED STATE (persist exactly): Minsook becomes completely coated in fresh goat blood, which must remain on her body and clothing as scent camouflage.\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: Hold static at chest height directly in front of Minsook in a medium upper-body composition, keeping the raised bucket inside the upper edge as goat blood falls over her head and torso. Place her wet body centrally but allow strips of the dark slaughterhouse interior on both sides; the bucket remains a secondary element above her rather than occupying excessive frame area.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 양동이 (Being emptied of goat blood) — Its open side tips downward over Minsook's head while the outer side remains visible to camera; used as Action prop retained in the upper portion of the frame; 검붉은 염소 피 (Pouring from the bucket and covering Minsook); used as Falling action layer across Minsook's head and upper body; 도축장 내부 (Dark); used as Dark negative space framing the central action.\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L37B01.png" ], [ "char:강민숙(홍은미)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/deb30f47-158f-46fe-8c97-9c100f80d959.png" ] ], "asset_id": "48914646-a738-42d0-8634-56bf6f675b0d" }, "S77sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S78sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S79sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S80sh6": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S80sh6.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L49B05.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: A concealed nook behind stacked fishing nets inside the dark gear warehouse beside the pier.\n\nSHOT TEXT (authoritative, Korean): 거대한 그물 무더기 사이로 얼굴을 절반쯤 내민 채 굳어 있는 피투성이 김지후(강수리영)의 조심스러운 표정.\n\nCARRIED STATE (persist exactly): Jihu, Inwoo, and Minsook remain coated in goat blood while hiding among the fishing gear. Jihu lacks her necklace, and Inwoo retains his backpack, cast, and concealed revolver.\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 seated eye level, the camera continues its low lateral track roughly one meter from the opening in the piled nets, tightening onto Sooryeong's half-concealed face. The net opening frames one side of her bloodied face while stacked fishing gear remains visible behind her as scale and concealment context.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 김지후(강수리영) in the middle-center of the frame, midground.\n- KEY BACKGROUND ELEMENTS: 겹겹이 쌓인 어망 (Piled in layers) — The camera sees Sooryeong through a narrow opening between the piled nets; used as Foreground concealment and irregular frame around half of Sooryeong's face; 낚싯대와 통발 (Stacked inside the warehouse) — Their stacked lengths and openings angle away behind Sooryeong; used as Dense background clutter that limits movement and reinforces hiding; 큼직한 생선 바구니 (Stacked high) — Their sides face the concealed corner in repeated stacked rows; used as Background scale reference showing the warehouse is crowded with equipment; 창고 문 (Closed) — Its inner face is visible from the concealed corner; used as Sealed background boundary after the searcher leaves.\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L49B05.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/c969307e-1950-4a99-9ffd-4bc6633079ba.png" ] ], "asset_id": "fda1bbe0-2bef-4412-9884-b71bbb767961" }, "S80sh14": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S80sh14.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L49B01.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 bare kitchen of a famine-era thatched cottage, dimly lit in daytime.\n\nSHOT TEXT (authoritative, Korean): 어두운 초가집 부엌 바닥에서 피범벅이 된 손으로 시체의 살점을 쥔 채 입가에 피를 묻히고 웅크린 경신 대기근의 아낙과 어린 한국인 아이의 모습.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): The dead husband and father is sprawled on the dirt kitchen floor directly before his wife and child, his body motionless as they tear flesh from the corpse.\n\nCARRIED STATE (persist exactly): The starving woman and child remain smeared with blood as they crouch beside and eat from the dead husband and father, who is sprawled on the dirt kitchen floor directly before his wife and child, his body motionless.\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: Near floor level, the dolly reaches its closest point within one meter and settles on the woman and child crouched beside the corpse. Their bloodied hands and the held flesh occupy the lower center, their faces remain above in the same focal plane, and only a partial section of the corpse enters along the frame edge to preserve spatial context.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 초가집 부엌 바닥 (Interior floor; no additional surface state specified); used as Low compositional plane binding the living figures to the corpse and their actions; 초가집 부엌 (Dark interior during daytime) — The camera faces into the kitchen from near floor level; used as Limited environmental context around the crouched group.\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L49B01.png" ], [ "char:경신 대기근의 아낙", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/8069b569-b74c-43e1-affc-fce70d781810.png" ] ], "asset_id": "599acdcf-66f7-4247-be9f-5fbc5d6b3077" }, "S80sh25": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S80sh25.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L49B02.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\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: A primitive island landing where local residents welcome newcomers stepping off a boat in daylight.\n\nSHOT TEXT (authoritative, Korean): 배에서 한 발을 뻗어 내딛는 중간 자세인 낯선 조선인들을 향해 환한 미소로 양팔을 벌린 채 서 있는 수십 명의 한국인 섬 원주민들의 전면.\n\nCARRIED STATE (persist exactly): The arriving flesh-eaters retain their carried belongings as they step off the boat; the welcoming islanders are still alive at this point in the historical montage.\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 chest height at the arrival point, the static camera faces the frontal line of smiling island residents past the strangers stepping from the boat. The residents spread across the middle and background as the primary plane, while the strangers remain smaller at the lower frame edge with one foot caught between boat and shore.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 배 (Arriving at 금월도) — The disembarkation side faces the gathered residents and camera axis; used as Secondary arrival plane holding the strangers at its edge; 금월도 바닷가 (Daytime arrival point); used as Shared meeting ground between the boat and the welcoming island residents.\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L49B02.png" ] ], "asset_id": "7d8e0879-b45e-4108-9f73-a0347a8fd8c3" }, "S81sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S81sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S81sh13": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S82sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S83sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S83sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L20B06.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At a table inside the restaurant hall, facing the open doorway and daylight village beyond.\n\nSHOT TEXT (authoritative, Korean): 식당 테이블에 앉아 열린 문 너머 바깥을 뚫어지게 응시하는 강영란(흰 머리 여자)의 굳은 상체.\n\nCARRIED STATE (persist exactly): The rear shed remains a burned ruin outside, and Jihu's bone necklace remains in Youngran's possession at the ritual site.\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 seated eye height inside the dining room, frame 강영란(흰 머리 여자) in a tight medium three-quarter view at the table, with the open doorway retained near the opposite edge along her gaze axis. Her rigid torso occupies the left-middle of frame while the doorway provides a clear visual route toward the activity outside without weakening her fixed concentration.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 강영란(흰 머리 여자) in the middle-left of the frame, midground, looks toward open doorway and search outside; open doorway in the middle-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: 열린 식당 문 (Open) — The opening faces the camera obliquely, revealing the exterior search area beyond; used as Maintained as the directional endpoint of 강영란(흰 머리 여자)'s stare and the next pan axis; 식당 테이블 (In use as seating for 강영란(흰 머리 여자)) — Its near corner enters the lower frame, with 강영란(흰 머리 여자) seated along its far side; used as Grounds her seated position and marks the place usually occupied by 수리영; 수색 중인 마을 주민들 (Moving back and forth while searching); used as Visible through the doorway as small moving figures that contextualize her vigilance.\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L20B06.png" ], [ "char:강영란(흰 머리 여자)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/e13b0c29-78bb-4593-9ff2-de124196823d.png" ] ], "asset_id": "44860d32-ce3a-40f6-bfd4-fa25aa1a4d3e" }, "S83sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S84sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S84sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L49B03.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: The hidden corner of the pier-side gear warehouse among stacked nets and traps.\n\nSHOT TEXT (authoritative, Korean): 백팩 안에서 38구경 권총을 반쯤 꺼낸 채 멈춘 정인우의 긴장된 손.\n\nCARRIED STATE (persist exactly): Inwoo possesses the .38-caliber revolver taken from his backpack and keeps the backpack with him; his injured arm remains cast. All three fugitives remain goat-blood-covered, and Jihu remains without her necklace.\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: Complete the downward tilt at hand height beside 정인우, very close to the backpack opening, isolating his tense hand and the half-drawn .38 caliber handgun while retaining a narrow strip of bag and clothing for scale. The grip and hand occupy the central lower area without exceeding a natural proportion, and the halted extraction reads as the instant before a dangerous decision.\n- FRAMING SCALE: insert close-up on a detail\n- FRAME LAYOUT: .38 caliber handgun in the lower-center of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: 백팩 입구 (Open while the handgun is being drawn) — The opening angles toward the camera beside 정인우's hand; used as Immediate frame around the hand and weapon, providing scale and concealment context; 38구경 권총 (Half drawn and held still) — Its grip and part of the weapon face the camera while the remainder stays inside the backpack; used as Primary detail held between concealment and full exposure.\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L49B03.png" ], [ "char:정인우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/6b0f3cd2-734f-4a32-b184-d1fb581fa402.png" ] ], "asset_id": "fb7ea541-5a71-44f0-b51a-c18f3729ca10" }, "S84sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S85sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S86sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S86sh14": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S87sh26": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S87sh26.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L45B04.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: The open passage between the bow and stern on a moving police patrol boat.\n\nSHOT TEXT (authoritative, Korean): 다가오는 (짐승의 모습으로 변한 고산들) 앞에 서서 두 팔을 양옆으로 활짝 벌린 채 굳건하게 버티고 선 강민숙(홍은미)의 전신.\n\nCARRIED STATE (persist exactly): Minsook remains goat-blood-covered as she shields Jihu from Sandeul. Jihu is still necklace-less, while Inwoo retains his backpack, cast, and revolver until Sandeul knocks the gun away.\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 eye level near the stern, the camera looks straight down the passage from behind 김지후(강수리영)’s position while keeping her outside the lower frame. 강민숙(홍은미) is held full-length in the center with both arms spread across the passage, while 고산들 (짐승 변이 상태) approaches in the deeper center along the same axis.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 강민숙(홍은미) in the middle-center of the frame, midground; 고산들 (짐승 변이 상태) in the upper-center of the frame, background; stern passage separating them in the lower-center of the frame, midground.\n- KEY BACKGROUND ELEMENTS: 선수와 선미를 연결하는 통로 (Occupied by the confrontation) — The passage recedes centrally from the stern toward 고산들 (짐승 변이 상태); used as Creates a compressed corridor between the protector and the approaching threat; 선미 난간 (Adjacent to 강민숙(홍은미)) — Its inner side runs along the lateral edge of the passage; used as Marks the lateral escape edge that will motivate the following move; 바다 (Visible beyond the vessel); used as Provides spatial depth beyond the rail without pulling focus from the standoff.\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L45B04.png" ], [ "char:고산들 (짐승 변이 상태)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/12d0bc5f-718e-40f7-9567-32d068f0fc3c.png" ], [ "char:강민숙(홍은미)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/deb30f47-158f-46fe-8c97-9c100f80d959.png" ] ], "asset_id": "66838c25-a59d-4ed7-bb90-8bc85ee25d3e" }, "S87sh34": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S87sh41": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S88sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S88sh4.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L45B03.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: The patrol boat’s open deck facing the opposite shore of the same island.\n\nSHOT TEXT (authoritative, Korean): 선착장 위에 서 있는 강영란(흰 머리 여자)과 그 뒤로 빼곡히 모인 한국인 마을 사람들의 위협적인 모습.\n\nCARRIED STATE (persist exactly): Sandeul has reappeared alive on Geumwoldo after the fall, while Minsook remains missing. Jihu and Inwoo remain on the patrol boat, blood-stained, and Jihu still lacks her necklace.\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 standing eye level on the forward deck, the camera continues its dolly toward the landing point across the remaining water. 강영란(흰 머리 여자) holds the lower center as the foremost figure, while the densely packed 한국인 마을 사람들 rise behind her across the width of the landing area.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 선착장 (Densely occupied by villagers); used as Supports the hostile group as a dense horizontal mass behind 강영란(흰 머리 여자); 남아 있는 바다 (Visible between vessel and landing point); used as Maintains the physical separation between the patrol boat and the gathering; 순찰정 선수 (Approaching the landing point) — Its forward-facing section points toward the landing point; used as Provides a low foreground reference for the camera’s forward-deck position.\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L45B03.png" ], [ "char:강영란(흰 머리 여자)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/e13b0c29-78bb-4593-9ff2-de124196823d.png" ] ], "asset_id": "858d851c-3add-4ee7-8032-55cf572b1b40" }, "S88sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S89sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S90sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S90sh4.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L20B04.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: The empty center of the restaurant hall at sunset, filled with soft reddish light from outside.\n\nSHOT TEXT (authoritative, Korean): 텅 빈 식당 한가운데 우두커니 서서 멍한 눈빛으로 허공을 응시하는 김지후(강수리영)의 전면.\n\nCARRIED STATE (persist exactly): In the vision, Jihu remains without her bone necklace and searches the empty restaurant for Minsook.\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 eye level in the middle of the empty dining hall, the camera holds directly in front of 김지후(강수리영) after completing the preceding move around her. She is centered in a medium frame with slack shoulders and planted feet, while empty space around her makes the unreturned stare feel isolated rather than portrait-like.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 김지후(강수리영) isolated in the dining hall in the middle-center of the frame, midground.\n- KEY BACKGROUND ELEMENTS: 텅 빈 식당 홀 (Empty); used as The surrounding vacancy isolates 김지후(강수리영) and confirms that her search found no one; 주방 입구 (No person visible within) — The opening faces into the hall behind 김지후(강수리영); used as Retained behind her as one of the searched spaces; 방 입구 (No person visible within) — The room-facing opening is visible from the dining hall; used as Forms a second vacant depth layer associated with her search.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L20B04.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/c969307e-1950-4a99-9ffd-4bc6633079ba.png" ] ], "asset_id": "e1be9ccf-6c0a-417e-8889-8eb2a6150f46" }, "S91sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S91sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L31B02.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: The restaurant’s rear yard in the fading light of sunset.\n\nSHOT TEXT (authoritative, Korean): 노을이 지는 식당 뒤뜰에 서서 불안한 눈빛으로 한쪽을 돌아보는 김지후(강수리영)의 전신.\n\nCARRIED STATE (persist exactly): In the vision, Jihu remains without her necklace as she continues searching the rear yard for Minsook.\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 standing eye level and full-body distance, the camera tracks along a shallow arc as 김지후(강수리영) turns toward one side of the backyard. She remains near the center while her shifting torso and searching head create movement against the otherwise empty surrounding space.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 식당 뒤뜰 (No other person visible); used as Provides open negative space around her full figure, allowing each turn to read as an unsuccessful search.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L31B02.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/c969307e-1950-4a99-9ffd-4bc6633079ba.png" ] ], "asset_id": "52437600-957c-44f2-97fd-8f7f14392f4d" }, "S92sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S92sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L23B01.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: The open area before the restaurant, looking down the village approach toward the pier.\n\nSHOT TEXT (authoritative, Korean): 선착장 돌바닥에 앉아 고요히 바다를 쳐다보는 강민숙(홍은미)의 묵묵한 뒷모습.\n\nCARRIED STATE (persist exactly): Within Jihu's vision, the seated figure at the dock appears to be Minsook and cradles an unmoving person concealed in her arms.\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 forward move settles at seated shoulder height directly behind 강민숙(홍은미), then becomes a static hold. Her quiet back occupies the lower center at medium distance, aligned symmetrically with the sea beyond so that no facial information interrupts the reveal.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 강민숙(홍은미) seated from behind in the lower-center of the frame, midground; sea directly beyond 강민숙(홍은미) in the upper-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: 선착장 돌바닥 (강민숙(홍은미) is seated on it); used as Supports her seated silhouette and occupies the lower portion without obscuring her body; 바다 (Visible beyond the landing area); used as Aligned directly beyond her back as the sole destination of her gaze; 선착장 가장자리 (Positioned ahead of 강민숙(홍은미)) — Its outer edge runs across the frame in front of the sea; used as Defines the threshold between the stone ground and the open view.\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L23B01.png" ], [ "char:강민숙(홍은미)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/deb30f47-158f-46fe-8c97-9c100f80d959.png" ] ], "asset_id": "4b7ce915-9855-4ac7-ae3f-fb9400b6c262" }, "S93sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S93sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S94sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S94sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L30B03.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: A rock-floored holding chamber deep inside the natural cave, dimly lit in daytime.\n\nSHOT TEXT (authoritative, Korean): 굵은 쇠사슬에 몸 전체가 단단히 결박된 채 바닥에 쓰러져 있는 김지후(강수리영)의 전신.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): She is collapsed on the cave floor with her entire body tightly secured by heavy chains, her torso resting on the ground and her bound arms and legs unable to extend.\n\nCARRIED STATE (persist exactly): Jihu is collapsed on the cave floor with her entire body tightly secured by heavy chains, her torso resting on the ground and her bound arms and legs unable to extend, and remains without her necklace.\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 floor level beside 김지후(강수리영)'s head, the camera finishes retreating along her body axis until her chained full body and its relation to the cave floor are readable in one low wide frame. Her head remains nearest the lens while the chain-bound limbs recede through the center, and the composition opens toward the opposite side in preparation for the curving track away.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: cave floor (beneath 김지후(강수리영)); used as Low plane supporting the full-body composition and guiding the retreating body axis; thick iron chains (fastened tightly around her body); used as Visible restraint pattern across the body; opposite cave wall (across the cave); used as Distant spatial boundary toward which the next camera move will travel.\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L30B03.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/c969307e-1950-4a99-9ffd-4bc6633079ba.png" ] ], "asset_id": "02195201-7fc9-4d25-ba97-056c02fc6910" }, "S94sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S95sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S95sh1.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: The exposed edge of a high coastal cliff above the blue sea in daylight.\n\nSHOT TEXT (authoritative, Korean): 푸른 하늘과 바다를 배경으로 절벽 끝에 우뚝 서서 붉은 치마를 흩날리는 강영란(흰 머리 여자)의 꼿꼿한 뒷모습.\n\nCARRIED STATE (persist exactly): Youngran continues wearing the red shaman's robe. Sandeul, who survived the sea, remains beside her before the attack.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\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 standing eye height inland of the cliff, a static wide frame places 강영란(흰 머리 여자)'s full back near the center against the open sky and sea, preserving ample space around her and beyond the edge. Her planted figure forms a narrow crimson vertical in the landscape, while the frame's side remains open for the later approach and forward arc.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 강영란(흰 머리 여자) in the middle-center of the frame, midground, looks toward sea beyond the cliff; sky and sea beyond the cliff in the upper-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: blue sky (clear and blue); used as Broad upper and distant field silhouetting the solitary figure; blue sea (rolling beneath the sky); used as Deep background beyond the cliff edge; cliff edge (overlooking the sea); used as Hard spatial boundary beneath 강영란(흰 머리 여자)'s planted feet.\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:강영란(흰 머리 여자)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/e13b0c29-78bb-4593-9ff2-de124196823d.png" ] ], "asset_id": "0d8fbc53-5607-4f6f-b79e-cf63bed82708" }, "S95sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S96sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S96sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S97sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S97sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S98sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S98sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S99sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S99sh1.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At a desk inside a small coastal police substation under daytime office lighting.\n\nSHOT TEXT (authoritative, Korean): 지구대 책상에 느긋하게 기댄 채 핸드폰 화면에 푹 빠져 있는 구창모의 상체.\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: Hold the flow's static seated-chest-height view from across the desk, framing 구창모 from the waist up at a slight frontal three-quarter angle as he reclines and looks down at his phone. Place the active phone low in the center of his torso area, with the desk edge crossing the lower frame and enough station context remaining behind him for the coming lateral pan.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 지구대 책상 (구창모가 기대어 있는 상태) — Its near edge faces the camera and runs across the lower frame; used as Lower-frame spatial divider between camera and 구창모; 핸드폰 화면 (게임이 실행 중) — The display face is angled upward toward 구창모 and partly toward the camera, showing the game he is playing; used as Primary point of attention held naturally in 구창모's hands.\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:구창모", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/4b7cc43b-b56b-4ecc-b04f-4bf14c877420.png" ] ], "asset_id": "59747ce5-67f8-40d4-94e0-099971d50a12" }, "S99sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S100sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S100sh3.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: A mainland harbor parking and unloading area beside a dark passenger van.\n\nSHOT TEXT (authoritative, Korean): 한국인 여자들 앞에서 양손을 허리에 얹고 턱을 치켜든 채 서 있는 구창모의 전면.\n\nCARRIED STATE (persist exactly): The five or six women remain gathered with Changmo at the dock for transport to Geumwoldo.\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: Maintain the flow's static eye-level address position directly in front of 구창모, framing him from mid-thigh upward with the 한국인 여자 무리 distributed behind and to either side beyond him. His hands lock at his waist and his raised chin points toward the women near the camera line, while the parked black van remains a modest background scale reference rather than a foreground obstruction.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 까만색 그랜드카니발 (선착장에 정차한 상태) — A side portion of the parked vehicle faces the camera behind the group; used as Background context for the group's arrival and a scale reference behind the women; 선착장 (인물들 아래와 뒤로 보임); used as Ground plane connecting 구창모 and the women in one address space.\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:구창모", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/4b7cc43b-b56b-4ecc-b04f-4bf14c877420.png" ] ], "asset_id": "45b50c3a-cbc3-4985-bcd9-521df664c303" }, "S101sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S101sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L16B02.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\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: The crowded open deck of a fishing boat moored at the mainland harbor.\n\nSHOT TEXT (authoritative, Korean): 어선 위, 한국인 낚시꾼들과 짙은 화장의 한국인 여자들로 빼곡하게 만원인 배의 전경.\n\nCARRIED STATE (persist exactly): The fishing boat remains crowded with the bar women and anglers being taken to Geumwoldo as festival victims.\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: Begin the flow in a static eye-level wide view from several meters off the boat's side, containing the full passenger area and enough of the vessel to make its overcrowding immediately legible. Arrange the 한국인 낚시꾼들 and 한국인 여자들 in layered rows across the passenger area, with bodies overlapping naturally but faces and gestures remaining intermittently readable.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 낚시 어선 (승객들로 만원인 상태) — The boat's side faces the camera, exposing the full passenger area above it; used as Primary environmental container and compositional base for the crowded passengers; 인접한 선착장 (배 옆에 부분적으로 보임); used as Secondary spatial edge beside the boat, preparing the later track toward land.\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L16B02.png" ] ], "asset_id": "c3c6ac60-f09e-465a-83b4-a2cebe328214" }, "S101sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S101sh15": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S102sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S102sh16": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S102sh16.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L30B05.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\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 cramped fish hold beneath the fishing boat’s deck, exposed by an opened hatch.\n\nSHOT TEXT (authoritative, Korean): 어창 안, 손발이 묶이고 입이 틀어막힌 채 공포에 질려 올려다보는 십수 명의 한국인 여자들의 창백한 얼굴들.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): The women are packed together inside the fishing hold in cramped seated or curled positions, with every woman's hands and feet bound and each mouth gagged; their torsos face upward toward the opened hatch.\n\nCARRIED STATE (persist exactly): The additional women remain packed together inside the fishing hold in cramped seated or curled positions, with every woman's hands and feet bound and each mouth gagged; their torsos face upward toward the opened hatch.\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 inside the opened boat compartment, hold the camera just above the captives' face level at the completed upward tilt, placing the hatch opening across the upper frame and the clustered faces through the middle and lower frame. The nearest bound women are held in three-quarter angles while overlapping rows of upturned Korean faces convey the number of captives without losing the enclosure.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 어창 뚜껑과 입구 (open) — The hatch is open above the camera-facing interior, exposing the opening over the captives; used as Creates the upper boundary of the confined composition and establishes the women's upward gaze; 어창 내부 (occupied by restrained captives); used as Crowds the women together and limits visible depth behind their faces; 손발의 결박과 입을 막은 구속물 (secured around the captives); used as Makes the captivity legible along the lower and side edges of the group.\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L30B05.png" ] ], "asset_id": "a43ae568-214d-4eb4-90c0-ece388b925cb" }, "S102sh20": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S102sh20.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L30B04.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: The firelit forest ritual clearing directly before the massive rock altar at evening.\n\nSHOT TEXT (authoritative, Korean): 순백의 무녀복을 입은 채 바위 앞으로 걸어 나오며 한 발을 내디딘 강영란(흰 머리 여자)의 압도적인 전면.\n\nCARRIED STATE (persist exactly): Youngran has changed from the red robe into a clean white shaman's robe for the main ritual. Jihu's bone necklace remains at the ceremonial site.\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 frontal dolly-in ends at chest height in a dominant wide portrait, with 강영란(흰 머리 여자) centered before the rock as her forward foot completes one deliberate step into the ritual space. Her full figure and white shaman robe remain visible, while the rock rises behind her and the ritual activity is held to the peripheral background.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 강영란 in the middle-center of the frame, midground, moves toward ritual space before the rock; ritual rock in the upper-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: 바위 (positioned behind the ritual leader); used as Serves as the central backdrop that fixes her ceremonial entrance on the frontal axis; 제단 주변 모닥불 (burning strongly); used as Provides peripheral ritual context without competing with the advancing figure.\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L30B04.png" ], [ "char:강영란(흰 머리 여자)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/e13b0c29-78bb-4593-9ff2-de124196823d.png" ] ], "asset_id": "636a2bef-4e06-4740-b228-02576f0c5d7b" }, "S103sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S103sh1.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At the waterline below a rocky island shore at dusk.\n\nSHOT TEXT (authoritative, Korean): 짙은 어둠이 내리는 갯바위, 철썩이는 바닷물을 뚫고 수면 위로 반쯤 솟아오른 사람의 젖은 뻗은 손.\n\nCARRIED STATE (persist exactly): Sandeul resurfaces alive with the deep back and chest stab wounds still bleeding, and his body and clothing are soaked from the sea.\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 just above water level, hold a wider frontal view of the rock edge as the camera begins its restrained push toward a single wet arm breaking the surface near lower center. Only 고산들's half-emerged hand and forearm are revealed against the surrounding water, with the descending darkness and the edge of the 갯바위 remaining clearly legible.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 고산들의 emerging hand in the lower-center of the frame, midground, moves toward edge of the coastal rock; edge of the coastal rock in the middle-center of the frame, midground.\n- KEY BACKGROUND ELEMENTS: 바닷물 (striking the coastal rock in waves); used as Surrounds the emerging hand and supplies the motion that first reveals it; 갯바위 가장자리 (reached by the emerging hand); used as Provides the grip point and the boundary between the submerged body and safety.\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:고산들", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/8139958c-054d-4ade-82e6-840d628ed6b9.png" ] ], "asset_id": "2368c61a-3ebb-49e5-9926-c9e9bf26d757" }, "S103sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S104sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S105sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S106sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S107sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S107sh1.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: A trackless, pitch-dark section of dense maritime-pine forest.\n\nSHOT TEXT (authoritative, Korean): 칠흑 같은 숲속에서 튀어나온 나뭇가지를 한 팔로 거칠게 쳐낸 채, 상체를 앞으로 강하게 숙이며 질주하는 도약 자세의 땀 범벅된 구창모의 상체.\n\nCARRIED STATE (persist exactly): Hwang remains dead and bloodied on the restaurant floor, while Changmo flees without him.\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: Track backward at upper-torso height, close ahead and slightly to 구창모’s front-left, keeping his forward-pitched upper body across the center and right half of frame. His sweeping arm crosses the near foreground as it knocks aside a branch, briefly obscuring part of his sweat-covered face while the running momentum remains legible behind it.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 나뭇가지 (Being knocked aside) — The branch projects diagonally toward 구창모’s path and is being struck sideways; used as A branch enters the near foreground and gives the arm sweep a visible obstacle; 수풀 (Crowding the running path); used as Compressed behind and beside the runner to preserve the sense of an unreadable route; 숲길 (Almost indistinguishable in the darkness) — The route recedes behind 구창모 without a clearly readable direction; used as Forms the receding spatial axis behind 구창모 while remaining difficult to distinguish.\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:구창모", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/4b7cc43b-b56b-4ecc-b04f-4bf14c877420.png" ] ], "asset_id": "2b4c1e9a-54d4-41c5-adbd-af1245a2a5ba" }, "S108sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S108sh4.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L37B04.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: The cramped inner storeroom of the dark slaughterhouse, behind a closed side door.\n\nSHOT TEXT (authoritative, Korean): 어두운 창고 안쪽 바닥에 웅크린 채 양손으로 입을 꽉 틀어막고 눈물을 글썽이는 구창모의 굽은 상체.\n\nCARRIED STATE (persist exactly): Changmo remains hidden inside the slaughterhouse side room, gripping the door and trying to suppress his breathing.\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 static camera near floor height in front of 구창모, tilted gently upward so his folded torso occupies the middle of frame while his hands seal the lower half of his face. Keep the storage-room edges visible around him, with the side-door area held near one frame edge rather than allowing the close observation to become an isolated portrait.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 창고 안쪽 (Dark); used as Provides the enclosing background around 구창모’s crouched body; 창고 쪽문 (구창모 is hiding beside it; exact open or closed position is unspecified) — Its inner side and handle area face the camera obliquely; used as Held at the edge of frame as the fragile boundary between hiding place and danger outside; 창고 바닥 (Visible beneath the crouching figure); used as Establishes the camera’s low placement and grounds 구창모’s compressed posture.\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/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L37B04.png" ], [ "char:구창모", "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/reference/4b7cc43b-b56b-4ecc-b04f-4bf14c877420.png" ] ], "asset_id": "f1eb88b5-f4ee-47e6-ae3b-6530d11a1e46" }, "S108sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S109sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S110sh22": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S110sh27": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S110sh45": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null } }, "map_conti": {}, "conti_pack": "5.202607222353", "lane_conti": { "S1sh7": { "lane": "map_marker", "group_id": "bg_winter_reed_field", "segment_id": "SEG_2", "marker_attempts": 3, "status": "failed", "error": "marker map check 3회 소진: 일부 피사체 마커(E1, E2, E3)가 시야각(FOV) 영역 밖에 위치해 있으며, 시야각 경계선이 꺾여 있습니다.", "marker_check": { "markers_ok": false, "details_ko": "일부 피사체 마커(E1, E2, E3)가 시야각(FOV) 영역 밖에 위치해 있으며, 시야각 경계선이 꺾여 있습니다." } }, "S7sh9": { "lane": "map_marker", "group_id": "bg_police_station", "segment_id": "SEG_01", "status": "ok", "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/lane_sketch_S7sh9.png", "base_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/canon_bg_police_station_map.png", "base_map_asset_id": "cd6eed4b-1d9b-4e92-b190-13ef7a7f4e4c", "marker_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/lane_marker_map_S7sh9.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 Just inside the lower-left boundary of the police station parking area beside the curved vehicle approach. (coarse estimate x=0.31, y=0.72); its sight line ends at LOOK TARGET: In the central-right parking aisle below the station-side pedestrian entrance. (coarse estimate x=0.66, y=0.54); the frame's LEFT edge cuts through Along the building-facing edge of the parking area, well left of the station-side pedestrian entrance. (coarse estimate x=0.42, y=0.45) and its RIGHT edge through Along the right boundary of the police station parking area below the outermost parking bay. (coarse estimate x=0.90, y=0.64)\n- E1 (receding middle-aged woman): circle In the right half of the police station parking area, several bays below the building-facing edge. (coarse estimate x=0.75, y=0.52), facing At the building-facing edge of the parking area to the right of the station-side pedestrian entrance. (coarse estimate x=0.86, y=0.45)\n- E2 (motionless man holding a money envelope): circle In the lower-left part of the police station parking area near the curved vehicle-approach boundary. (coarse estimate x=0.40, y=0.65), facing In the right half of the parking area below the building-facing parking bays. (coarse estimate x=0.76, y=0.51)", "marker_attempts": 1, "geometry": { "camera": { "look_target": { "x": 0.66, "y": 0.54 }, "look_target_anchor_en": "In the central-right parking aisle below the station-side pedestrian entrance.", "origin": { "x": 0.31, "y": 0.72 }, "origin_anchor_en": "Just inside the lower-left boundary of the police station parking area beside the curved vehicle approach.", "view_left": { "x": 0.42, "y": 0.45 }, "view_left_anchor_en": "Along the building-facing edge of the parking area, well left of the station-side pedestrian entrance.", "view_right": { "x": 0.9, "y": 0.64 }, "view_right_anchor_en": "Along the right boundary of the police station parking area below the outermost parking bay." }, "entity_placements": [ { "anchor_en": "In the right half of the police station parking area, several bays below the building-facing edge.", "camera_facing_evidence": "등을 돌려 저만치 멀어진 강민숙(홍은미)의 뒷모습", "camera_facing_relation": "away_from_camera", "facing": { "x": 0.86, "y": 0.45 }, "facing_anchor_en": "At the building-facing edge of the parking area to the right of the station-side pedestrian entrance.", "slot": "E1", "subject_en": "receding middle-aged woman", "x": 0.75, "y": 0.52 }, { "anchor_en": "In the lower-left part of the police station parking area near the curved vehicle-approach boundary.", "camera_facing_evidence": "behind and slightly to one side of 정인우", "camera_facing_relation": "away_from_camera", "facing": { "x": 0.76, "y": 0.51 }, "facing_anchor_en": "In the right half of the parking area below the building-facing parking bays.", "slot": "E2", "subject_en": "motionless man holding a money envelope", "x": 0.4, "y": 0.65 } ], "rationale_ko": "카메라를 인우의 뒤쪽이자 약간 옆인 주차장 좌하단에 두고, 인우를 좌측 전경에 전신으로 배치했다. 민숙은 우측 후경에서 건물 쪽으로 멀어지게 하여 두 사람 사이의 긴 거리가 넓은 화면의 중심 긴장이 되도록 구성했다." }, "leakage": { "has_marker_leakage": false, "details_ko": "도면 기호나 평면도 같은 유출이 없습니다." }, "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 Just inside the lower-left boundary of the police station parking area beside the curved vehicle approach. (coarse estimate x=0.31, y=0.72); its sight line ends at LOOK TARGET: In the central-right parking aisle below the station-side pedestrian entrance. (coarse estimate x=0.66, y=0.54); the frame's LEFT edge cuts through Along the building-facing edge of the parking area, well left of the station-side pedestrian entrance. (coarse estimate x=0.42, y=0.45) and its RIGHT edge through Along the right boundary of the police station parking area below the outermost parking bay. (coarse estimate x=0.90, y=0.64) — everything between those two edges is in frame, anything outside them is out of frame\n- receding middle-aged woman stands In the right half of the police station parking area, several bays below the building-facing edge. (coarse estimate x=0.75, y=0.52), facing At the building-facing edge of the parking area to the right of the station-side pedestrian entrance. (coarse estimate x=0.86, y=0.45) — from this camera the subject is near the CENTER of the frame and faces away from the camera, into the depth of the shot, so the camera sees this subject from behind\n- motionless man holding a money envelope stands In the lower-left part of the police station parking area near the curved vehicle-approach boundary. (coarse estimate x=0.40, y=0.65), facing In the right half of the parking area below the building-facing parking bays. (coarse estimate x=0.76, y=0.51) — from this camera the subject is in the LEFT part of the frame and faces away from the camera, into the depth of the shot, so the camera sees this subject from behind; this subject is turned toward the receding middle-aged woman\n\nCAMERA DIRECTION (vertical angle / elevation / framing SOT): From eye level behind and slightly to one side of 정인우, complete the dolly-out into a wide composition that holds his full body in the left foreground and 강민숙(홍은미) receding in the right background. His lowered shoulders and money-envelope hand remain readable, while the distance between them becomes the dominant graphic tension of the parking area.\n\nTHE LOCATION: 경찰서 주차장\n\nSHOT TEXT (authoritative, Korean): 한 손에 돈봉투를 든 채 등을 돌려 저만치 멀어진 강민숙(홍은미)의 뒷모습을 우두커니 서서 멍하니 바라보는 정인우의 전신.\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": "e33916c3-32d9-4654-9970-08f9e12a2edc" }, "S11sh4": { "lane": "structure_plate", "group_id": "bg_multifamily_residence", "segment_id": "SEG_02", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/seed_bg_multifamily_residence_sel.png", "seed_asset_id": "d5c560b6-50f1-45a8-aab7-8d195787f220", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L11B02.png", "bg_reason": "", "bypass_reason": "prev" }, "S14sh2": { "lane": "structure_plate", "group_id": "bg_multifamily_residence", "segment_id": "SEG_03", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/seed_bg_multifamily_residence_sel.png", "seed_asset_id": "d5c560b6-50f1-45a8-aab7-8d195787f220", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L11B01.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S14sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L11B01.png" }, "S17sh6": { "lane": "structure_plate", "group_id": "bg_fishing_boat", "segment_id": "SEG_01", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/seed_bg_fishing_boat_sel.png", "seed_asset_id": "e6f2c697-eafa-4ffc-b339-d0a0588aecb4", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L16B05.png", "bg_reason": "", "bypass_reason": "prev" }, "S20sh6": { "lane": "map_marker", "group_id": "bg_island_main_pier", "segment_id": "SEG_01", "status": "ok", "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/lane_sketch_S20sh6.png", "base_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/canon_bg_island_main_pier_map.png", "base_map_asset_id": "025c8755-92d6-4506-8af4-59835ff82111", "marker_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/lane_marker_map_S20sh6.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 centerline of the main island pier deck just seaward of the village-side approach. (coarse estimate x=0.50, y=0.54); its sight line ends at LOOK TARGET: At the center of the outer pier end beside the seaward terminal boundary. (coarse estimate x=0.50, y=0.91); the frame's LEFT edge cuts through At the left seaward corner of the outer pier end where the deck meets the sea. (coarse estimate x=0.39, y=0.96) and its RIGHT edge through At the right seaward corner of the outer pier end where the deck meets the sea. (coarse estimate x=0.61, y=0.96)\n- E1 (approaching young woman): circle On the centerline of the main island pier deck near its village-side connection. (coarse estimate x=0.50, y=0.59), facing At the center of the outer pier end beside the seaward terminal boundary. (coarse estimate x=0.50, y=0.90)\n- E2 (smiling white-haired elderly woman): circle At the center of the outer pier end with clear deck space around her. (coarse estimate x=0.50, y=0.90), facing On the centerline of the main island pier deck between the outer pier end and the village-side approach. (coarse estimate x=0.50, y=0.64)", "marker_attempts": 1, "geometry": { "camera": { "look_target": { "x": 0.5, "y": 0.91 }, "look_target_anchor_en": "At the center of the outer pier end beside the seaward terminal boundary.", "origin": { "x": 0.5, "y": 0.54 }, "origin_anchor_en": "On the centerline of the main island pier deck just seaward of the village-side approach.", "view_left": { "x": 0.39, "y": 0.96 }, "view_left_anchor_en": "At the left seaward corner of the outer pier end where the deck meets the sea.", "view_right": { "x": 0.61, "y": 0.96 }, "view_right_anchor_en": "At the right seaward corner of the outer pier end where the deck meets the sea." }, "entity_placements": [ { "anchor_en": "On the centerline of the main island pier deck near its village-side connection.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.5, "y": 0.9 }, "facing_anchor_en": "At the center of the outer pier end beside the seaward terminal boundary.", "slot": "E1", "subject_en": "approaching young woman", "x": 0.5, "y": 0.59 }, { "anchor_en": "At the center of the outer pier end with clear deck space around her.", "camera_facing_evidence": "강영란(흰 머리 여자)의 정면 전신", "camera_facing_relation": "toward_camera", "facing": { "x": 0.5, "y": 0.64 }, "facing_anchor_en": "On the centerline of the main island pier deck between the outer pier end and the village-side approach.", "slot": "E2", "subject_en": "smiling white-haired elderly woman", "x": 0.5, "y": 0.9 } ], "rationale_ko": "카메라는 지후의 접근 시선과 같은 축으로 부두 중앙에서 외항 끝을 바라본다. 지후를 카메라 바로 앞의 부두 중앙에 두고, 영란은 외항 끝 중앙에 홀로 세워 두 사람 사이의 빈 공간과 부두의 원근선을 강조했다. 영란은 카메라 쪽인 육지 방향을 바라보므로 정면 전신과 렌즈를 마주하는 미소가 성립하며, 두 인물 모두 시야 쐐기 안에 배치했다." }, "leakage": { "has_marker_leakage": false, "details_ko": "화살표, 문자 등 도면 기호가 없는 일반 스케치입니다." }, "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 centerline of the main island pier deck just seaward of the village-side approach. (coarse estimate x=0.50, y=0.54); its sight line ends at LOOK TARGET: At the center of the outer pier end beside the seaward terminal boundary. (coarse estimate x=0.50, y=0.91); the frame's LEFT edge cuts through At the left seaward corner of the outer pier end where the deck meets the sea. (coarse estimate x=0.39, y=0.96) and its RIGHT edge through At the right seaward corner of the outer pier end where the deck meets the sea. (coarse estimate x=0.61, y=0.96) — everything between those two edges is in frame, anything outside them is out of frame\n- approaching young woman stands On the centerline of the main island pier deck near its village-side connection. (coarse estimate x=0.50, y=0.59), facing At the center of the outer pier end beside the seaward terminal boundary. (coarse estimate x=0.50, y=0.90) — from this camera the subject is near the CENTER of the frame and faces away from the camera, into the depth of the shot, so the camera sees this subject from behind; this subject is turned toward the smiling white-haired elderly woman\n- smiling white-haired elderly woman stands At the center of the outer pier end with clear deck space around her. (coarse estimate x=0.50, y=0.90), facing On the centerline of the main island pier deck between the outer pier end and the village-side approach. (coarse estimate x=0.50, y=0.64) — from this camera the subject is near the CENTER of the frame and faces toward the camera, so the camera sees this subject from the front; this subject is turned toward the approaching young woman\n\nCAMERA DIRECTION (vertical angle / elevation / framing SOT): From 김지후(강수리영)'s approaching eye line, hold a static wide subjective view with 강영란(흰 머리 여자)'s full figure centered at the end of the dock and clear space separating her from the crowd. Her direct smile meets the lens as Jihoo would see it, while the dock's receding line makes the apparently warm welcome feel ceremonially arranged.\n\nTHE LOCATION: 금월도 선착장\n\nSHOT TEXT (authoritative, Korean): 김지후(강수리영)의 시선 끝에 온화한 미소를 띠고 선 강영란(흰 머리 여자)의 정면 전신.\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": "3493f3ca-8555-48c0-b786-6d73b9037099" }, "S25sh2": { "lane": "structure_plate", "group_id": "bg_natural_cave", "segment_id": "SEG_01", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/seed_bg_natural_cave_sel.png", "seed_asset_id": "cf15bf22-d776-4059-aabd-5729e3547256", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L29B01.png", "bg_reason": "", "conti_path": 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"/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/seed_bg_island_coastal_village_sel.png", "bg_reason": "", "bypass_reason": "prev" }, "S41sh2": { "lane": "map_marker", "group_id": "bg_forest_stone_markers", "segment_id": "SEG_01", "marker_attempts": 2, "status": "failed", "error": "Error code: 400 - {'error': {'message': 'Billing hard limit has been reached.', 'type': 'billing_limit_user_error', 'param': None, 'code': 'billing_hard_limit_reached'}}" }, "S52sh2": { "lane": "structure_plate", "group_id": "bg_forest_ritual_clearing", "segment_id": "SEG_01", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/seed_bg_forest_ritual_clearing_sel.png", "seed_asset_id": "68c88d61-f5d8-4e78-8c60-d1e42e155653", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/seed_bg_forest_ritual_clearing_sel.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S52sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/seed_bg_forest_ritual_clearing_sel.png" }, "S53sh1": { "lane": "structure_plate", "group_id": "bg_mainland_harbor", "segment_id": "SEG_03", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/seed_bg_mainland_harbor_sel.png", "seed_asset_id": "ef8e2161-3434-4687-b5f7-c4f2dc082bb6", "seed_status": "ok", "bg_source": "seed", "bg_path": 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"/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/seed_bg_mainland_harbor_sel.png", "bg_reason": "", "bypass_reason": "prev" }, "S54sh3": { "lane": "structure_plate", "group_id": "bg_fishing_boat", "segment_id": "SEG_03", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/seed_bg_fishing_boat_sel.png", "seed_asset_id": "e6f2c697-eafa-4ffc-b339-d0a0588aecb4", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L16B03.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S54sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L16B03.png" }, "S55sh6": { "lane": "structure_plate", "group_id": "bg_island_main_pier", "segment_id": "SEG_04", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/seed_bg_island_main_pier_sel.png", "seed_asset_id": "5ba2e05d-ac67-457a-b8c7-d2a0003913a9", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L19B01.png", "bg_reason": "", "bypass_reason": "prev" }, "S60sh5": { "lane": "map_marker", "group_id": "bg_coastal_rock_path", "segment_id": "SEG_03", "status": "ok", "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/lane_sketch_S60sh5.png", "base_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/canon_bg_coastal_rock_path_map.png", "base_map_asset_id": "0baf5213-9cc1-449d-88f0-6b98e0c8458e", "marker_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/lane_marker_map_S60sh5.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 narrow coastal walking path just seaward of the steep forestward rock passage. (coarse estimate x=0.40, y=0.41); its sight line ends at LOOK TARGET: At the seaward edge of the tidal shoreline rock outcrops where the rocks meet the coastal sea. (coarse estimate x=0.51, y=0.61); the frame's LEFT edge cuts through At the right-hand seaward edge of the tidal shoreline rock outcrops beside the coastal sea. (coarse estimate x=0.76, y=0.65) and its RIGHT edge through In the coastal sea just beyond the left-hand tidal shoreline rock outcrops. (coarse estimate x=0.25, y=0.73)\n- E1 (slack human corpse): circle Wedged among the tidal shoreline rock outcrops at their boundary with the coastal sea. (coarse estimate x=0.51, y=0.61), facing In the coastal sea just beyond the tidal shoreline rock outcrops. (coarse estimate x=0.57, y=0.72)", "marker_attempts": 1, "geometry": { "camera": { "look_target": { "x": 0.51, "y": 0.61 }, "look_target_anchor_en": "At the seaward edge of the tidal shoreline rock outcrops where the rocks meet the coastal sea.", "origin": { "x": 0.4, "y": 0.41 }, "origin_anchor_en": "On the narrow coastal walking path just seaward of the steep forestward rock passage.", "view_left": { "x": 0.76, "y": 0.65 }, "view_left_anchor_en": "At the right-hand seaward edge of the tidal shoreline rock outcrops beside the coastal sea.", "view_right": { "x": 0.25, "y": 0.73 }, "view_right_anchor_en": "In the coastal sea just beyond the left-hand tidal shoreline rock outcrops." }, "entity_placements": [ { "anchor_en": "Wedged among the tidal shoreline rock outcrops at their boundary with the coastal sea.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.57, "y": 0.72 }, "facing_anchor_en": "In the coastal sea just beyond the tidal shoreline rock outcrops.", "slot": "E1", "subject_en": "slack human corpse", "x": 0.51, "y": 0.61 } ], "rationale_ko": "시신을 갯바위와 바닷물이 맞닿는 경계에 배치해 바위 틈에 걸린 상태를 구현했다. 카메라는 해안길에서 바다 쪽으로 넓게 바라보며 시신 전신, 주변 바위, 그 너머의 파도와 물보라가 함께 프레임에 들어오도록 설정했다." }, "leakage": { "has_marker_leakage": false, "details_ko": "기호나 텍스트 같은 유출 요소가 발견되지 않음." }, "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 narrow coastal walking path just seaward of the steep forestward rock passage. (coarse estimate x=0.40, y=0.41); its sight line ends at LOOK TARGET: At the seaward edge of the tidal shoreline rock outcrops where the rocks meet the coastal sea. (coarse estimate x=0.51, y=0.61); the frame's LEFT edge cuts through At the right-hand seaward edge of the tidal shoreline rock outcrops beside the coastal sea. (coarse estimate x=0.76, y=0.65) and its RIGHT edge through In the coastal sea just beyond the left-hand tidal shoreline rock outcrops. (coarse estimate x=0.25, y=0.73) — everything between those two edges is in frame, anything outside them is out of frame\n- slack human corpse stands Wedged among the tidal shoreline rock outcrops at their boundary with the coastal sea. (coarse estimate x=0.51, y=0.61), facing In the coastal sea just beyond the tidal shoreline rock outcrops. (coarse estimate x=0.57, y=0.72) — from this camera the subject is near the CENTER of the frame and faces away from the camera, into the depth of the shot, so the camera sees this subject from behind\n\nCAMERA DIRECTION (vertical angle / elevation / framing SOT): Maintain the previous eye-level pivot point and pan along 김지후(강수리영)'s seaward eyeline, settling into a wide composition that reveals 김여상's entire slack posture caught between the rocks and seawater. Place the body across the middle of the frame with rocks providing scale below and the breaking water and suspended spray visible beyond, avoiding any detached forensic close-up.\n\nTHE LOCATION: 금월도 해안 바윗길\n\nSHOT TEXT (authoritative, Korean): 거친 파도가 갯바위에 부딪혀 하얀 물보라가 공중에 멈춘 순간, 바위 틈에 기괴한 자세로 널브러져 있는 김여상의 축 늘어진 시체 전경.\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": "f19b6fd1-9cbc-460b-82af-34da695b958a" }, "S61sh15": { "lane": "map_marker", "group_id": "bg_island_main_pier", "segment_id": "SEG_02", "status": "ok", "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/lane_sketch_S61sh15.png", "base_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/canon_bg_island_main_pier_map.png", "base_map_asset_id": "025c8755-92d6-4506-8af4-59835ff82111", "marker_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/lane_marker_map_S61sh15.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 central main pier deck, several steps seaward of the village-side approach. (coarse estimate x=0.54, y=0.74); its sight line ends at LOOK TARGET: On the village-side half of the main pier deck near its centerline. (coarse estimate x=0.50, y=0.61); the frame's LEFT edge cuts through On the left half of the main pier deck near its village-side section. (coarse estimate x=0.42, y=0.59) and its RIGHT edge through Just beyond the water-contacting vessel berth edge beside the village-side section of the pier. (coarse estimate x=0.62, y=0.59)\n- E1 (white-haired woman blocking the route): circle On the village-side half of the main pier deck near its centerline. (coarse estimate x=0.50, y=0.61), facing On the right half of the main pier deck a short distance inside the vessel berth edge. (coarse estimate x=0.56, y=0.66)\n- E2 (man halted at the edge of the confrontation): circle On the right half of the main pier deck a short distance inside the vessel berth edge. (coarse estimate x=0.56, y=0.66), facing On the village-side half of the main pier deck near its centerline. (coarse estimate x=0.50, y=0.61)", "marker_attempts": 1, "geometry": { "camera": { "look_target": { "x": 0.5, "y": 0.61 }, "look_target_anchor_en": "On the village-side half of the main pier deck near its centerline.", "origin": { "x": 0.54, "y": 0.74 }, "origin_anchor_en": "On the central main pier deck, several steps seaward of the village-side approach.", "view_left": { "x": 0.42, "y": 0.59 }, "view_left_anchor_en": "On the left half of the main pier deck near its village-side section.", "view_right": { "x": 0.62, "y": 0.59 }, "view_right_anchor_en": "Just beyond the water-contacting vessel berth edge beside the village-side section of the pier." }, "entity_placements": [ { "anchor_en": "On the village-side half of the main pier deck near its centerline.", "camera_facing_evidence": "정인우를 향해", "camera_facing_relation": "toward_camera", "facing": { "x": 0.56, "y": 0.66 }, "facing_anchor_en": "On the right half of the main pier deck a short distance inside the vessel berth edge.", "slot": "E1", "subject_en": "white-haired woman blocking the route", "x": 0.5, "y": 0.61 }, { "anchor_en": "On the right half of the main pier deck a short distance inside the vessel berth edge.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.5, "y": 0.61 }, "facing_anchor_en": "On the village-side half of the main pier deck near its centerline.", "slot": "E2", "subject_en": "man halted at the edge of the confrontation", "x": 0.56, "y": 0.66 } ], "rationale_ko": "흰 머리 여자를 부두 중앙의 진행선에 세우고 남자를 선착장 가장자리 쪽에 두어 한 손으로 길을 막는 관계가 드러나게 했다. 카메라는 남자 쪽 뒤편에서 여자의 상체를 바라보며, 여자는 카메라와 남자 방향을 향하고 남자는 프레임 한쪽 가장자리에 걸리도록 구성했다." }, "leakage": { "has_marker_leakage": false, "details_ko": "기호나 마커 없이 정상적인 3D 뷰로 그려졌습니다." }, "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 central main pier deck, several steps seaward of the village-side approach. (coarse estimate x=0.54, y=0.74); its sight line ends at LOOK TARGET: On the village-side half of the main pier deck near its centerline. (coarse estimate x=0.50, y=0.61); the frame's LEFT edge cuts through On the left half of the main pier deck near its village-side section. (coarse estimate x=0.42, y=0.59) and its RIGHT edge through Just beyond the water-contacting vessel berth edge beside the village-side section of the pier. (coarse estimate x=0.62, y=0.59) — everything between those two edges is in frame, anything outside them is out of frame\n- white-haired woman blocking the route stands On the village-side half of the main pier deck near its centerline. (coarse estimate x=0.50, y=0.61), facing On the right half of the main pier deck a short distance inside the vessel berth edge. (coarse estimate x=0.56, y=0.66) — from this camera the subject is near the CENTER of the frame and faces toward the RIGHT of the frame and toward the camera, so the camera sees this subject from the front; this subject is turned toward the man halted at the edge of the confrontation\n- man halted at the edge of the confrontation stands On the right half of the main pier deck a short distance inside the vessel berth edge. (coarse estimate x=0.56, y=0.66), facing On the village-side half of the main pier deck near its centerline. (coarse estimate x=0.50, y=0.61) — from this camera the subject is in the RIGHT part of the frame and faces toward the LEFT of the frame and away from the camera, into the depth of the shot, so the camera sees this subject from behind; this subject is turned toward the white-haired woman blocking the route\n\nCAMERA DIRECTION (vertical angle / elevation / framing SOT): From 정인우's side of the gathering, settle the pan into a firm eye-level medium frame centered on 강영란(흰 머리 여자)'s raised palm and unyielding upper body. Her hand occupies the central foreground without exceeding natural scale, while 정인우 remains checked at one edge behind the opposing line, making the blocked route readable within a single plane.\n\nTHE LOCATION: 금월도 선착장\n\nSHOT TEXT (authoritative, Korean): 정인우를 향해 한 손을 꼿꼿이 들어 올린 채 단호하게 앞을 막아선 강영란(흰 머리 여자)의 굳건한 상체.\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": "07a4df6f-77e8-45ac-b70b-b9e630d2a343" }, "S62sh6": { "lane": "structure_plate", "group_id": "bg_police_patrol_boat", "segment_id": "SEG_02", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/seed_bg_police_patrol_boat_sel.png", "seed_asset_id": "f01a72dd-1c7a-4752-9e6a-c272d65ec1c5", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L45B02.png", "bg_reason": "", "bypass_reason": "prev" }, "S65sh1": { "lane": "map_marker", "group_id": "bg_restaurant_compound", "segment_id": "SEG_03", "status": "ok", "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/lane_sketch_S65sh1.png", "base_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/canon_bg_restaurant_compound_map.png", "base_map_asset_id": "347eba91-9f67-49db-91a5-11ff1d7c7c93", "marker_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/lane_marker_map_S65sh1.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 The camera stands near the right end of the restaurant-front alley beside the village-road approach. (coarse estimate x=0.86, y=0.72); its sight line ends at LOOK TARGET: The camera looks toward the center of the restaurant-front alley directly outside the front entrance. (coarse estimate x=0.49, y=0.67); the frame's LEFT edge cuts through The left edge of the view reaches the left portion of the uphill village road below the alley. (coarse estimate x=0.25, y=0.82) and its RIGHT edge through The right edge of the view reaches the lower-left portion of the restaurant main building. (coarse estimate x=0.25, y=0.55)\n- E1 (watchful Korean village youth): circle This youth stands near the right end of the restaurant-front alley opposite the restaurant façade. (coarse estimate x=0.77, y=0.71), facing The facing point is on the right half of the restaurant front façade. (coarse estimate x=0.72, y=0.62)\n- E2 (watchful Korean village youth): circle This youth stands in the right half of the restaurant-front alley several steps from the front entrance. (coarse estimate x=0.66, y=0.74), facing The facing point is on the restaurant front façade just right of the front entrance. (coarse estimate x=0.62, y=0.62)\n- E3 (watchful Korean village youth): circle This youth stands near the center of the restaurant-front alley opposite the front entrance. (coarse estimate x=0.56, y=0.68), facing The facing point is on the restaurant front façade beside the front entrance. (coarse estimate x=0.53, y=0.62)\n- E4 (watchful Korean village youth): circle This youth stands in the left half of the restaurant-front alley opposite the restaurant façade. (coarse estimate x=0.44, y=0.73), facing The facing point is on the restaurant front façade just left of the front entrance. (coarse estimate x=0.46, y=0.62)\n- E5 (watchful Korean village youth): circle This youth stands near the left end of the restaurant-front alley beside the building frontage. (coarse estimate x=0.32, y=0.68), facing The facing point is on the left half of the restaurant front façade. (coarse estimate x=0.35, y=0.62)", "marker_attempts": 1, "geometry": { "camera": { "look_target": { "x": 0.49, "y": 0.67 }, "look_target_anchor_en": "The camera looks toward the center of the restaurant-front alley directly outside the front entrance.", "origin": { "x": 0.86, "y": 0.72 }, "origin_anchor_en": "The camera stands near the right end of the restaurant-front alley beside the village-road approach.", "view_left": { "x": 0.25, "y": 0.82 }, "view_left_anchor_en": "The left edge of the view reaches the left portion of the uphill village road below the alley.", "view_right": { "x": 0.25, "y": 0.55 }, "view_right_anchor_en": "The right edge of the view reaches the lower-left portion of the restaurant main building." }, "entity_placements": [ { "anchor_en": "This youth stands near the right end of the restaurant-front alley opposite the restaurant façade.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.72, "y": 0.62 }, "facing_anchor_en": "The facing point is on the right half of the restaurant front façade.", "slot": "E1", "subject_en": "watchful Korean village youth", "x": 0.77, "y": 0.71 }, { "anchor_en": "This youth stands in the right half of the restaurant-front alley several steps from the front entrance.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.62, "y": 0.62 }, "facing_anchor_en": "The facing point is on the restaurant front façade just right of the front entrance.", "slot": "E2", "subject_en": "watchful Korean village youth", "x": 0.66, "y": 0.74 }, { "anchor_en": "This youth stands near the center of the restaurant-front alley opposite the front entrance.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.53, "y": 0.62 }, "facing_anchor_en": "The facing point is on the restaurant front façade beside the front entrance.", "slot": "E3", "subject_en": "watchful Korean village youth", "x": 0.56, "y": 0.68 }, { "anchor_en": "This youth stands in the left half of the restaurant-front alley opposite the restaurant façade.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.46, "y": 0.62 }, "facing_anchor_en": "The facing point is on the restaurant front façade just left of the front entrance.", "slot": "E4", "subject_en": "watchful Korean village youth", "x": 0.44, "y": 0.73 }, { "anchor_en": "This youth stands near the left end of the restaurant-front alley beside the building frontage.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.35, "y": 0.62 }, "facing_anchor_en": "The facing point is on the left half of the restaurant front façade.", "slot": "E5", "subject_en": "watchful Korean village youth", "x": 0.32, "y": 0.68 } ], "rationale_ko": "카메라는 골목 오른쪽 끝에서 식당 방향으로 넓게 바라보며, 가장 가까운 청년을 우측 외곽에 두고 나머지를 불규칙한 간격으로 골목 전역에 분산했다. 모든 청년의 몸 방향은 식당 전면을 향하게 하여 감시가 조직적으로 느껴지도록 했고, 인물 사이의 빈 공간을 충분히 확보했다." }, "leakage": { "has_marker_leakage": false, "details_ko": "마커나 기호가 없는 정상적인 투시도입니다." }, "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 The camera stands near the right end of the restaurant-front alley beside the village-road approach. (coarse estimate x=0.86, y=0.72); its sight line ends at LOOK TARGET: The camera looks toward the center of the restaurant-front alley directly outside the front entrance. (coarse estimate x=0.49, y=0.67); the frame's LEFT edge cuts through The left edge of the view reaches the left portion of the uphill village road below the alley. (coarse estimate x=0.25, y=0.82) and its RIGHT edge through The right edge of the view reaches the lower-left portion of the restaurant main building. (coarse estimate x=0.25, y=0.55) — everything between those two edges is in frame, anything outside them is out of frame\n- watchful Korean village youth stands This youth stands near the right end of the restaurant-front alley opposite the restaurant façade. (coarse estimate x=0.77, y=0.71), facing The facing point is on the right half of the restaurant front façade. (coarse estimate x=0.72, y=0.62) — from this camera the subject is near the CENTER of the frame and faces toward the RIGHT of the frame and away from the camera, into the depth of the shot, so the camera sees this subject from behind\n- watchful Korean village youth stands This youth stands in the right half of the restaurant-front alley several steps from the front entrance. (coarse estimate x=0.66, y=0.74), facing The facing point is on the restaurant front façade just right of the front entrance. (coarse estimate x=0.62, y=0.62) — from this camera the subject is in the LEFT part of the frame and faces toward the RIGHT of the frame and away from the camera, into the depth of the shot, so the camera sees this subject from behind\n- watchful Korean village youth stands This youth stands near the center of the restaurant-front alley opposite the front entrance. (coarse estimate x=0.56, y=0.68), facing The facing point is on the restaurant front façade beside the front entrance. (coarse estimate x=0.53, y=0.62) — from this camera the subject is near the CENTER of the frame and faces toward the RIGHT of the frame and away from the camera, into the depth of the shot, so the camera sees this subject from behind\n- watchful Korean village youth stands This youth stands in the left half of the restaurant-front alley opposite the restaurant façade. (coarse estimate x=0.44, y=0.73), facing The facing point is on the restaurant front façade just left of the front entrance. (coarse estimate x=0.46, y=0.62) — from this camera the subject is near the CENTER of the frame and faces toward the RIGHT of the frame\n- watchful Korean village youth stands This youth stands near the left end of the restaurant-front alley beside the building frontage. (coarse estimate x=0.32, y=0.68), facing The facing point is on the left half of the restaurant front façade. (coarse estimate x=0.35, y=0.62) — from this camera the subject is near the CENTER of the frame and faces toward the RIGHT of the frame and toward the camera, so the camera sees this subject from the front\n\nCAMERA DIRECTION (vertical angle / elevation / framing SOT): At eye level near one end of the alley, hold a static wide view down the dispersed line of Korean village youths toward the restaurant. Place the nearest youth on one outer third and the others at irregular midground intervals, all sharing the restaurant as their eyeline while negative space between them makes the surveillance feel coordinated rather than casual.\n\nTHE LOCATION: 반월 식당 앞과 골목\n\nSHOT TEXT (authoritative, Korean): 어두운 식당 밖 골목에 흩어져 서서 식당을 향해 시선을 고정한 한국인 마을 청년들의 위협적인 전경.\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": "7cfa7361-af42-4c1b-bf5a-04ca99b0601d" }, "S65sh4": { "lane": "map_marker", "group_id": "bg_restaurant_compound", "segment_id": "SEG_03", "status": "failed", "error": "litellm.RateLimitError: RateLimitError: OpenAIException - You exceeded your current quota, please check your plan and billing details. For more information on this error, read the docs: https://platform.openai.com/docs/guides/error-codes/api-errors.. Received Model Group=gpt\nAvailable Model Group Fallbacks=None LiteLLM Retried: 3 times, LiteLLM Max Retries: 3" }, "S66sh1": { "lane": "structure_plate", "group_id": "bg_restaurant_compound", "segment_id": "SEG_04", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/seed_bg_restaurant_compound_sel.png", "seed_asset_id": "69cb1065-4089-4f87-94f0-4059c3fec052", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L34B01.png", "bg_reason": "", "bypass_reason": "bg_only" }, "S68sh1": { "lane": "structure_plate", "group_id": "bg_forest_ritual_clearing", "segment_id": "SEG_01", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/seed_bg_forest_ritual_clearing_sel.png", "seed_asset_id": "68c88d61-f5d8-4e78-8c60-d1e42e155653", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/seed_bg_forest_ritual_clearing_sel.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S68sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/seed_bg_forest_ritual_clearing_sel.png" }, "S68sh3": { "lane": "structure_plate", "group_id": "bg_forest_ritual_clearing", "segment_id": "SEG_01", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/seed_bg_forest_ritual_clearing_sel.png", "seed_asset_id": "68c88d61-f5d8-4e78-8c60-d1e42e155653", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/seed_bg_forest_ritual_clearing_sel.png", "bg_reason": "", "bypass_reason": "prev" }, "S70sh1": { "lane": "structure_plate", "group_id": "bg_natural_cave", "segment_id": "SEG_01", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/seed_bg_natural_cave_sel.png", "seed_asset_id": "cf15bf22-d776-4059-aabd-5729e3547256", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L29B01.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S70sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L29B01.png" }, "S72sh1": { "lane": "structure_plate", "group_id": "bg_restaurant_compound", "segment_id": "SEG_04", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/seed_bg_restaurant_compound_sel.png", "seed_asset_id": "69cb1065-4089-4f87-94f0-4059c3fec052", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L34B02.png", "bg_reason": "", "bypass_reason": "bg_only" }, "S73sh1": { "lane": "map_marker", "group_id": "bg_forest_ritual_clearing", "segment_id": "SEG_02", "status": "ok", "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/lane_sketch_S73sh1.png", "base_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/canon_bg_forest_ritual_clearing_map.png", "base_map_asset_id": "0f09cd10-dd0d-4576-bd47-1f3398c61d22", "marker_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/lane_marker_map_S73sh1.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 outer left edge of the rock-and-altar forecourt beside the open clearing ground. (coarse estimate x=0.32, y=0.25); its sight line ends at LOOK TARGET: At the left flank of the giant ritual rock within the rock-and-altar forecourt. (coarse estimate x=0.43, y=0.22); the frame's LEFT edge cuts through At the upper edge of the giant ritual rock within the forecourt. (coarse estimate x=0.52, y=0.13) and its RIGHT edge through On the clearing-side edge of the central altar forecourt. (coarse estimate x=0.54, y=0.30)\n- E1 (white-haired woman raising ritual bells): circle At the left flank of the giant ritual rock within the rock-and-altar forecourt. (coarse estimate x=0.43, y=0.22), facing On the open forecourt ground just beyond the clearing side of the central altar. (coarse estimate x=0.46, y=0.34)\n\n[REGENERATE — the previous attempt failed the marker check: 카메라(CAM) 마커가 지정된 '바위와 제단 앞마당(Rock-and-Altar Forecourt)'의 왼쪽 가장자리가 아닌 완전히 다른 구역인 왼쪽 숲 가장자리(녹색 영역)에 잘못 배치되어 있습니다.. Draw exactly the specified markers and change nothing else on the plan.]", "marker_attempts": 2, "geometry": { "camera": { "look_target": { "x": 0.435, "y": 0.222 }, "look_target_anchor_en": "At the left flank of the giant ritual rock within the rock-and-altar forecourt.", "origin": { "x": 0.315, "y": 0.252 }, "origin_anchor_en": "On the outer left edge of the rock-and-altar forecourt beside the open clearing ground.", "view_left": { "x": 0.515, "y": 0.13 }, "view_left_anchor_en": "At the upper edge of the giant ritual rock within the forecourt.", "view_right": { "x": 0.535, "y": 0.305 }, "view_right_anchor_en": "On the clearing-side edge of the central altar forecourt." }, "entity_placements": [ { "anchor_en": "At the left flank of the giant ritual rock within the rock-and-altar forecourt.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.455, "y": 0.345 }, "facing_anchor_en": "On the open forecourt ground just beyond the clearing side of the central altar.", "slot": "E1", "subject_en": "white-haired woman raising ritual bells", "x": 0.435, "y": 0.222 } ], "rationale_ko": "흰 머리 여자를 거대한 바위의 왼쪽 측면 순환 동선에 두고, 한 발을 내디디며 몸을 트는 방향을 제단 앞의 열린 공간 쪽으로 설정했다. 카메라는 동선 바깥쪽에서 측면으로 접근해 상체를 중간 크기로 포착하며, 좁은 화각 안에 인물과 거대한 바위 일부가 함께 들어오도록 배치했다. 모닥불은 지도에 고정 요소로 표시되지 않아 좌표 앵커로 사용하지 않았다." }, "leakage": { "has_marker_leakage": false, "details_ko": "기호, 텍스트 또는 평면도 요소가 발견되지 않았습니다. 입체적인 장면이 잘 그려져 있습니다." }, "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 outer left edge of the rock-and-altar forecourt beside the open clearing ground. (coarse estimate x=0.32, y=0.25); its sight line ends at LOOK TARGET: At the left flank of the giant ritual rock within the rock-and-altar forecourt. (coarse estimate x=0.43, y=0.22); the frame's LEFT edge cuts through At the upper edge of the giant ritual rock within the forecourt. (coarse estimate x=0.52, y=0.13) and its RIGHT edge through On the clearing-side edge of the central altar forecourt. (coarse estimate x=0.54, y=0.30) — everything between those two edges is in frame, anything outside them is out of frame\n- white-haired woman raising ritual bells stands At the left flank of the giant ritual rock within the rock-and-altar forecourt. (coarse estimate x=0.43, y=0.22), facing On the open forecourt ground just beyond the clearing side of the central altar. (coarse estimate x=0.46, y=0.34) — from this camera the subject is near the CENTER of the frame and faces toward the RIGHT of the frame\n\nCAMERA DIRECTION (vertical angle / elevation / framing SOT): Track laterally at torso height along the outer edge of Youngran's path beside the large rock, tightening to a medium upper-body frame without changing the established movement direction. Catch her weight transferring into the turn, with the raised ritual bells held in the upper third, the bonfire offset behind her, and part of the rock anchoring the opposite edge.\n\nTHE LOCATION: 숲속 만월제 도당\n\nSHOT TEXT (authoritative, Korean): 타오르는 커다란 모닥불 주위 거대한 바위 옆에서 한 발을 내딛고 몸을 튼 채, 한 손으로 무령을 허공에 세차게 치켜든 강영란(흰 머리 여자)의 상체 자세.\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": "30d1e2f3-47b3-496f-b9be-3ca9ae15d8a4" }, "S76sh3": { "lane": "map_marker", "group_id": "bg_forest_slaughterhouse", "segment_id": "SEG_01", "status": "ok", "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/lane_sketch_S76sh3.png", "base_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/canon_bg_forest_slaughterhouse_map.png", "base_map_asset_id": "7b86cd5a-377a-41a5-8ce2-9881d2581c82", "marker_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/lane_marker_map_S76sh3.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 At the southern edge of the woodland path southwest of the slaughterhouse entrance. (coarse estimate x=0.47, y=0.61); its sight line ends at LOOK TARGET: On the woodland path southwest of the slaughterhouse entrance. (coarse estimate x=0.57, y=0.53); the frame's LEFT edge cuts through At the northern edge of the woodland path west of the slaughterhouse entrance. (coarse estimate x=0.54, y=0.47) and its RIGHT edge through Near the southern edge of the woodland path east of the slaughterhouse entrance. (coarse estimate x=0.75, y=0.58)\n- E1 (pivoting running woman): circle On the woodland path diagonally southwest of the slaughterhouse entrance. (coarse estimate x=0.56, y=0.55), facing At the path-side entrance into the slaughterhouse. (coarse estimate x=0.66, y=0.46)\n\n[REGENERATE — the previous attempt failed the marker check: 카메라의 시야각(웨지)이 잘못된 방향(서쪽)으로 열려 있으며, 피사체 E1이 시야각 바깥에 있습니다.. Draw exactly the specified markers and change nothing else on the plan.]", "marker_attempts": 2, "geometry": { "camera": { "look_target": { "x": 0.57, "y": 0.53 }, "look_target_anchor_en": "On the woodland path southwest of the slaughterhouse entrance.", "origin": { "x": 0.47, "y": 0.61 }, "origin_anchor_en": "At the southern edge of the woodland path southwest of the slaughterhouse entrance.", "view_left": { "x": 0.54, "y": 0.465 }, "view_left_anchor_en": "At the northern edge of the woodland path west of the slaughterhouse entrance.", "view_right": { "x": 0.75, "y": 0.58 }, "view_right_anchor_en": "Near the southern edge of the woodland path east of the slaughterhouse entrance." }, "entity_placements": [ { "anchor_en": "On the woodland path diagonally southwest of the slaughterhouse entrance.", "camera_facing_evidence": "역동적인 뒷모습", "camera_facing_relation": "away_from_camera", "facing": { "x": 0.66, "y": 0.455 }, "facing_anchor_en": "At the path-side entrance into the slaughterhouse.", "slot": "E1", "subject_en": "pivoting running woman", "x": 0.56, "y": 0.55 } ], "rationale_ko": "인물은 길에서 도축장 입구를 향해 대각선으로 방향을 틀며 한 발을 뻗는 순간에 배치했다. 카메라는 허리 높이의 후방 사선 위치에서 인물의 역동적인 뒷모습과 목적지인 입구를 함께 바라보며, 넓은 프레임 안에 길도 규모 기준으로 남긴다." }, "leakage": { "has_marker_leakage": false, "details_ko": "도면 기호나 문자, 평면도 같은 데이터 유출이 없습니다. 스케치는 카메라 방향에 맞게 정상적으로 입체감 있는 장면을 보여줍니다." }, "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 At the southern edge of the woodland path southwest of the slaughterhouse entrance. (coarse estimate x=0.47, y=0.61); its sight line ends at LOOK TARGET: On the woodland path southwest of the slaughterhouse entrance. (coarse estimate x=0.57, y=0.53); the frame's LEFT edge cuts through At the northern edge of the woodland path west of the slaughterhouse entrance. (coarse estimate x=0.54, y=0.47) and its RIGHT edge through Near the southern edge of the woodland path east of the slaughterhouse entrance. (coarse estimate x=0.75, y=0.58) — everything between those two edges is in frame, anything outside them is out of frame\n- pivoting running woman stands On the woodland path diagonally southwest of the slaughterhouse entrance. (coarse estimate x=0.56, y=0.55), facing At the path-side entrance into the slaughterhouse. (coarse estimate x=0.66, y=0.46) — from this camera the subject is near the CENTER of the frame and faces away from the camera, into the depth of the shot, so the camera sees this subject from behind\n\nCAMERA DIRECTION (vertical angle / elevation / framing SOT): Track at waist height behind and slightly beside Minsook in a wide, medium-full-body view as she pivots off the road and launches toward the slaughterhouse. Freeze the key instant with one foot airborne, her back driving diagonally from the lower foreground toward the entrance in the background, while the road remains visible as a scale reference.\n\nTHE LOCATION: 도축장 옆 숲길\n\nSHOT TEXT (authoritative, Korean): 어둠 속 달빛이 비치는 염소 도축장을 향해 방향을 틀고 급히 한 발을 허공에 뻗은 강민숙(홍은미)의 역동적인 뒷모습.\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": "b2511aab-d26d-4e8f-b87a-5fe066338bd0" }, "S78sh1": { "lane": "structure_plate", "group_id": "bg_forest_ritual_clearing", "segment_id": "SEG_01", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/seed_bg_forest_ritual_clearing_sel.png", "seed_asset_id": "68c88d61-f5d8-4e78-8c60-d1e42e155653", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/seed_bg_forest_ritual_clearing_sel.png", "bg_reason": "", "bypass_reason": "prev" }, "S78sh4": { "lane": "map_marker", "group_id": "bg_forest_ritual_clearing", "segment_id": "SEG_02", "status": "ok", "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/lane_sketch_S78sh4.png", "base_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/canon_bg_forest_ritual_clearing_map.png", "base_map_asset_id": "0f09cd10-dd0d-4576-bd47-1f3398c61d22", "marker_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/lane_marker_map_S78sh4.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 upper open clearing just below and left of the altar forecourt. (coarse estimate x=0.45, y=0.39); its sight line ends at LOOK TARGET: On the right half of the open clearing, midway between the altar forecourt and the forest edge. (coarse estimate x=0.60, y=0.47); the frame's LEFT edge cuts through On the right side of the open clearing below the altar forecourt. (coarse estimate x=0.69, y=0.47) and its RIGHT edge through On the middle-right open clearing toward the surrounding forest edge. (coarse estimate x=0.62, y=0.56)\n- E1 (white-haired woman extending one hand): circle On the upper open clearing just below the altar forecourt. (coarse estimate x=0.48, y=0.41), facing On the right half of the open clearing, midway between the altar forecourt and the forest edge. (coarse estimate x=0.65, y=0.52)\n- E2 (departing man with his back turned): circle On the right half of the open clearing, midway between the altar forecourt and the forest edge. (coarse estimate x=0.61, y=0.49), facing On the outer-right open clearing beside the surrounding forest edge. (coarse estimate x=0.72, y=0.56)\n\n[REGENERATE — the previous attempt failed the marker check: 지정된 마커 외에 캐릭터를 설명하는 불필요한 텍스트가 추가되어 있습니다.. Draw exactly the specified markers and change nothing else on the plan.]", "marker_attempts": 3, "geometry": { "camera": { "look_target": { "x": 0.6, "y": 0.475 }, "look_target_anchor_en": "On the right half of the open clearing, midway between the altar forecourt and the forest edge.", "origin": { "x": 0.45, "y": 0.39 }, "origin_anchor_en": "On the upper open clearing just below and left of the altar forecourt.", "view_left": { "x": 0.69, "y": 0.47 }, "view_left_anchor_en": "On the right side of the open clearing below the altar forecourt.", "view_right": { "x": 0.62, "y": 0.56 }, "view_right_anchor_en": "On the middle-right open clearing toward the surrounding forest edge." }, "entity_placements": [ { "anchor_en": "On the upper open clearing just below the altar forecourt.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.65, "y": 0.515 }, "facing_anchor_en": "On the right half of the open clearing, midway between the altar forecourt and the forest edge.", "slot": "E1", "subject_en": "white-haired woman extending one hand", "x": 0.48, "y": 0.405 }, { "anchor_en": "On the right half of the open clearing, midway between the altar forecourt and the forest edge.", "camera_facing_evidence": "등을 돌린 고산들을 향해", "camera_facing_relation": "away_from_camera", "facing": { "x": 0.72, "y": 0.56 }, "facing_anchor_en": "On the outer-right open clearing beside the surrounding forest edge.", "slot": "E2", "subject_en": "departing man with his back turned", "x": 0.61, "y": 0.49 } ], "rationale_ko": "흰 머리 여자는 제단 앞쪽의 상부 공터에서 오른쪽으로 떠나는 남자를 향해 손을 뻗는다. 카메라는 여자 곁에서 팔의 방향을 따라 바라보며, 여자는 근경 좌측에, 등을 돌린 남자는 더 작은 우측 배경에 놓이도록 구성했다. 남자의 진행 방향은 카메라 시선과 같은 깊이 방향이어서 뒷모습 조건과 일치한다." }, "leakage": { "has_marker_leakage": false, "details_ko": "도면 기호나 텍스트 누출이 발견되지 않았습니다. 지시된 카메라 앵글을 잘 따르는 스케치입니다." }, "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 upper open clearing just below and left of the altar forecourt. (coarse estimate x=0.45, y=0.39); its sight line ends at LOOK TARGET: On the right half of the open clearing, midway between the altar forecourt and the forest edge. (coarse estimate x=0.60, y=0.47); the frame's LEFT edge cuts through On the right side of the open clearing below the altar forecourt. (coarse estimate x=0.69, y=0.47) and its RIGHT edge through On the middle-right open clearing toward the surrounding forest edge. (coarse estimate x=0.62, y=0.56) — everything between those two edges is in frame, anything outside them is out of frame\n- white-haired woman extending one hand stands On the upper open clearing just below the altar forecourt. (coarse estimate x=0.48, y=0.41), facing On the right half of the open clearing, midway between the altar forecourt and the forest edge. (coarse estimate x=0.65, y=0.52) — from this camera the subject is near the CENTER of the frame and faces away from the camera, into the depth of the shot, so the camera sees this subject from behind; this subject is turned toward the departing man with his back turned\n- departing man with his back turned stands On the right half of the open clearing, midway between the altar forecourt and the forest edge. (coarse estimate x=0.61, y=0.49), facing On the outer-right open clearing beside the surrounding forest edge. (coarse estimate x=0.72, y=0.56) — from this camera the subject is near the CENTER of the frame and faces away from the camera, into the depth of the shot, so the camera sees this subject from behind\n\nCAMERA DIRECTION (vertical angle / elevation / framing SOT): At chest height beside Youngran, the camera finishes its inward move about one meter from her extended arm and looks along it toward Sandeul's turned back. Her hand and forearm occupy the near middle-left without exceeding the human-focused frame, while Sandeul remains smaller in the right background, preserving the physical line of interruption.\n\nTHE LOCATION: 숲속 만월제 도당\n\nSHOT TEXT (authoritative, Korean): 등을 돌린 고산들을 향해 단호하게 한 손을 뻗은 강영란(흰 머리 여자)의 팔.\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": "9988bbc9-56bd-4932-b09d-e6774a9e39ca" }, "S79sh1": { "lane": "map_marker", "group_id": "bg_island_main_pier", "segment_id": "SEG_02", "status": "ok", "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/lane_sketch_S79sh1.png", "base_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/canon_bg_island_main_pier_map.png", "base_map_asset_id": "025c8755-92d6-4506-8af4-59835ff82111", "marker_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/lane_marker_map_S79sh1.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 In the sea directly beyond the seaward terminal end of the island pier. (coarse estimate x=0.50, y=0.99); its sight line ends at LOOK TARGET: On the main island pier deck beside the water-contacting vessel berth edge. (coarse estimate x=0.56, y=0.55); the frame's LEFT edge cuts through At the left side of the pier-side building frontage beside the sea. (coarse estimate x=0.18, y=0.47) and its RIGHT edge through At the right side of the pier-side building frontage beside the sea. (coarse estimate x=0.90, y=0.47)\n- E1 (moored old fishing boat): circle In the sea directly alongside the water-contacting vessel berth edge of the main island pier deck. (coarse estimate x=0.66, y=0.69), facing In the sea beside the village-side end of the water-contacting vessel berth edge. (coarse estimate x=0.66, y=0.52)", "marker_attempts": 1, "geometry": { "camera": { "look_target": { "x": 0.56, "y": 0.55 }, "look_target_anchor_en": "On the main island pier deck beside the water-contacting vessel berth edge.", "origin": { "x": 0.5, "y": 0.995 }, "origin_anchor_en": "In the sea directly beyond the seaward terminal end of the island pier.", "view_left": { "x": 0.18, "y": 0.47 }, "view_left_anchor_en": "At the left side of the pier-side building frontage beside the sea.", "view_right": { "x": 0.9, "y": 0.47 }, "view_right_anchor_en": "At the right side of the pier-side building frontage beside the sea." }, "entity_placements": [ { "anchor_en": "In the sea directly alongside the water-contacting vessel berth edge of the main island pier deck.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.66, "y": 0.52 }, "facing_anchor_en": "In the sea beside the village-side end of the water-contacting vessel berth edge.", "slot": "E1", "subject_en": "moored old fishing boat", "x": 0.66, "y": 0.69 } ], "rationale_ko": "카메라는 외해 쪽 부두 끝 너머의 높은 위치에서 마을 방향으로 부두 전체를 길게 바라보도록 배치했다. 낡은 어선은 우측 접안 가장자리에 평행하게 정박시키고 화면 중앙보다 아래에 두어, 밝게 조명된 부두가 어선을 넓게 둘러싸는 원거리 전경이 되게 했다." }, "leakage": { "has_marker_leakage": false, "details_ko": "마커나 기호 없이 정상적인 투시도로 그려졌습니다." }, "prompt": "Draw a single CAMERA-VIEW storyboard frame (16:9) of the scene staged\non the attached MARKER-ANNOTATED TOP-DOWN SITE PLAN, seen from the\ncamera position marked on it.\n\nThe attached plan carries STAGING MARKERS drawn over it: a\ncamera-position marker with a field-of-view wedge (where the camera\nstands, which way it looks and how wide it sees) and one labelled\ncircle per subject with an arrow (where each subject stands and which\nway that subject is turned). Jurisdiction of sources — follow all three, they do not\nconflict:\n- The SITE PLAN under the markers is the SOT for what exists on the\n site and how its zones and landmarks are arranged relative to each\n other. The markers themselves are staging aids, NOT site content.\n- The markers on the plan are the SOT for XY POSITIONS, horizontal\n heading and body facing ONLY: where each subject stands on that\n plan, which way each one is turned, where the camera stands, which\n way it looks and how wide its wedge opens. Distances, directions\n and relative depths between subjects come from the marked\n positions; what the wedge covers is what this frame contains, and\n subjects outside the wedge are out of frame. The STAGING GEOMETRY\n text below restates the same staging with coarse normalized\n estimates — it never overrides the marked plan.\n- The CAMERA DIRECTION text below (when present) is the SOT for the\n VERTICAL angle, elevation, tilt and framing (eye-level, high angle,\n overhead crane, low angle, ...). If it asks for a high or overhead\n angle, draw that angle — the site plan being top-down does NOT mean\n the frame must be eye-level. It does NOT govern horizontal\n placement: which side of the frame a subject occupies and which way\n that subject is turned come from the marked plan and the staging\n text, even when that memo also mentions left, right, foreground or\n background.\n\nSTYLE — MANNEQUIN BLOCKING SKETCH: thin uniform dark outlines on plain\npaper, nothing else. Draw every person as a PLAIN ARTIST'S MANNEQUIN:\na featureless oval head with NO face, NO hair, NO clothing and no\ncostume detail — simple tapered limbs and torso, like a wooden posing\nfigure. Because the head has no face and no hair, the ONLY thing that\nshows which way a figure is turned is the BODY ITSELF: the direction\nthe chest, hips and feet point, and the way the head-oval sits on the\nshoulders. Aim each mannequin's chest and feet at the spot the staging\ntext says that person faces, and let the arms carry the action. A\nmannequin turned to the wrong side is the single worst error in this\ndrawing. Environment is reduced to a few placement lines (ground line,\nkey landmark silhouettes) — just enough to read positions and depth.\n\nSTAGING GEOMETRY — PLANNING DATA ONLY, NEVER RENDER IT: the lines\nbelow restate, marker by marker, the staging already marked on the\nattached plan: each landmark-relative description restates the\nmarker-map authority in words, and the normalized fractions in\nparentheses (x left→right 0..1, y top→bottom 0..1) are coarse audit\nestimates only — neither ever overrides the marked plan.\n\nThose fractions are TOP-DOWN bookkeeping. Never read them as left and\nright of your frame: on a plan seen from above, a subject \"to the\nright\" can sit on either side of a camera that looks any direction.\nEach subject line therefore ends with the SAME staging expressed from\nTHIS camera — which part of the frame the subject occupies, and which\nway that subject faces in screen terms (toward the left or right of\nthe frame, toward or away from the camera or side-on to it in\nprofile, and whom they are looking at). Those screen-space statements\nare what your drawing must match:\na figure said to face the right of the frame is turned to the right in\nyour drawing, never mirrored.\n\nDo NOT draw any of this data in the image — no numbers, no\ncoordinates, no labels, no arrows, no cones, no dots, no diagram\nsymbols of any kind.\n\nWhere the CAMERA DIRECTION text below also describes horizontal\nplacement (which side of the frame someone occupies, foreground left,\nbackground right), treat that as background reading only: for anything\nabout left, right and where a subject sits in this frame, the staging\nabove wins. CAMERA DIRECTION governs the vertical angle, elevation,\ntilt and framing.\n\nFor whether a subject faces the camera or is turned away from it, each\nsubject line above already states it in screen terms and the SHOT TEXT\nis the source it was derived from — draw exactly what the subject line\nsays, and never mirror it.\n- the camera stands In the sea directly beyond the seaward terminal end of the island pier. (coarse estimate x=0.50, y=0.99); its sight line ends at LOOK TARGET: On the main island pier deck beside the water-contacting vessel berth edge. (coarse estimate x=0.56, y=0.55); the frame's LEFT edge cuts through At the left side of the pier-side building frontage beside the sea. (coarse estimate x=0.18, y=0.47) and its RIGHT edge through At the right side of the pier-side building frontage beside the sea. (coarse estimate x=0.90, y=0.47) — everything between those two edges is in frame, anything outside them is out of frame\n- moored old fishing boat stands In the sea directly alongside the water-contacting vessel berth edge of the main island pier deck. (coarse estimate x=0.66, y=0.69), facing In the sea beside the village-side end of the water-contacting vessel berth edge. (coarse estimate x=0.66, y=0.52) — from this camera the subject is in the RIGHT part of the frame and faces away from the camera, into the depth of the shot, so the camera sees this subject from behind\n\nCAMERA DIRECTION (vertical angle / elevation / framing SOT): From an elevated position beyond the dock's outer edge, a static long-distance frame looks inward along the dock toward the moored fishing boat. The boat sits below center as a scale reference, surrounded by the brightly illuminated dock rather than isolated as an oversized foreground object.\n\nTHE LOCATION: 금월도 선착장\n\nSHOT TEXT (authoritative, Korean): 환한 조명등이 켜져 대낮처럼 밝은 선착장에 정박해 있는 낡은 낚시 어선의 외부 전경.\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": "cb35835d-6226-41ae-9422-8ea1d3cf10a8" }, "S85sh2": { "lane": "map_marker", "group_id": "bg_village_speaker_tower", "segment_id": "SEG_01", "status": "ok", "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/lane_sketch_S85sh2.png", "base_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/canon_bg_village_speaker_tower_map.png", "base_map_asset_id": "93f569d1-13a8-4c04-9cea-d7ccb48e103b", "marker_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/lane_marker_map_S85sh2.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 open village ground southeast of the public-address loudspeaker installation. (coarse estimate x=0.36, y=0.32); its sight line ends at LOOK TARGET: On the open village ground above the paved road and west of the fishing-gear warehouse. (coarse estimate x=0.46, y=0.40); the frame's LEFT edge cuts through On the open loudspeaker area east of the public-address installation. (coarse estimate x=0.43, y=0.36) and its RIGHT edge through On the village ground immediately above the paved road west of the fishing-gear warehouse. (coarse estimate x=0.46, y=0.45)\n- E1 (watchful adult man): circle On the open village ground above the paved road and west of the fishing-gear warehouse. (coarse estimate x=0.43, y=0.40), facing Inside the uphill forest edge above the village boundary. (coarse estimate x=0.43, y=0.20)\n\n[REGENERATE — the previous attempt failed the marker check: 카메라 시야각(웨지)이 지정된 방향(동쪽)이 아닌 잘못된 방향(북쪽)을 향하고 있습니다.. Draw exactly the specified markers and change nothing else on the plan.]", "marker_attempts": 2, "geometry": { "camera": { "look_target": { "x": 0.46, "y": 0.4 }, "look_target_anchor_en": "On the open village ground above the paved road and west of the fishing-gear warehouse.", "origin": { "x": 0.36, "y": 0.32 }, "origin_anchor_en": "On the open village ground southeast of the public-address loudspeaker installation.", "view_left": { "x": 0.43, "y": 0.36 }, "view_left_anchor_en": "On the open loudspeaker area east of the public-address installation.", "view_right": { "x": 0.46, "y": 0.45 }, "view_right_anchor_en": "On the village ground immediately above the paved road west of the fishing-gear warehouse." }, "entity_placements": [ { "anchor_en": "On the open village ground above the paved road and west of the fishing-gear warehouse.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.43, "y": 0.2 }, "facing_anchor_en": "Inside the uphill forest edge above the village boundary.", "slot": "E1", "subject_en": "watchful adult man", "x": 0.43, "y": 0.4 } ], "rationale_ko": "인물은 숲으로 다시 올라가던 동선의 중간 지점에 두고 몸은 북쪽 숲을 향하게 했다. 카메라는 인물보다 숲 쪽으로 조금 앞서면서 옆에 위치해 상반신 미디엄 구도를 만들며, 인물을 화면 중간 왼쪽에 두도록 시선 중심을 약간 오른쪽으로 옮겨 창고 쪽을 의심스럽게 바라보는 여백을 확보했다." }, "leakage": { "has_marker_leakage": false, "details_ko": "누출된 마커나 평면도 기호 없이 정상적인 3D 장면으로 그려졌습니다." }, "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 open village ground southeast of the public-address loudspeaker installation. (coarse estimate x=0.36, y=0.32); its sight line ends at LOOK TARGET: On the open village ground above the paved road and west of the fishing-gear warehouse. (coarse estimate x=0.46, y=0.40); the frame's LEFT edge cuts through On the open loudspeaker area east of the public-address installation. (coarse estimate x=0.43, y=0.36) and its RIGHT edge through On the village ground immediately above the paved road west of the fishing-gear warehouse. (coarse estimate x=0.46, y=0.45) — everything between those two edges is in frame, anything outside them is out of frame\n- watchful adult man stands On the open village ground above the paved road and west of the fishing-gear warehouse. (coarse estimate x=0.43, y=0.40), facing Inside the uphill forest edge above the village boundary. (coarse estimate x=0.43, y=0.20) — from this camera the subject is near the CENTER of the frame and faces toward the LEFT of the frame and toward the camera, so the camera sees this subject from the front\n\nCAMERA DIRECTION (vertical angle / elevation / framing SOT): Track at chest height beside and slightly ahead of 고산들, holding a medium upper-body composition that preserves the contradiction between his forest-facing torso and his head turned toward the old gear warehouse. Place him on the middle-left, leaving open space on the right along his fixed warehouse-directed gaze so the suspicion reads geometrically before the camera moves closer.\n\nTHE LOCATION: 금월도 마을 스피커 탑 주변\n\nSHOT TEXT (authoritative, Korean): 몸의 방향은 숲을 향한 채 고개만 선착장 옆 낡은 어구 창고로 돌려 시선을 고정한 고산들의 상체.\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": "67120033-305c-46d2-b2d9-0d446b13195a" }, "S86sh5": { "lane": "map_marker", "group_id": "bg_island_main_pier", "segment_id": "SEG_03", "status": "ok", "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/lane_sketch_S86sh5.png", "base_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/canon_bg_island_main_pier_map.png", "base_map_asset_id": "025c8755-92d6-4506-8af4-59835ff82111", "marker_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/lane_marker_map_S86sh5.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 lower half of the main island pier deck. (coarse estimate x=0.50, y=0.68); its sight line ends at LOOK TARGET: On the village-side approach between the fishing-gear warehouse and Banwol Restaurant. (coarse estimate x=0.52, y=0.34); the frame's LEFT edge cuts through In the woodland beside the western edge of the upper village houses. (coarse estimate x=0.22, y=0.14) and its RIGHT edge through In the woodland beside the eastern edge of the upper village houses. (coarse estimate x=0.80, y=0.14)\n- E1 (bent-forward sprinting Korean villager): circle On the left half of the village-side approach just above the main pier deck. (coarse estimate x=0.49, y=0.41), facing At the village-side threshold of the main island pier deck. (coarse estimate x=0.49, y=0.48)\n- E2 (long-striding Korean villager): circle On the right half of the village-side approach just above the main pier deck. (coarse estimate x=0.54, y=0.40), facing At the village-side threshold of the main island pier deck. (coarse estimate x=0.54, y=0.48)\n- E3 (charging Korean villager): circle In the narrow lane immediately left of the village-side approach and above the fishing-gear warehouse. (coarse estimate x=0.46, y=0.30), facing On the lower section of the village-side approach beside the fishing-gear warehouse frontage. (coarse estimate x=0.48, y=0.41)\n- E4 (bent-torso running Korean villager): circle In the narrow lane immediately right of the village-side approach and above Banwol Restaurant. (coarse estimate x=0.58, y=0.30), facing On the lower section of the village-side approach beside the Banwol Restaurant frontage. (coarse estimate x=0.54, y=0.41)\n- E5 (descending Korean villager): circle In the western narrow lane between the small village houses. (coarse estimate x=0.38, y=0.23), facing On the village-side approach just inland of the pier-side building frontage. (coarse estimate x=0.48, y=0.34)\n- E6 (sprinting Korean villager): circle In the eastern narrow lane between the small village houses. (coarse estimate x=0.65, y=0.20), facing On the village-side approach just inland of the pier-side building frontage. (coarse estimate x=0.54, y=0.34)", "marker_attempts": 1, "geometry": { "camera": { "look_target": { "x": 0.515, "y": 0.345 }, "look_target_anchor_en": "On the village-side approach between the fishing-gear warehouse and Banwol Restaurant.", "origin": { "x": 0.5, "y": 0.68 }, "origin_anchor_en": "On the lower half of the main island pier deck.", "view_left": { "x": 0.22, "y": 0.14 }, "view_left_anchor_en": "In the woodland beside the western edge of the upper village houses.", "view_right": { "x": 0.8, "y": 0.14 }, "view_right_anchor_en": "In the woodland beside the eastern edge of the upper village houses." }, "entity_placements": [ { "anchor_en": "On the left half of the village-side approach just above the main pier deck.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.493, "y": 0.48 }, "facing_anchor_en": "At the village-side threshold of the main island pier deck.", "slot": "E1", "subject_en": "bent-forward sprinting Korean villager", "x": 0.493, "y": 0.405 }, { "anchor_en": "On the right half of the village-side approach just above the main pier deck.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.535, "y": 0.48 }, "facing_anchor_en": "At the village-side threshold of the main island pier deck.", "slot": "E2", "subject_en": "long-striding Korean villager", "x": 0.537, "y": 0.395 }, { "anchor_en": "In the narrow lane immediately left of the village-side approach and above the fishing-gear warehouse.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.485, "y": 0.41 }, "facing_anchor_en": "On the lower section of the village-side approach beside the fishing-gear warehouse frontage.", "slot": "E3", "subject_en": "charging Korean villager", "x": 0.455, "y": 0.305 }, { "anchor_en": "In the narrow lane immediately right of the village-side approach and above Banwol Restaurant.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.535, "y": 0.41 }, "facing_anchor_en": "On the lower section of the village-side approach beside the Banwol Restaurant frontage.", "slot": "E4", "subject_en": "bent-torso running Korean villager", "x": 0.585, "y": 0.3 }, { "anchor_en": "In the western narrow lane between the small village houses.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.485, "y": 0.34 }, "facing_anchor_en": "On the village-side approach just inland of the pier-side building frontage.", "slot": "E5", "subject_en": "descending Korean villager", "x": 0.376, "y": 0.225 }, { "anchor_en": "In the eastern narrow lane between the small village houses.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.54, "y": 0.34 }, "facing_anchor_en": "On the village-side approach just inland of the pier-side building frontage.", "slot": "E6", "subject_en": "sprinting Korean villager", "x": 0.654, "y": 0.205 } ], "rationale_ko": "카메라는 주 부두 하단에서 마을 쪽을 넓게 올려다보도록 두었다. 선두 두 명은 부두 직전 접근로를 가로지르고, 후속 인원은 좌우 골목과 마을 주택 사이에서 연속적으로 내려오게 배치해 하나의 추격 흐름으로 보이게 했다. 전원은 화면 아래쪽의 보이지 않는 순찰정 방향으로 달린다." }, "leakage": { "has_marker_leakage": false, "details_ko": "도면 기호나 문자, 평면도 유출이 발견되지 않았습니다. 입체적인 장면 묘사입니다." }, "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 lower half of the main island pier deck. (coarse estimate x=0.50, y=0.68); its sight line ends at LOOK TARGET: On the village-side approach between the fishing-gear warehouse and Banwol Restaurant. (coarse estimate x=0.52, y=0.34); the frame's LEFT edge cuts through In the woodland beside the western edge of the upper village houses. (coarse estimate x=0.22, y=0.14) and its RIGHT edge through In the woodland beside the eastern edge of the upper village houses. (coarse estimate x=0.80, y=0.14) — everything between those two edges is in frame, anything outside them is out of frame\n- bent-forward sprinting Korean villager stands On the left half of the village-side approach just above the main pier deck. (coarse estimate x=0.49, y=0.41), facing At the village-side threshold of the main island pier deck. (coarse estimate x=0.49, y=0.48) — from this camera the subject is near the CENTER of the frame and faces toward the camera, so the camera sees this subject from the front\n- long-striding Korean villager stands On the right half of the village-side approach just above the main pier deck. (coarse estimate x=0.54, y=0.40), facing At the village-side threshold of the main island pier deck. (coarse estimate x=0.54, y=0.48) — from this camera the subject is near the CENTER of the frame and faces toward the camera, so the camera sees this subject from the front\n- charging Korean villager stands In the narrow lane immediately left of the village-side approach and above the fishing-gear warehouse. (coarse estimate x=0.46, y=0.30), facing On the lower section of the village-side approach beside the fishing-gear warehouse frontage. (coarse estimate x=0.48, y=0.41) — from this camera the subject is near the CENTER of the frame and faces toward the RIGHT of the frame and toward the camera, so the camera sees this subject from the front; this subject is turned toward the bent-forward sprinting Korean villager\n- bent-torso running Korean villager stands In the narrow lane immediately right of the village-side approach and above Banwol Restaurant. (coarse estimate x=0.58, y=0.30), facing On the lower section of the village-side approach beside the Banwol Restaurant frontage. (coarse estimate x=0.54, y=0.41) — from this camera the subject is near the CENTER of the frame and faces toward the LEFT of the frame and toward the camera, so the camera sees this subject from the front; this subject is turned toward the bent-forward sprinting Korean villager\n- descending Korean villager stands In the western narrow lane between the small village houses. (coarse estimate x=0.38, y=0.23), facing On the village-side approach just inland of the pier-side building frontage. (coarse estimate x=0.48, y=0.34) — from this camera the subject is in the LEFT part of the frame and faces toward the RIGHT of the frame and toward the camera, so the camera sees this subject from the front; this subject is turned toward the charging Korean villager\n- sprinting Korean villager stands In the eastern narrow lane between the small village houses. (coarse estimate x=0.65, y=0.20), facing On the village-side approach just inland of the pier-side building frontage. (coarse estimate x=0.54, y=0.34) — from this camera the subject is in the RIGHT part of the frame and faces toward the LEFT of the frame and toward the camera, so the camera sees this subject from the front; this subject is turned toward the long-striding Korean villager\n\nCAMERA DIRECTION (vertical angle / elevation / framing SOT): From slightly above head height near the lower dock, crane over a wide view looking back toward the upper side as the mass of Korean villagers pours downward. Arrange the leading bodies across the middle band with bent torsos and extended strides, while successive ranks climb into the upper background so the charge reads as a single predatory flow toward the unseen patrol boat below frame.\n\nTHE LOCATION: 금월도 선착장\n\nSHOT TEXT (authoritative, Korean): 선착장 위쪽에서 수리영 일행을 향해 몸을 굽히고 한 발을 뻗은 채 맹렬하게 뛰어내려오는 수많은 한국인 마을 사람들의 mid-action 전경.\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": "f069c325-d8f7-4ac1-b071-cab1f52171d8" }, "S87sh26": { "lane": "structure_plate", "group_id": "bg_police_patrol_boat", "segment_id": "SEG_04", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/seed_bg_police_patrol_boat_sel.png", "seed_asset_id": "f01a72dd-1c7a-4752-9e6a-c272d65ec1c5", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L45B04.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S87sh26.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L45B04.png" }, "S87sh34": { "lane": "structure_plate", "group_id": "bg_police_patrol_boat", "segment_id": "SEG_05", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/seed_bg_police_patrol_boat_sel.png", "seed_asset_id": "f01a72dd-1c7a-4752-9e6a-c272d65ec1c5", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L45B04.png", "bg_reason": "", "bypass_reason": "prev" }, "S95sh15": { "lane": "map_marker", "group_id": "bg_coastal_cliff", "segment_id": "SEG_02", "status": "failed", "error": "litellm.RateLimitError: RateLimitError: OpenAIException - You exceeded your current quota, please check your plan and billing details. For more information on this error, read the docs: https://platform.openai.com/docs/guides/error-codes/api-errors.. Received Model Group=gpt\nAvailable Model Group Fallbacks=None LiteLLM Retried: 3 times, LiteLLM Max Retries: 3" }, "S100sh5": { "lane": "map_marker", "group_id": "bg_mainland_harbor", "segment_id": "SEG_04", "status": "ok", "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/lane_sketch_S100sh5.png", "base_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/canon_bg_mainland_harbor_map.png", "base_map_asset_id": "77df52b1-53ca-4a0a-8503-e3320edfd4cc", "marker_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/lane_marker_map_S100sh5.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 In the landside harbor access area just left of the main dock entrance. (coarse estimate x=0.24, y=0.52); its sight line ends at LOOK TARGET: On the main harbor dock just below its upper boat-facing berthing edge. (coarse estimate x=0.68, y=0.40); the frame's LEFT edge cuts through In the harbor water beyond the upper boat-facing berthing edge. (coarse estimate x=0.50, y=0.20) and its RIGHT edge through On the outer half of the main harbor dock below its centerline. (coarse estimate x=0.77, y=0.54)\n- E1 (older fisherman with one arm raised overhead): circle On the main harbor dock just below its upper boat-facing berthing edge. (coarse estimate x=0.68, y=0.40), facing At the inland entrance of the main harbor dock beside the landing sign. (coarse estimate x=0.30, y=0.47)\n- E2 (casually dressed man watching the fisherman): circle At the inland entrance of the main harbor dock beside the landing sign. (coarse estimate x=0.30, y=0.47), facing On the main harbor dock just below its upper boat-facing berthing edge. (coarse estimate x=0.68, y=0.40)", "marker_attempts": 1, "geometry": { "camera": { "look_target": { "x": 0.68, "y": 0.4 }, "look_target_anchor_en": "On the main harbor dock just below its upper boat-facing berthing edge.", "origin": { "x": 0.24, "y": 0.52 }, "origin_anchor_en": "In the landside harbor access area just left of the main dock entrance.", "view_left": { "x": 0.5, "y": 0.2 }, "view_left_anchor_en": "In the harbor water beyond the upper boat-facing berthing edge.", "view_right": { "x": 0.77, "y": 0.54 }, "view_right_anchor_en": "On the outer half of the main harbor dock below its centerline." }, "entity_placements": [ { "anchor_en": "On the main harbor dock just below its upper boat-facing berthing edge.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.3, "y": 0.47 }, "facing_anchor_en": "At the inland entrance of the main harbor dock beside the landing sign.", "slot": "E1", "subject_en": "older fisherman with one arm raised overhead", "x": 0.68, "y": 0.4 }, { "anchor_en": "At the inland entrance of the main harbor dock beside the landing sign.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.68, "y": 0.4 }, "facing_anchor_en": "On the main harbor dock just below its upper boat-facing berthing edge.", "slot": "E2", "subject_en": "casually dressed man watching the fisherman", "x": 0.3, "y": 0.47 } ], "rationale_ko": "카메라는 육상 접근부에서 선착장 길이 방향으로 바라보며, 입구의 남성 어깨가 프레임 왼쪽 전경에 살짝 걸리도록 배치했다. 손을 든 어부는 어선이 접안할 수 있는 위쪽 계류 가장자리 안쪽의 중우측에 전신으로 서고, 두 인물은 서로를 향해 충분한 거리를 두고 마주 본다." }, "leakage": { "has_marker_leakage": false, "details_ko": "도면 기호나 텍스트가 없는 정상적인 투시도입니다." }, "prompt": "Draw a single CAMERA-VIEW storyboard frame (16:9) of the scene staged\non the attached MARKER-ANNOTATED TOP-DOWN SITE PLAN, seen from the\ncamera position marked on it.\n\nThe attached plan carries STAGING MARKERS drawn over it: a\ncamera-position marker with a field-of-view wedge (where the camera\nstands, which way it looks and how wide it sees) and one labelled\ncircle per subject with an arrow (where each subject stands and which\nway that subject is turned). Jurisdiction of sources — follow all three, they do not\nconflict:\n- The SITE PLAN under the markers is the SOT for what exists on the\n site and how its zones and landmarks are arranged relative to each\n other. The markers themselves are staging aids, NOT site content.\n- The markers on the plan are the SOT for XY POSITIONS, horizontal\n heading and body facing ONLY: where each subject stands on that\n plan, which way each one is turned, where the camera stands, which\n way it looks and how wide its wedge opens. Distances, directions\n and relative depths between subjects come from the marked\n positions; what the wedge covers is what this frame contains, and\n subjects outside the wedge are out of frame. The STAGING GEOMETRY\n text below restates the same staging with coarse normalized\n estimates — it never overrides the marked plan.\n- The CAMERA DIRECTION text below (when present) is the SOT for the\n VERTICAL angle, elevation, tilt and framing (eye-level, high angle,\n overhead crane, low angle, ...). If it asks for a high or overhead\n angle, draw that angle — the site plan being top-down does NOT mean\n the frame must be eye-level. It does NOT govern horizontal\n placement: which side of the frame a subject occupies and which way\n that subject is turned come from the marked plan and the staging\n text, even when that memo also mentions left, right, foreground or\n background.\n\nSTYLE — MANNEQUIN BLOCKING SKETCH: thin uniform dark outlines on plain\npaper, nothing else. Draw every person as a PLAIN ARTIST'S MANNEQUIN:\na featureless oval head with NO face, NO hair, NO clothing and no\ncostume detail — simple tapered limbs and torso, like a wooden posing\nfigure. Because the head has no face and no hair, the ONLY thing that\nshows which way a figure is turned is the BODY ITSELF: the direction\nthe chest, hips and feet point, and the way the head-oval sits on the\nshoulders. Aim each mannequin's chest and feet at the spot the staging\ntext says that person faces, and let the arms carry the action. A\nmannequin turned to the wrong side is the single worst error in this\ndrawing. Environment is reduced to a few placement lines (ground line,\nkey landmark silhouettes) — just enough to read positions and depth.\n\nSTAGING GEOMETRY — PLANNING DATA ONLY, NEVER RENDER IT: the lines\nbelow restate, marker by marker, the staging already marked on the\nattached plan: each landmark-relative description restates the\nmarker-map authority in words, and the normalized fractions in\nparentheses (x left→right 0..1, y top→bottom 0..1) are coarse audit\nestimates only — neither ever overrides the marked plan.\n\nThose fractions are TOP-DOWN bookkeeping. Never read them as left and\nright of your frame: on a plan seen from above, a subject \"to the\nright\" can sit on either side of a camera that looks any direction.\nEach subject line therefore ends with the SAME staging expressed from\nTHIS camera — which part of the frame the subject occupies, and which\nway that subject faces in screen terms (toward the left or right of\nthe frame, toward or away from the camera or side-on to it in\nprofile, and whom they are looking at). Those screen-space statements\nare what your drawing must match:\na figure said to face the right of the frame is turned to the right in\nyour drawing, never mirrored.\n\nDo NOT draw any of this data in the image — no numbers, no\ncoordinates, no labels, no arrows, no cones, no dots, no diagram\nsymbols of any kind.\n\nWhere the CAMERA DIRECTION text below also describes horizontal\nplacement (which side of the frame someone occupies, foreground left,\nbackground right), treat that as background reading only: for anything\nabout left, right and where a subject sits in this frame, the staging\nabove wins. CAMERA DIRECTION governs the vertical angle, elevation,\ntilt and framing.\n\nFor whether a subject faces the camera or is turned away from it, each\nsubject line above already states it in screen terms and the SHOT TEXT\nis the source it was derived from — draw exactly what the subject line\nsays, and never mirror it.\n- the camera stands In the landside harbor access area just left of the main dock entrance. (coarse estimate x=0.24, y=0.52); its sight line ends at LOOK TARGET: On the main harbor dock just below its upper boat-facing berthing edge. (coarse estimate x=0.68, y=0.40); the frame's LEFT edge cuts through In the harbor water beyond the upper boat-facing berthing edge. (coarse estimate x=0.50, y=0.20) and its RIGHT edge through On the outer half of the main harbor dock below its centerline. (coarse estimate x=0.77, y=0.54) — everything between those two edges is in frame, anything outside them is out of frame\n- older fisherman with one arm raised overhead stands On the main harbor dock just below its upper boat-facing berthing edge. (coarse estimate x=0.68, y=0.40), facing At the inland entrance of the main harbor dock beside the landing sign. (coarse estimate x=0.30, y=0.47) — from this camera the subject is near the CENTER of the frame and faces toward the camera, so the camera sees this subject from the front; this subject is turned toward the casually dressed man watching the fisherman\n- casually dressed man watching the fisherman stands At the inland entrance of the main harbor dock beside the landing sign. (coarse estimate x=0.30, y=0.47), facing On the main harbor dock just below its upper boat-facing berthing edge. (coarse estimate x=0.68, y=0.40) — from this camera the subject is in the LEFT part of the frame and faces away from the camera, into the depth of the shot, so the camera sees this subject from behind; this subject is turned toward the older fisherman with one arm raised overhead\n\nCAMERA DIRECTION (vertical angle / elevation / framing SOT): Let the flow's pan settle at eye level near 구창모's group, using a sliver of 구창모's shoulder at the left foreground to motivate the long view across the dock. 황봉업 appears full-length in the middle-right before the fishing boat, one arm raised overhead and his body turned toward 구창모, with surrounding dock space preserving the intended distance.\n\nTHE LOCATION: 육지 해안 마을 선착장\n\nSHOT TEXT (authoritative, Korean): 낚시 어선 앞에 서서 구창모를 향해 한 손을 머리 위로 번쩍 들어 올린 채 서 있는 황봉업의 전신.\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": "e767ade4-f2f4-4ceb-baa6-3e0d131436a4" }, "S101sh1": { "lane": "structure_plate", "group_id": "bg_fishing_boat", "segment_id": "SEG_02", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/seed_bg_fishing_boat_sel.png", "seed_asset_id": "e6f2c697-eafa-4ffc-b339-d0a0588aecb4", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L16B02.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/conti_S101sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L16B02.png" }, "S104sh4": { "lane": "map_marker", "group_id": "bg_restaurant_compound", "segment_id": "SEG_03", "status": "failed", "error": "litellm.RateLimitError: RateLimitError: OpenAIException - You exceeded your current quota, please check your plan and billing details. For more information on this error, read the docs: https://platform.openai.com/docs/guides/error-codes/api-errors.. Received Model Group=gpt\nAvailable Model Group Fallbacks=None LiteLLM Retried: 3 times, LiteLLM Max Retries: 3" }, "S105sh1": { "lane": "map_marker", "group_id": "bg_forest_ritual_clearing", "segment_id": "SEG_02", "status": "ok", "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/lane_sketch_S105sh1.png", "base_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/canon_bg_forest_ritual_clearing_map.png", "base_map_asset_id": "0f09cd10-dd0d-4576-bd47-1f3398c61d22", "marker_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/18f15068-4349-4818-82a9-3b9b173110e0/conti/lane_marker_map_S105sh1.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 Over the southern outer edge of the open clearing ground near the surrounding forest edge. (coarse estimate x=0.50, y=0.76); its sight line ends at LOOK TARGET: At the center of the open clearing ground. (coarse estimate x=0.50, y=0.54); the frame's LEFT edge cuts through At the western forest edge beside the open clearing ground. (coarse estimate x=0.19, y=0.44) and its RIGHT edge through At the eastern forest edge beside the open clearing ground. (coarse estimate x=0.81, y=0.44)\n- E1 (black-clad devotee arc): circle On the northern arc of the open clearing ground below the rock-and-altar forecourt. (coarse estimate x=0.50, y=0.42), facing At the center of the open clearing ground. (coarse estimate x=0.50, y=0.54)\n- E2 (black-clad devotee arc): circle On the northeastern arc of the open clearing ground. (coarse estimate x=0.64, y=0.48), facing At the center of the open clearing ground. (coarse estimate x=0.50, y=0.54)\n- E3 (black-clad devotee arc): circle On the southeastern arc of the open clearing ground. (coarse estimate x=0.64, y=0.60), facing At the center of the open clearing ground. (coarse estimate x=0.50, y=0.54)\n- E4 (black-clad devotee arc): circle On the southern arc of the open clearing ground inside the surrounding forest edge. (coarse estimate x=0.50, y=0.66), facing At the center of the open clearing ground. (coarse estimate x=0.50, y=0.54)\n- E5 (black-clad devotee arc): circle On the southwestern arc of the open clearing ground. (coarse estimate x=0.36, y=0.60), facing At the center of the open clearing ground. (coarse estimate x=0.50, y=0.54)\n- E6 (black-clad devotee arc): circle On the northwestern arc of the open clearing ground. (coarse estimate x=0.36, y=0.48), facing At the center of the open clearing ground. (coarse estimate x=0.50, y=0.54)", "marker_attempts": 1, "geometry": { "camera": { "look_target": { "x": 0.5, "y": 0.54 }, "look_target_anchor_en": "At the center of the open clearing ground.", "origin": { "x": 0.5, "y": 0.76 }, "origin_anchor_en": "Over the southern outer edge of the open clearing ground near the surrounding forest edge.", "view_left": { "x": 0.19, "y": 0.44 }, "view_left_anchor_en": "At the western forest edge beside the open clearing ground.", "view_right": { "x": 0.81, "y": 0.44 }, "view_right_anchor_en": "At the eastern forest edge beside the open clearing ground." }, "entity_placements": [ { "anchor_en": "On the northern arc of the open clearing ground below the rock-and-altar forecourt.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.5, "y": 0.54 }, "facing_anchor_en": "At the center of the open clearing ground.", "slot": "E1", "subject_en": "black-clad devotee arc", "x": 0.5, "y": 0.42 }, { "anchor_en": "On the northeastern arc of the open clearing ground.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.5, "y": 0.54 }, "facing_anchor_en": "At the center of the open clearing ground.", "slot": "E2", "subject_en": "black-clad devotee arc", "x": 0.64, "y": 0.48 }, { "anchor_en": "On the southeastern arc of the open clearing ground.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.5, "y": 0.54 }, "facing_anchor_en": "At the center of the open clearing ground.", "slot": "E3", "subject_en": "black-clad devotee arc", "x": 0.64, "y": 0.6 }, { "anchor_en": "On the southern arc of the open clearing ground inside the surrounding forest edge.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.5, "y": 0.54 }, "facing_anchor_en": "At the center of the open clearing ground.", "slot": "E4", "subject_en": "black-clad devotee arc", "x": 0.5, "y": 0.66 }, { "anchor_en": "On the southwestern arc of the open clearing ground.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.5, "y": 0.54 }, "facing_anchor_en": "At the center of the open clearing ground.", "slot": "E5", "subject_en": "black-clad devotee arc", "x": 0.36, "y": 0.6 }, { "anchor_en": "On the northwestern arc of the open clearing ground.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.5, "y": 0.54 }, "facing_anchor_en": "At the center of the open clearing ground.", "slot": "E6", "subject_en": "black-clad devotee arc", "x": 0.36, "y": 0.48 } ], "rationale_ko": "신도 수십 명을 여섯 개의 군중 호로 나누어 공터 중앙을 완전히 둘러싸는 원형 대형으로 배치했다. 모든 호는 중앙 모닥불 위치를 향하며, 카메라는 남쪽 대형 바깥의 높은 크레인 위치에서 넓은 하향 시야로 전체 원과 주변 의식 공간을 담는다." }, "leakage": { "has_marker_leakage": false, "details_ko": "마커나 다이어그램 기호가 없는 정상적인 스케치입니다." }, "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 Over the southern outer edge of the open clearing ground near the surrounding forest edge. (coarse estimate x=0.50, y=0.76); its sight line ends at LOOK TARGET: At the center of the open clearing ground. (coarse estimate x=0.50, y=0.54); the frame's LEFT edge cuts through At the western forest edge beside the open clearing ground. (coarse estimate x=0.19, y=0.44) and its RIGHT edge through At the eastern forest edge beside the open clearing ground. (coarse estimate x=0.81, y=0.44) — everything between those two edges is in frame, anything outside them is out of frame\n- black-clad devotee arc stands On the northern arc of the open clearing ground below the rock-and-altar forecourt. (coarse estimate x=0.50, y=0.42), facing At the center of the open clearing ground. (coarse estimate x=0.50, y=0.54) — from this camera the subject is near the CENTER of the frame and faces toward the camera, so the camera sees this subject from the front\n- black-clad devotee arc stands On the northeastern arc of the open clearing ground. (coarse estimate x=0.64, y=0.48), facing At the center of the open clearing ground. (coarse estimate x=0.50, y=0.54) — from this camera the subject is in the RIGHT part of the frame and faces toward the LEFT of the frame and toward the camera, so the camera sees this subject from the front\n- black-clad devotee arc stands On the southeastern arc of the open clearing ground. (coarse estimate x=0.64, y=0.60), facing At the center of the open clearing ground. (coarse estimate x=0.50, y=0.54) — from this camera the subject is in the RIGHT part of the frame and faces toward the LEFT of the frame and away from the camera, into the depth of the shot, so the camera sees this subject from behind\n- black-clad devotee arc stands On the southern arc of the open clearing ground inside the surrounding forest edge. (coarse estimate x=0.50, y=0.66), facing At the center of the open clearing ground. (coarse estimate x=0.50, y=0.54) — from this camera the subject is near the CENTER of the frame and faces away from the camera, into the depth of the shot, so the camera sees this subject from behind\n- black-clad devotee arc stands On the southwestern arc of the open clearing ground. (coarse estimate x=0.36, y=0.60), facing At the center of the open clearing ground. (coarse estimate x=0.50, y=0.54) — from this camera the subject is in the LEFT part of the frame and faces toward the RIGHT of the frame and away from the camera, into the depth of the shot, so the camera sees this subject from behind\n- black-clad devotee arc stands On the northwestern arc of the open clearing ground. (coarse estimate x=0.36, y=0.48), facing At the center of the open clearing ground. (coarse estimate x=0.50, y=0.54) — from this camera the subject is in the LEFT part of the frame and faces toward the RIGHT of the frame and toward the camera, so the camera sees this subject from the front\n\nCAMERA DIRECTION (vertical angle / elevation / framing SOT): Crane high above the outer edge of the gathering and angle steeply downward, revealing the complete circular formation of Korean black-clad devotees around the large bonfire. The fire occupies less than the central third while the human ring and surrounding ritual ground spread across the wider frame, emphasizing collective scale and isolation.\n\nTHE LOCATION: 숲속 만월제 도당\n\nSHOT TEXT (authoritative, Korean): 숲속 도당, 활활 치솟는 커다란 모닥불 주변을 둥글게 둘러싼 수십 명의 한국인 검은 옷 신도들의 압도적인 전경.\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": "0c31ccc2-93aa-4315-83c2-a09908ef7409" }, "S106sh2": { "lane": "structure_plate", "group_id": "bg_restaurant_compound", "segment_id": "SEG_08", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/seed_bg_restaurant_compound_sel.png", "seed_asset_id": "69cb1065-4089-4f87-94f0-4059c3fec052", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/episodes/18f15068-4349-4818-82a9-3b9b173110e0/images/background_chain/L23B03.png", "bg_reason": "", "bypass_reason": "prev" }, "S109sh1": { "lane": "structure_plate", "group_id": "bg_forest_goat_pen", "segment_id": "SEG_02", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/seed_bg_forest_goat_pen_sel.png", "seed_asset_id": "9cda3932-718d-4f69-a546-2097e82ce490", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/seed_bg_forest_goat_pen_sel.png", "bg_reason": "", "bypass_reason": "bg_only" }, "S110sh22": { "lane": "structure_plate", "group_id": "bg_forest_ritual_clearing", "segment_id": "SEG_01", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/seed_bg_forest_ritual_clearing_sel.png", "seed_asset_id": "68c88d61-f5d8-4e78-8c60-d1e42e155653", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/seed_bg_forest_ritual_clearing_sel.png", "bg_reason": "", "bypass_reason": "prev" }, "S110sh27": { "lane": "structure_plate", "group_id": "bg_forest_ritual_clearing", "segment_id": "SEG_01", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/seed_bg_forest_ritual_clearing_sel.png", "seed_asset_id": "68c88d61-f5d8-4e78-8c60-d1e42e155653", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/475e5694-7c25-4f3f-8dec-910412a1761d/images/background_chain/seed_bg_forest_ritual_clearing_sel.png", "bg_reason": "", "bypass_reason": "prev" } } }, "step_id": "shot_conti_light", "run_id": "32a4ba2c-8901-4cc4-9874-c0d954945f92", "resolved_model": "gpt-image-2", "updated_at": "2026-07-29T14:26:15.591265+00:00", "project_config_snapshot": {} }