{ "status": "completed", "applicable_count": 58, "completed_count": 58, "failed_count": 0, "schema_version": 3, "config_hash": "b9c71c81b67c097c", "data": { "contis": { "S1sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S1sh3.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: On the passenger deck of a spinning amusement-park ride in the open air.\n\nSHOT TEXT (authoritative, Korean): 즐겁게 웃고 있는 김선영의 해맑은 얼굴 클로즈업, 화면 하단에 '2001년'이라는 자막이 오버랩된 상태\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 face height beside the moving ride, the camera holds a tight three-quarter close-up as 김선영 tips her head back in unguarded laughter, her face occupying most of the upper frame. The parallel tracking move settles while the lower portion remains clear for the screen-facing ‘2001년’ title.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: amusement ride structure (shaking in motion) — Only an oblique portion beside and behind 김선영 is visible to camera; used as Soft peripheral context behind the close-up, retaining a sense of the moving attraction without competing with the face; ‘2001년’ title overlay (displayed) — The screen-facing graphic reads ‘2001년’ across the lower frame; used as Lower-frame temporal marker kept legible beneath the 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:김선영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/2b6bf384-b500-4ec4-b66d-7582289e7da8.png" ] ], "asset_id": "5a818fca-9c16-4015-bbc4-bded64fe2892" }, "S2sh8": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S2sh8.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L02B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the restaurant dining area, beside the tables just outside the kitchen.\n\nSHOT TEXT (authoritative, Korean): 지폐를 손에 쥔 채 혀를 살짝 내밀고 심옥을 향해 미소를 띤 김선영의 표정\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 below 김선영’s eye line and over 심옥’s near shoulder, frame a tight three-quarter close-up with 김선영’s playful face in the upper center and the banknotes retained along the lower edge. 김선영 leans toward 심옥, briefly extends her tongue, and keeps her eyes fixed on her mother while the static camera lets the teasing gesture land.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 1,000-won banknotes (held in 김선영's hand) — The visible faces of the notes are angled upward enough to read as 1,000-won bills; used as Small but readable action detail at the lower edge of the close-up; restaurant tables (remaining in the dining area) — Their edges recede obliquely behind 김선영; used as Soft contextual depth behind the exchange.\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/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L02B01.png" ], [ "char:김선영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/2b6bf384-b500-4ec4-b66d-7582289e7da8.png" ] ], "asset_id": "4079326f-2973-4ea8-94ff-1c2b281365d7" }, "S2sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S3sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S3sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L04B04.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 shared bedroom, beside the sleeping sibling and the house telephone.\n\nSHOT TEXT (authoritative, Korean): 민정을 향해 힐끗 시선을 둔 채 수화기 너머로 속삭이듯 고개를 꺾고 있는 김선영\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 mattress height beside 김선영, the settling pan forms a close three-quarter composition with her and the telephone receiver in the foreground while 민정 lies deeper along the same sightline. 김선영 tips her head into the receiver and glances sideways at 민정, whose closed eyes and turned body remain softly legible behind her.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 김선영 in the middle-left of the frame, foreground, looks toward sleeping 민정; 민정 (2001년) in the middle-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: telephone receiver (in use) — Its inner side follows the diagonal between 김선영's ear and mouth; used as Held close to 김선영's mouth as the physical reason for her lowered voice; mattress and bedding (occupied by 민정); used as Low horizontal plane linking the foreground caller and sleeping child in depth.\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/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L04B04.png" ], [ "char:김선영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/2b6bf384-b500-4ec4-b66d-7582289e7da8.png" ] ], "asset_id": "aff59159-6636-4f38-8282-db3401f4ffbe" }, "S3sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S3sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S4sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S4sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L04B03.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 bedroom doorway opening onto the home's sunlit main floor, facing toward the kitchen.\n\nSHOT TEXT (authoritative, Korean): 열린 방문 앞에 서서 부엌 쪽을 향해 목을 빼고 입을 크게 벌린 민정\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 outside the open bedroom, dolly toward 민정 from her rear three-quarter side and frame slightly upward, leaving meaningful negative space toward the kitchen. She cranes her neck into that space with her mouth open mid-call, attention directed toward her mother in the kitchen rather than toward the lens.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 민정 (2001년) in the middle-left of the frame, midground, looks toward kitchen; kitchen-side negative space in the middle-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: open bedroom doorway (open) — The doorway is seen from outside at an oblique angle, with 민정 leaning across its edge; used as Frames 민정's body and establishes the room she has just emerged from; kitchen area (located beyond the doorway sightline); used as Destination of 민정's call and the open negative space ahead of her gaze.\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/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L04B03.png" ], [ "char:민정 (2001년)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/8f0f4634-e1aa-4f5e-8349-684393573873.png" ] ], "asset_id": "0f2a45e8-6c92-404e-b194-f82da0ab1c65" }, "S5sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S6sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S6sh4.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 dining table inside the shabby soup restaurant, facing the wall-mounted television.\n\nSHOT TEXT (authoritative, Korean): TV 화면을 응시하며 미간에 깊은 주름이 패인 전택수의 얼굴 클로즈업\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At the closest point of a slow push, frame 전택수 from slightly above his eye line on his front three-quarter side, placing his face off-center and preserving viewing space toward the television. His brow tightens into a deep crease as he remains absorbed in the news playing just beyond the frame.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 전택수 in the middle-right of the frame, foreground, looks toward wall-mounted television.\n- KEY BACKGROUND ELEMENTS: dining table edge (supporting the unfinished meal); used as Soft lower-edge context connecting his reaction to the interrupted meal.\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:전택수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/453fbc9f-56ab-4724-80f8-0022971a2516.png" ] ], "asset_id": "26303edb-a0aa-47af-bf12-00d848ea8288" }, "S6sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S7sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S7sh6": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S7sh6.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L10B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the car's driver compartment, facing the windshield with the ignition and dashboard close at hand.\n\nSHOT TEXT (authoritative, Korean): 굳은 결의가 담긴 눈빛으로 정면 앞유리를 바라보며 시동 키를 쥐고 돌리는 자세의 전택수\n\nCARRIED STATE (persist exactly): The old wallet containing the girl's black-and-white photograph has been closed and remains with Taeksu as he starts the car.\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 dashboard height on the passenger side, settle from the track into a medium three-quarter view diagonally across 전택수's hand at the ignition toward his face. The turned key remains a modest near-foreground detail at lower right while his upper body occupies the midground, his eyes fixed through the windshield rather than toward the lens.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: ignition key (Turned to start the car) — The inserted key projects from the ignition toward 전택수's turning hand; used as Near-foreground action detail connecting his hand to the decision to depart; dashboard (No additional state specified) — Its passenger-side span recedes diagonally toward the driver's position; used as Supplies spatial context between the foreground hand and 전택수's face; windshield (No additional state specified) — The windshield lies beyond his face and shows the exterior ahead; used as Provides the distant direction of 전택수's resolved gaze.\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/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L10B01.png" ], [ "char:전택수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/453fbc9f-56ab-4724-80f8-0022971a2516.png" ] ], "asset_id": "22d556a5-e99b-48da-b1a9-7dbc3fb70d4c" }, "S8sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S9sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S9sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L12B01.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: In the forecourt directly outside the police station, beside the parked vehicle and facing the building facade.\n\nSHOT TEXT (authoritative, Korean): 고개를 들어 올린 채 차 밖에 서 있는 전택수의 어깨 너머로 보이는, 오래된 외관의 나주 경찰서 건물 전경\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: Crane to shoulder height behind and slightly beside 전택수, ending in a wide over-the-shoulder composition that places his raised shoulder and back along one lower edge. The modest police station exterior spreads across the background as he lifts his chin and studies the building, which remains the clear visual focus beyond him.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 전택수 in the lower-left of the frame, foreground, looks toward police station building; police station building in the middle-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: Naju Police Station building (Shown in full exterior view) — Its modest exterior frontage faces the camera across the forecourt; used as Principal reveal beyond 전택수's shoulder, establishing his destination.\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/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L12B01.png" ], [ "char:전택수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/453fbc9f-56ab-4724-80f8-0022971a2516.png" ] ], "asset_id": "6a5e6ca4-7dfe-428c-8bc9-dafd6e5e7054" }, "S10sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S10sh4.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/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: In the police-station corridor directly outside the violent-crimes office doorway.\n\nSHOT TEXT (authoritative, Korean): 사무실 안에서 다른 형사가 문을 반쯤 열고 선 배경 앞, 중년 여성이 서의용의 가슴팍을 두 손으로 세게 밀치는 mid-impact 순간\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 beside the office doorway, a brief handheld tightening catches the exact impact from an oblique three-quarter axis rather than between the opponents. The 50대 중년 여성 drives both palms into 서의용's chest at center-left as his weight breaks backward to the right, while 다른 형사 braces the half-open door in the background and watches the struggle.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: violent-crimes office door (Half open) — The door is seen obliquely from the hallway, with its opening exposing part of the office beyond; used as Frames the background detective and preserves the woman's route back into the office; police station hallway (No additional state specified); used as Provides the lateral space into which 서의용 begins to lose balance.\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/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L13B02.png" ], [ "char:서의용", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/0f32f16a-966a-48e5-9994-dedeb1a0999d.png" ] ], "asset_id": "3d3f6d63-5314-4070-b731-fbc39951971f" }, "S10sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S10sh13": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S11sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S11sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/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: In the outdoor staff rest area in front of the police station, beside its seating.\n\nSHOT TEXT (authoritative, Korean): 휴게 공간 의자에 앉아 입에 담배를 문 채 앞을 주시하는 서의용의 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: At seated chest height and slightly below 서의용's eye line, hold a medium-close static view from roughly thirty degrees off his front. His upper body occupies one side of the frame as he settles back in the chair with the cigarette held in his mouth, eyes fixed ahead; the near shoulder is left available for the following lateral reveal.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: rest-area chair (Occupied by 서의용) — The chair is seen obliquely beneath and behind his torso; used as Supports 서의용's seated posture while preserving the open space behind his shoulder; cigarette (Being smoked) — It projects outward from one side of 서의용's mouth; used as Small facial action detail held clearly against his mouth.\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/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L14B01.png" ], [ "char:서의용", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/0f32f16a-966a-48e5-9994-dedeb1a0999d.png" ] ], "asset_id": "d6924610-b609-4f79-80ab-ca8c8a6cb904" }, "S12sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S12sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L15B01.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 front of the police-station assembly hall, beside the podium and facing the seated staff under indoor lighting.\n\nSHOT TEXT (authoritative, Korean): 굳은 표정으로 서의용을 곧게 응시하며 입을 벌린 전택수의 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: At chest height near the front side of the room, hold a medium-close, slightly low three-quarter view that isolates 전택수's upper body without flattening him into a frontal portrait. His weight is set toward the rear row, mouth open mid-challenge and eyes locked on 서의용 beyond the frame, with only restrained meeting-room context remaining at the edges.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 전택수 in the middle-center of the frame, midground, looks toward 서의용 in the rear row.\n- KEY BACKGROUND ELEMENTS: front area of the meeting room (No additional state specified); used as Retains minimal institutional context behind the isolated speaker; platform area (전택수 is positioned before it) — Its front-side edge recedes behind 전택수; used as Marks 전택수's speaking position without overtaking the 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/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L15B01.png" ], [ "char:전택수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/453fbc9f-56ab-4724-80f8-0022971a2516.png" ] ], "asset_id": "6f0fa98e-0c22-41fc-b9e4-e012e92982fb" }, "S12sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S13sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S13sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L16B02.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 the team leader's desk in the busy violent-crimes office.\n\nSHOT TEXT (authoritative, Korean): 강주철이 든 핸드폰 화면을 들여다보며 눈을 동그랗게 뜬 서의용의 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 close beside 강주철 at seated shoulder height, the camera completes its inward move on 서의용 in a tight three-quarter view, with 강주철's shoulder softened at the near edge. 서의용's widened eyes occupy the upper center as he leans toward the mobile phone held just beneath his eyeline, its screen retained along the lower edge of the frame.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 강주철의 핸드폰 화면 (Held out with a photograph displayed) — The active screen face tilts upward toward 서의용 and is seen obliquely along the lower frame edge, carrying the photograph he is studying; used as The visible screen anchors 서의용's lowered eyeline without obscuring his reaction; 강주철의 책상 (In use within the busy office) — Its near edge runs diagonally behind the phone and toward 서의용; used as Provides a restrained spatial boundary behind the close reaction.\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/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L16B02.png" ], [ "char:서의용", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/0f32f16a-966a-48e5-9994-dedeb1a0999d.png" ] ], "asset_id": "ce7e9797-38b2-449b-a5d8-3b5f01646ba7" }, "S13sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S14sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S14sh4.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L17B01.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 sofa table inside the investigation chief's office, with the cold-case report laid out between the seats.\n\nSHOT TEXT (authoritative, Korean): 테이블 위의 드들강 사건 보고서 표지 위로 검지손가락을 얹은 전택수의 손\n\nCARRIED STATE (persist exactly): The Drdeul River case report remains laid out among the unsolved-case status documents under Taeksu's pointing hand.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Just above table height beside 전택수, a steep diagonal close view completes the dolly toward his hand and isolates the instant his index finger comes to rest on the case-report cover. The forearm enters from the upper edge while the report remains centered with a narrow band of tabletop around it for scale and context.\n- FRAMING SCALE: insert close-up on a detail\n- KEY BACKGROUND ELEMENTS: 드들강 사건 보고서 표지 (Resting among the unresolved-case reports on the table) — The front cover faces upward and is readable to camera, showing that it is the 드들강 case report; used as Primary evidence detail beneath 전택수's resting index finger; 테이블 상판 (Supporting the case documents); used as Supplies a narrow contextual border around the report and supports the 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/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L17B01.png" ], [ "char:전택수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/453fbc9f-56ab-4724-80f8-0022971a2516.png" ] ], "asset_id": "66cc917f-fa45-43c0-88aa-8abcb32c8311" }, "S14sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S15sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S15sh4.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L18B01.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: Between the document shelves inside the police records room.\n\nSHOT TEXT (authoritative, Korean): 강주철의 손에 들린 낡은 종이 상자 안, 빽빽하게 들어찬 서류 뭉치들의 모습\n\nCARRIED STATE (persist exactly): The old document box remains open in Jucheol's hands and densely packed with case reports.\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 above and slightly forward of 강주철's hands, the final inward move settles into a steep top-down insert of the open box, with his hands bracing opposite edges. The tightly packed report bundles occupy the center while a narrow portion of the archive aisle and shelving remains visible around the box as scale reference.\n- FRAMING SCALE: insert close-up on a detail\n- KEY BACKGROUND ELEMENTS: 낡은 종이 서류 상자 (Open and filled with reports) — The open top faces upward toward the camera, with 강주철's hands holding opposite sides; used as Primary reveal containing the recovered case records; 서류 뭉치들 (Tightly packed inside the box) — The document edges and partially visible cover faces point upward inside the box; no single report face is isolated for reading; used as Creates dense internal lines and shows the volume of archived material; 자료실 책장 (Holding archived case records) — Shelf fronts run along the outer sides of the frame around the box; used as Provides contextual edges around the overhead insert.\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/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L18B01.png" ], [ "char:강주철", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/de7c48a9-a640-48af-939a-5a6819aa297a.png" ] ], "asset_id": "56c4be71-abbe-4eab-a977-33be300df45a" }, "S15sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S16sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S16sh3.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: Inside the compact car at the driver's seat, beside the lowered window on the deserted alley.\n\nSHOT TEXT (authoritative, Korean): 열린 차창 밖으로 손을 들어 올린 채 미소 짓는 지국현의 얼굴\n\nCARRIED STATE (persist exactly): Seonyeong is still wearing the purple padded jacket established when she left home as she approaches Ji Gukhyeon's car.\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 김선영's rear three-quarter shoulder height just outside the passenger side, the camera advances obliquely through the open window toward 지국현 across the cabin. 지국현's smiling face sits in the middle-right with his raised hand gesturing toward 김선영, while her purple padded shoulder and hesitant posture remain at the near left edge as the physical recipient of the invitation.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 김선영 in the middle-left of the frame, foreground, looks toward 지국현 inside the car; 지국현 (과거) in the middle-right of the frame, midground, reaches for 김선영 outside the passenger window.\n- KEY BACKGROUND ELEMENTS: 열린 조수석 차창 (Open) — The passenger-side opening faces the camera, allowing an unobstructed oblique view across the cabin; used as The open window provides the through-opening frame around 지국현; 빨간 마티즈 (Moving slowly through the empty alley) — Its passenger side faces the camera, with the driver positioned across the cabin; used as Establishes the vehicle and gives a physical border to the window exchange; 김선영의 보라색 패딩 (Worn by 김선영) — The rear shoulder and side of the jacket face camera at the left edge; used as Places 김선영 as the hesitant foreground recipient without making her frontal.\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:지국현 (과거)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/c67a26f5-5e5f-4d27-816a-14a7092a1294.png" ] ], "asset_id": "2d75a1f4-5837-41bd-a5c5-f241954a9a01" }, "S16sh9": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S16sh9.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: Inside the stopped car at the front passenger seat on the riverside road, enclosed by the adjacent seat, dashboard, window, and controls.\n\nSHOT TEXT (authoritative, Korean): 멈춰 선 차 안, 동공이 크게 확장된 채 숨을 죽이고 굳어버린 김선영의 창백한 얼굴\n\nCARRIED STATE (persist exactly): Seonyeong remains in the purple padded jacket inside the stopped car; no clothing change has yet occurred.\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 the center console and slightly above 김선영's eyeline, the inward move ends in a tight three-quarter facial frame, isolating her against only narrow fragments of the passenger seat and side window. Her shoulders lock into the seat, her pupils are widened, and her arrested breath reads in the stillness of her mouth as she stares away from the camera toward what she has realized.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 김선영 in the middle-center of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: 조수석과 차내 (The car has stopped) — The passenger seat surrounds her shoulders while the center-console side remains closest to camera; used as A narrow contextual border that confirms 김선영 remains inside the stopped car; 조수석 옆 차창 (Beside the stopped car at the riverside road) — The window borders the far side of her face, with the late-night riverside beyond kept indistinct; used as Provides a restrained outer edge without competing with her frozen expression.\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:김선영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/2b6bf384-b500-4ec4-b66d-7582289e7da8.png" ] ], "asset_id": "bf7a1980-b110-41d6-aabe-0c99f3045e28" }, "S17sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S18sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S18sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S19sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S19sh2.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: Inside the moving van's driver compartment, framed by the rearview mirror, front seat, dashboard, and windshield.\n\nSHOT TEXT (authoritative, Korean): 운전석 룸미러를 통해 뒷좌석의 전택수를 곁눈질로 바라보는 서의용의 눈빛 클로즈업\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Continue the dolly inward from just behind the passenger side of the driver's seat until the rearview mirror and 서의용's reflected eyes form a close composition, viewed obliquely rather than on his frontal axis. His eyes occupy the upper central area as they cut toward 전택수 in the rear seat, while 전택수 remains a soft profile near the side window behind the mirror line, absorbed in the passing view.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 서의용 reflected eyes in the upper-center of the frame, foreground, looks toward 전택수 in the rear seat; 전택수 in the middle-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: 룸미러 (positioned above the front seats) — The mirror reflects 서의용's eyes and aligns their glance toward the rear-seat area; used as Primary reflective frame isolating 서의용's sideways glance; 뒷좌석 옆 차창 (rural scenery passing beyond it) — The rural scenery is visible beyond 전택수's profile; used as Keeps 전택수 connected to the rural landscape he is watching; 운전석과 조수석 (occupied driving interior) — Their rear and side edges face the camera and narrow the view toward the mirror; used as Creates the close interior obstruction around the mirror composition.\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:서의용", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/0f32f16a-966a-48e5-9994-dedeb1a0999d.png" ] ], "asset_id": "32ab6fb1-6131-410f-bd6d-f65737449bf6" }, "S20sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S20sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S21sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S21sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S22sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S22sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S23sh9": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S23sh9.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 corner table inside a shabby fish restaurant in the market district.\n\nSHOT TEXT (authoritative, Korean): 테이블을 사이에 두고 서로의 눈을 가만히 마주 보는 전택수와 서의용의 팽팽한 시선 교환\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 dolly at seated eye height beside the corner table, close to the gaze line but offset so 전택수 and 서의용 remain visible in opposing three-quarter angles across the table. Place 전택수 in the left foreground and 서의용 in the right midground, both momentarily still and absorbed in each other's eyes while the table edge holds the tension between them.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 전택수 in the middle-left of the frame, foreground, looks toward 서의용 across the table; 서의용 in the middle-right of the frame, midground, looks toward 전택수 across the table; corner table separating them in the lower-center of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: 구석 테이블 (occupied by the group) — Its near edge crosses the lower frame and recedes between 전택수 and 서의용; used as Physically separates the two men and carries their glasses at the bottom of the composition; 소주잔들 (held or resting around the table) — Their open rims and side profiles are visible near the two seated men; used as Keeps the impending toast present without interrupting the sustained eye contact; 허름한 횟집 내부 (nighttime dining space around the corner table); used as Provides understated context for the private tension within the group gathering.\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:전택수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/453fbc9f-56ab-4724-80f8-0022971a2516.png" ], [ "char:서의용", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/0f32f16a-966a-48e5-9994-dedeb1a0999d.png" ] ], "asset_id": "373f35cf-edcf-4da1-97a4-1d48bd84655a" }, "S23sh11": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S24sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S24sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S25sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S25sh3.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: Inside the moving car at the front passenger seat, closely bordered by the driver's seat, dashboard, window, and controls.\n\nSHOT TEXT (authoritative, Korean): 서의용 쪽으로 고개를 돌린 채 서늘한 눈빛으로 입을 벌린 나상혁의 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: Dolly in from just forward of the gap between the front seats to a close view at 나상혁's face height, keeping him slightly right of center and isolating him from the driver. His torso remains seated forward but his head turns toward 서의용 off frame left, mouth opening on the cool reply, with a narrow strip of the seat gap preserving the cabin geography.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 나상혁 in the middle-center of the frame, midground.\n- KEY BACKGROUND ELEMENTS: 앞좌석 사이 공간 (Occupied by the two seated men) — The inner edges of the two front seats converge around 나상혁's close framing; used as The gap provides a restrained foreground frame around 나상혁 without introducing the driver; 조수석 (Occupied by 나상혁) — Its back and side align toward the front of the moving car, with 나상혁 seated against it; used as Places 나상혁 physically in the passenger position while allowing his head turn toward the driver.\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:나상혁", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/dadf27fa-ce44-4a30-bfc3-9004e70fa0dc.png" ] ], "asset_id": "d2873175-c44a-4b36-8667-ca32475be7d6" }, "S25sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S25sh4.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: Inside the moving car at the driver's seat, with the passenger, steering wheel, mirrors, and dashboard close around him.\n\nSHOT TEXT (authoritative, Korean): 나상혁의 대답에 눈을 크게 뜨고 입술이 살짝 벌어진 채 굳어버린 서의용의 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 lateral track settles near the passenger side at slightly below 서의용's face height, observing his right profile across the cabin at close range. 서의용 holds the driving posture but freezes with widened eyes and parted lips as his glance flicks toward 나상혁; the soft edge of 나상혁's turned shoulder stays in the near-left foreground.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 운전석 (Occupied by 서의용) — The seat faces the front of the car while 서의용's head turns briefly toward the passenger side; used as Keeps 서의용's driving position readable beneath his arrested reaction; 차량 앞좌석 공간 (Vehicle in motion) — The passenger side lies close to camera and the driver sits across the cabin; used as Creates the lateral depth separating the foreground passenger shoulder from the driver's 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, "no_plate": true, "ref_paths": [ [ "char:서의용", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/0f32f16a-966a-48e5-9994-dedeb1a0999d.png" ] ], "asset_id": "aea6bc3e-c538-47c0-af4e-fb6f39750ae3" }, "S26sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S26sh1.png", "plate_path": null, "prompt": "Draw 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 monitor workstation inside a medical-school research room resembling a hospital examination room.\n\nSHOT TEXT (authoritative, Korean): 모니터 화면 속 훼손된 부검 사진 위를 손가락으로 가리킨 채 입을 벌린 50대 한국인 남성 부검의의 상체\n\nCARRIED STATE (persist exactly): The autopsy photographs remain displayed on the monitor while the medical examiner points out and explains the injuries.\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 shoulder height on the monitor side, frame 전남대 부검의 in a medium three-quarter view on the right and the monitor on the left, both sharing the discussion plane. He leans toward the display with one arm raised, his finger indicating an indistinct area of the autopsy photograph while his attention follows downward to the detail he is explaining.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 전남대 부검의 in the middle-right of the frame, midground, points to monitor display; monitor display in the middle-left of the frame, midground.\n- KEY BACKGROUND ELEMENTS: 모니터 화면 (Displaying autopsy photographs) — The active display faces partly toward camera and shows multiple autopsy photographs without emphasizing graphic detail; used as Shares the frame with the speaker and serves as the precise anchor for his pointing gesture; 연구실 진찰 공간 (In use for the consultation) — The visible room plane recedes behind the monitor and the seated discussion area; used as Establishes the room as a research space with the clinical feel stated in the scene.\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": [], "asset_id": "ad98f13a-f3d2-492d-a963-fed2f0bd42fc" }, "S26sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S27sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S27sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S28sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S29sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S29sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L28B01.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 sofa table inside a forensic institute research office, with reports and case files spread across it.\n\nSHOT TEXT (authoritative, Korean): 테이블 위 펼쳐진 부검소견서와 사건기록들을 사이에 두고 마주 앉은 전택수와 조일남의 전경\n\nCARRIED STATE (persist exactly): The autopsy report and case records remain spread across the table between Taeksu and Jo Ilnam.\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 one short end of the sofa table, hold a slightly elevated wide diagonal view that places 전택수 on the near-left side and 조일남 across at the far-right, both seated and facing each other. The autopsy report and case records form a central band between them, leading the eye along the table toward their measured exchange and leaving a clear route for the following dolly toward 전택수.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 전택수 in the middle-left of the frame, midground; 조일남 in the middle-right of the frame, midground; sofa table with autopsy report and case records in the lower-center of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: 소파 테이블 (Covered with the autopsy report and case records) — Its short end faces the camera and its long axis recedes diagonally between 전택수 and 조일남; used as Creates the central procedural barrier and visual connection between the two men; 부검소견서 (Spread open on the table) — Its text-bearing face lies upward toward both men and remains visible at an oblique angle to camera; used as Provides the evidentiary focus at the center of the conversation; 사건기록들 (Spread across the table) — Their covers and pages face upward in a loose spread between the two seated men; used as Extends the procedural context across the middle of the table; 마주 놓인 소파 좌석 (Occupied by 전택수 and 조일남) — The seats face one another across the table on opposing sides of the frame; used as Keeps both men grounded in the face-to-face consultation layout.\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/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L28B01.png" ], [ "char:전택수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/453fbc9f-56ab-4724-80f8-0022971a2516.png" ], [ "char:조일남", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/54b55acb-ae43-4ce6-a2d0-87817e9ccaba.png" ] ], "asset_id": "867fb129-3a06-4fb7-ac20-95f9e810b085" }, "S29sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S30sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S30sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S31sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S31sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L30B01.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: In the main living area of the one-room apartment, illuminated by the switched-on television.\n\nSHOT TEXT (authoritative, Korean): TV 화면 불빛이 비치는 가운데 동공이 크게 확장된 채 딱딱하게 굳어버린 이미경의 얼굴 클로즈업\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At 이미경's face height on the television-facing side, the dolly-in ends in an extreme facial close-up from a three-quarter angle, keeping both enlarged pupils and the rigid set of her mouth legible. Her face occupies most of the frame as her shoulders lock in the interrupted turn toward the off-screen television; the sole emphasized change is the severe tightening of camera distance.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 이미경 in the middle-center of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: 원룸 실내 (밤의 실내); used as Remains only as a minimal soft boundary around the isolated face; 젖은 머리카락 (샤워 후 젖어 있음); used as Visible as damp strands along the edge of the facial close-up, carrying continuity from the shower.\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/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L30B01.png" ], [ "char:이미경", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/bcdd16db-41f4-4213-8a63-5f836208b5f6.png" ] ], "asset_id": "71deedeb-7041-46d1-9934-a24874a52a0b" }, "S32sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S32sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S33sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S33sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L32B01.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 meeting table inside the police chief's office, facing an open laptop.\n\nSHOT TEXT (authoritative, Korean): 노트북 모니터 화면에 시선을 고정한 나주경찰서장과 그 맞은편에 앉아 허공을 응시하는 전택수의 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 the open corner of the desk and slightly above seated eye level, a static diagonal wide frame looks across the laptop to both men on opposite sides. The 나주경찰서장 leans toward the screen on the left while 전택수 sits deeper on the right with his weight withdrawn and gaze displaced into empty space; the defining change from the prior flow position is the characters' opposed placement across the desk.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 나주경찰서장 in the middle-left of the frame, midground; 전택수 in the middle-right of the frame, midground.\n- KEY BACKGROUND ELEMENTS: 노트북 모니터 (방송 영상이 재생 중) — The active display face is angled primarily toward 나주경찰서장 and partially readable from the camera, showing the current-affairs footage; used as Creates the central visual bridge between the two seated men; 서장실 책상 (두 사람이 맞은편에 앉아 있음) — Its open corner faces the camera, with the top plane extending diagonally between both men; used as Divides the men spatially while guiding the subsequent diagonal camera 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/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L32B01.png" ], [ "char:전택수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/453fbc9f-56ab-4724-80f8-0022971a2516.png" ], [ "char:나주경찰서장", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/fc720874-5b3c-4c42-ba16-71bd5cbab33d.png" ] ], "asset_id": "efcb856f-f486-4313-91b4-7febe280149b" }, "S33sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S34sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S34sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L33B01.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 car at the driver's seat as it passes through the prosecution office's exterior main gate; the windshield, wheel, mirrors, and dashboard closely frame the driver.\n\nSHOT TEXT (authoritative, Korean): 밝은 대낮, 광주지방검찰청 정문을 반쯤 통과한 차량 앞유리 너머로 굳은 표정의 전택수가 운전대를 쥔 모습이 보이는 전경\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 main gate at chest height, the camera tracks backward along the car's front three-quarter axis, holding enough medium-long distance to show the vehicle halfway across the boundary. Through the windshield, 전택수 sits near center with both hands firm on the wheel and his gaze fixed along the car's path; the emphasized change is the vehicle's position advancing from outside to inside the gate.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 전택수 inside the entering car in the middle-center of the frame, midground, moves toward inside the prosecution compound; main gate boundary in the upper-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: 광주지방검찰청 정문 (차량이 반쯤 통과 중) — The gate sides flank the car while the passage opens inward behind the camera; used as Frames the vehicle at the exact threshold and makes the institutional crossing legible; 차량 앞유리 (전택수의 얼굴과 운전대가 보임) — The windshield faces the camera on a front three-quarter angle, with 전택수 visible beyond it; used as Acts as the transparent layer through which 전택수's expression and grip remain visible; 전택수의 차 (정문으로 진입 중) — Its front and one side face the retreating camera; used as Carries the forward movement through the gate while preserving realistic scale.\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/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L33B01.png" ], [ "char:전택수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/453fbc9f-56ab-4724-80f8-0022971a2516.png" ] ], "asset_id": "86cee38b-89da-4e95-bf67-5a7acf620533" }, "S35sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S35sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L34B01.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 the desk inside the prosecutor's private office.\n\nSHOT TEXT (authoritative, Korean): 책상을 사이에 두고 마주 선 채 서로의 오른손을 꽉 맞잡은 장원섭과 전택수의 측면 전경\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 open side of the desk and upper-torso height, a static medium-wide profile composition places 장원섭 on the left and 전택수 on the right, with their clasped right hands centered above the desk edge. Both men incline slightly into the formal greeting while looking at one another rather than the lens; the single emphasized axis is their matched placement across the desk.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 장원섭 in the middle-left of the frame, midground; 전택수 in the middle-right of the frame, midground; desk separating both men beneath the handshake in the lower-center of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: 원섭의 책상 (두 사람이 책상을 사이에 두고 마주함) — The open side faces the camera, and the top plane lies beneath their clasped hands; used as Separates the men institutionally while leaving the open side available for the handshake and later seating move; 맞잡은 오른손 (서로 꽉 맞잡고 악수 중); used as Forms the central action and visual bridge between the two profiles.\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/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L34B01.png" ], [ "char:전택수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/453fbc9f-56ab-4724-80f8-0022971a2516.png" ], [ "char:장원섭", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/feb708d6-e441-4b31-a7ac-2bcc66d39247.png" ] ], "asset_id": "e1a5a04b-d06a-4927-a3e3-45aecca3f70e" }, "S35sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S36sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S36sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L35B01.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 van's rear passenger compartment as it enters the prison grounds, enclosed by close seats, windows, and vehicle fittings.\n\nSHOT TEXT (authoritative, Korean): 승합차 뒷좌석에 앉아 반쯤 열린 차창 밖의 높은 교도소 건물을 묵묵히 올려다보는 전택수의 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: Tracking alongside the rear passenger window, the camera finishes slightly below 전택수's seated eye line in a close oblique three-quarter view through the half-open opening. His face occupies the lower-left half while his lifted gaze leads diagonally toward the high prison building held beyond the window in the upper-right background.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 전택수 in the middle-left of the frame, foreground, looks toward high prison building; high prison building in the upper-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: rear passenger window (half-open) — The glazing is lowered halfway, with 전택수 visible at the opening and the prison building beyond; used as The half-open opening frames 전택수 while preserving the visual route of his upward gaze; high prison building (standing beyond the van) — An elevated exterior face is visible beyond the rear passenger window; used as Held beyond 전택수 as the destination of his upward look.\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/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L35B01.png" ], [ "char:전택수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/453fbc9f-56ab-4724-80f8-0022971a2516.png" ] ], "asset_id": "9723eb2e-48bb-4cda-884d-343f4150edc7" }, "S37sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S37sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L36B01.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 prison interview room, around the interrogation table with observer seats set back behind it.\n\nSHOT TEXT (authoritative, Korean): 테이블을 사이에 두고 서의용, 나상혁의 맞은편에 앉은 지국현과, 그 뒤편에 떨어져 앉은 전택수 및 광주교도소 교도관의 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 the room-side corner behind 서의용 and 나상혁, a slightly elevated wide frame begins the dolly toward the table on a diagonal axis. Their asynchronous over-shoulder silhouettes occupy opposite foreground edges, 지국현 sits centered across the table, and 전택수 with the 광주교도소 교도관 remain separated in the rear depth, making the institutional alignment immediately legible.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 지국현 (현재) in the middle-center of the frame, midground; 전택수 in the upper-left of the frame, background; 광주교도소 교도관 in the upper-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: investigation table (positioned between the opposing sides) — The long edge recedes diagonally from the lower foreground toward 지국현 in the middle of the frame; used as Its diagonal length separates the interrogators in the foreground from 지국현 across the room; rear seating (occupied by 전택수 and the 교도관) — The chair fronts angle toward the interrogation table behind 지국현; used as The rear chairs preserve the physical separation of 전택수 and the 교도관 from the interrogation table.\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/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L36B01.png" ], [ "char:전택수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/453fbc9f-56ab-4724-80f8-0022971a2516.png" ], [ "char:서의용", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/0f32f16a-966a-48e5-9994-dedeb1a0999d.png" ] ], "asset_id": "9cea5a7f-6955-4e3d-9d5e-9e5d7b6caf66" }, "S37sh17": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S37sh28": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S38sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S38sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L41B02.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 threshold between the prison corridor and an open solitary cell.\n\nSHOT TEXT (authoritative, Korean): 열린 독방 철문의 문턱을 한쪽 발로 딛고 안으로 몸을 들이는 지국현의 뒷모습\n\nCARRIED STATE (persist exactly): The solitary-cell door remains open as Ji Gukhyeon crosses its threshold into the cell.\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 hip height directly behind 지국현 (현재), the camera begins tracking from just outside the open cell doorway on a diagonal line across the threshold. His back occupies the middle of the frame as one foot plants inside and his weight follows forward, with the open iron door and the cell interior defining the direction of entry rather than presenting a static rear pose.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 지국현 (현재) in the middle-center of the frame, midground, moves toward cell interior; cell interior beyond the threshold in the upper-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: solitary-cell iron door (open) — The open leaf is seen from behind and partly edge-on as the doorway faces into the cell; used as Its open leaf and frame create the threshold through which the camera follows 지국현; cell threshold (being crossed); used as Marks the exact crossing point beneath 지국현's leading foot.\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/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L41B02.png" ], [ "char:지국현 (현재)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/8320acd9-9963-4009-bef8-b32cb6155ee2.png" ] ], "asset_id": "e8ffb79f-2598-40ed-bc78-dfffb3e7e73c" }, "S38sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S39sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S39sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S40sh5": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S40sh5.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: Inside the auto-shop office, with the repair bays visible through the interior window.\n\nSHOT TEXT (authoritative, Korean): 서의용을 향해 불쾌한 기색을 드러내며 눈을 부릅뜬 30대 초반 한국인 남성의 굳은 표정\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: Slightly below the seated eye line and close behind 서의용's shoulder, the tracked move settles into a tight over-the-shoulder close-up that stays offset from the direct conversational axis. The Korean man in his early thirties occupies the center-right with rigid shoulders, widened eyes fixed on 서의용, and controlled look space to the left; only a narrow blurred trace of 서의용 remains at the frame edge.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: office glass window (in place between the office and maintenance facility) — The window faces the camera obliquely, with the maintenance facility visible beyond it; used as Kept softly behind the man to retain the office's visual connection to the repair facility; maintenance facility (visible beyond the window); used as Appears only as subdued context through the office window.\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:30대 초반 남성", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/662f323e-4169-409b-9913-dd845896a0c7.png" ] ], "asset_id": "18b59834-7ccb-4ce1-a9e8-aa1e853f9eea" }, "S40sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S41sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S41sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S42sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S42sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L06B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: In the apartment building's long access corridor, directly outside the family's front door and doorbell.\n\nSHOT TEXT (authoritative, Korean): 서의용의 손과 초인종 버튼 사이를 막아서듯 덮은 나상혁의 손바닥 클로즈업\n\nCARRIED STATE (persist exactly): Sanghyeok's hand remains laid over the doorbell button, blocking Euiyong from pressing it directly.\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 hand height beside the apartment door controls, push into an extreme-close oblique insert across Na Sang-hyeok's open palm toward Seo Eui-yong's approaching fingers and the obscured doorbell behind it. Sang-hyeok's hand lies flat as a barrier in the center foreground while Eui-yong's fingers enter from the opposite edge, preserving enough of the door-control surround to make the intended press physically clear.\n- FRAMING SCALE: insert close-up on a detail\n- FRAME LAYOUT: Na Sang-hyeok blocking hand in the middle-center of the frame, foreground; Seo Eui-yong pressing hand in the middle-left of the frame, foreground, reaches for covered doorbell button; doorbell button behind the palm in the middle-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: doorbell button (covered by Na Sang-hyeok's hand) — Its front face is angled toward the camera but partly hidden by the palm; used as The button is the blocked focal anchor immediately behind Sang-hyeok's palm; apartment door controls (visible around the contact area) — Their control-facing side is seen obliquely beside the hands; used as Provides a narrow scale and location reference around 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/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L06B01.png" ], [ "char:서의용", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/0f32f16a-966a-48e5-9994-dedeb1a0999d.png" ], [ "char:나상혁", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/dadf27fa-ce44-4a30-bfc3-9004e70fa0dc.png" ] ], "asset_id": "72c26891-fde5-4a28-a307-032e596260b7" }, "S42sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S43sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S43sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L04B02.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 sitting-room table inside the family home, with hot coffee and an open laptop.\n\nSHOT TEXT (authoritative, Korean): 뜨거운 김이 오르는 커피잔이 놓인 테이블을 사이에 두고 마주 앉은 서의용, 나상혁, 민정의 전경\n\nCARRIED STATE (persist exactly): The steaming coffee cups remain on the table, and Sanghyeok's laptop stays open during the interview with Minjeong.\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 chest height on the open side of the table, hold a wide three-quarter view with the steaming coffee cup small in the lower foreground and the three participants arranged around the table beyond it. Seo Eui-yong angles his torso toward the room while glancing aside, Na Sang-hyeok bends toward the open laptop, and Min-jeong sits opposite them with her attention fixed on Eui-yong, making the interview relationship legible without forming a frontal lineup.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: Seo Eui-yong on the investigators' side in the middle-left of the frame, midground; Na Sang-hyeok beside the laptop in the middle-center of the frame, midground; Min-jeong opposite the investigators in the middle-right of the frame, midground, looks toward Seo Eui-yong across the table.\n- KEY BACKGROUND ELEMENTS: coffee cup (hot steam rising) — Seen at a three-quarter angle from slightly above, between the camera and the seated group; used as Anchors the near foreground without exceeding a small portion of the frame; its rising steam creates a quiet visual measure of the pause; table (coffee cup and laptop placed on it) — Its open-side edge angles across the lower frame toward the participants; used as Organizes the three-way interview and separates foreground from the seated figures; open laptop (open) — The screen side faces Na Sang-hyeok and is seen obliquely by the camera; no specific screen content is established; used as Keeps Sang-hyeok's procedural role visible within the establishing composition.\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/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L04B02.png" ], [ "char:민정 (현재)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/9b4a1df7-22ec-407a-9d7d-e4211f828c96.png" ], [ "char:서의용", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/0f32f16a-966a-48e5-9994-dedeb1a0999d.png" ] ], "asset_id": "19dc5eea-b1e4-4ac2-8f1f-142a3d84245d" }, "S43sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S44sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S44sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L48B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside a kindergarten classroom, in the story-reading area with the children.\n\nSHOT TEXT (authoritative, Korean): 동화책 너머 허공을 향해 초점 잃은 시선을 던진 채 멍하니 굳어버린 이미경의 굳은 얼굴 클로즈업\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From the children's side of the open storybook, finish the approach just below Lee Mi-gyeong's eye height in a tight oblique three-quarter close-up. Retain the book's upper edge as a soft lower-foreground line while her hands stay suspended in the reading posture, her face rigid and her unfocused gaze passing over the pages into empty space beyond them.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: open storybook upper edge in the lower-center of the frame, foreground; Lee Mi-gyeong isolated in close-up in the middle-center of the frame, midground.\n- KEY BACKGROUND ELEMENTS: open storybook (open in Lee Mi-gyeong's hands) — The open page faces Lee Mi-gyeong and the children; the camera sees only the upper portion obliquely, with no specific page content established; used as Its upper edge remains in the near foreground as the interrupted task from which her attention has drifted; children's side of the reading area (children are being read to); used as Kept outside the tight facial focus, establishing the direction from which the book was being read.\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/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L48B01.png" ], [ "char:이미경", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/bcdd16db-41f4-4213-8a63-5f836208b5f6.png" ] ], "asset_id": "b5743136-bfb8-40b8-8d32-7afa1433510a" }, "S45sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S45sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/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: At the police-station rooftop railing, overlooking the surrounding green fields at sunset.\n\nSHOT TEXT (authoritative, Korean): 푸른 논을 응시하며 씁쓸한 표정으로 입꼬리를 내린 서의용의 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: At shoulder height beside Seo Eui-yong, end the lateral approach close to his open profile and offset from his gaze axis, leaving a narrow strip of the green rice fields as look space beyond his lowered mouth. He lets his weight settle into the railing, jaw slackened into a bitter expression, while his attention remains fixed across the fields rather than toward the lens.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: Seo Eui-yong in profile in the middle-left of the frame, foreground, looks toward rice fields below the rooftop; green rice fields in his look space in the middle-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: rooftop railing (Seo Eui-yong is leaning against it) — Its length recedes beside Eui-yong toward the edge of frame; used as Supports Eui-yong's leaned posture and leads the composition toward the field-side look space; green rice fields (spread below the rooftop with wind passing over them); used as Remains as a narrow but legible background destination for his gaze.\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/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L49B01.png" ], [ "char:서의용", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/0f32f16a-966a-48e5-9994-dedeb1a0999d.png" ] ], "asset_id": "31dceee3-aef6-4043-afb5-47701676295c" }, "S45sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S46sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S46sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S47sh5": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S47sh5.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: In the sunlit kitchen-dining area of the detective's home, beside the breakfast table.\n\nSHOT TEXT (authoritative, Korean): 귀에 스마트폰을 바짝 댄 채 미간을 살짝 찌푸린 서의용의 얼굴\n\nCARRIED STATE (persist exactly): Euiyong holds the smartphone to his ear throughout Sanghyeok's urgent call.\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: End the dolly-in at 서의용's shoulder height in a close front three-quarter view, placing his furrowed face just off center and the smartphone tight against his ear along the frame edge. Camera distance is the only emphasized shift; his eyes lower in concentration while the dining area remains softly legible behind him.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 식탁 (Set with soybean-paste stew and several side-dish containers) — Its near edge crosses the background at an oblique angle; used as Forms the lower background context for the interrupted breakfast; 스마트폰 (Held tightly to his ear during the call) — Its screen side is pressed toward his face while the outer side is visible to camera; used as Acts as the immediate narrative anchor against 서의용's face; 베란다의 빨래 (Hung neatly on the balcony); used as Provides distant domestic context beyond the dining area.\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:서의용", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/0f32f16a-966a-48e5-9994-dedeb1a0999d.png" ] ], "asset_id": "c50fb120-1187-4396-97d7-dc97f3f17811" }, "S47sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S48sh6": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S48sh6.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L51B01.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 café table inside the suburban coffee shop.\n\nSHOT TEXT (authoritative, Korean): 테이블 맞은편에 앉아 두 손으로 커피잔을 단단히 감싸 쥔 이미경의 긴장한 상체\n\nCARRIED STATE (persist exactly): Mi-gyeong continues gripping the coffee cup tightly in both hands during the interview.\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: After the cut, frame 이미경 from slightly above seated chest height and from her three-quarter side, keeping her tense face and upper torso in the upper half while her hands and cup share the lower half without letting the cup exceed a natural proportion. The slightly tighter camera distance is the single emphasis; she hunches toward the cup and directs her guarded account across the table toward the unseen investigators.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 커피잔 (Held on the table with both hands) — Its side and upper rim are visible between 이미경's enclosing hands; used as Anchors both hands in the lower frame and makes her tension physically readable; 카페 테이블 (이미경 is seated on the far side) — The tabletop recedes from 이미경 toward the lower foreground; used as Separates 이미경 from the unseen interviewers across the camera axis.\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/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L51B01.png" ], [ "char:이미경", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/bcdd16db-41f4-4213-8a63-5f836208b5f6.png" ] ], "asset_id": "e6faba65-b5f4-47e1-b887-db3cbf61c6d5" }, "S48sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S48sh13": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S49sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S49sh14": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S49sh16": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S50sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S50sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S50sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S51sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S51sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S51sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S52sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S52sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S52sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S53sh5": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S53sh5.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L54B01.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: Over the table inside the prosecution interview room.\n\nSHOT TEXT (authoritative, Korean): 장원섭의 손에 들린 살짝 열린 종이봉투 안, 노란 구운 은행알들이 가득 담긴 모습 클로즈업\n\nCARRIED STATE (persist exactly): The opened paper bag contains roasted ginkgo nuts and is being placed at the center of the interrogation table.\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 beside 장원섭, the camera continues its restrained dolly-in at a downward angle, isolating his hand and the slightly opened envelope while excluding both faces. The envelope rests near center frame with its opening angled toward the lens; the yellow roasted ginkgo nuts remain visible inside, while the table provides scale around the detail.\n- FRAMING SCALE: insert close-up on a detail\n- KEY BACKGROUND ELEMENTS: slightly opened paper envelope (Slightly open in 장원섭's hand) — The open mouth is angled upward and toward the camera, exposing the interior; used as Central focal object held just above the table, with the opening revealing the contents; roasted ginkgo nuts (Filling the opened envelope); used as Visible contents providing the shot's narrative detail; interrogation-room table (Between the two seated men); used as Surrounding surface that keeps the envelope at a realistic scale.\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/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L54B01.png" ], [ "char:장원섭", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/feb708d6-e441-4b31-a7ac-2bcc66d39247.png" ] ], "asset_id": "6971483d-9229-4dcf-a784-27e9f87d79f1" }, "S53sh11": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S53sh15": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S54sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S54sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S54sh18": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S55sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S55sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L41B01.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: Along a long interior corridor inside the prison, following a correctional officer.\n\nSHOT TEXT (authoritative, Korean): 광주교도소 교도관의 등 뒤로 길고 차가운 복도를 나란히 걷는 mid-stride 자세로 한쪽 발이 바닥에서 막 떨어진 서의용, 나상혁, 검찰 수사관의 전경\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 paces behind 광주교도소 교도관, the tracking camera follows the group down the long corridor with the guard anchoring the near foreground. Beyond him, 서의용, 나상혁, and 검찰 수사관 advance in a loose side-by-side formation, each caught at a different phase of the same stride so their lifted feet, shoulder angles, and spacing do not appear duplicated.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 광주교도소 교도관 leading the group in the lower-center of the frame, foreground, moves toward far end of the corridor; 서의용 following the guard in the middle-left of the frame, midground, moves toward far end of the corridor; 나상혁 within the moving group in the middle-right of the frame, midground, moves toward far end of the corridor.\n- KEY BACKGROUND ELEMENTS: long prison corridor (Occupied by the moving guard and investigators) — The corridor recedes away from the camera in the group's direction of travel; used as Strong receding spatial axis surrounding and directing the moving formation.\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/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L41B01.png" ], [ "char:서의용", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/0f32f16a-966a-48e5-9994-dedeb1a0999d.png" ], [ "char:나상혁", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/dadf27fa-ce44-4a30-bfc3-9004e70fa0dc.png" ] ], "asset_id": "dc79d6e7-8c65-48bf-a8ab-1a428321e4c0" }, "S55sh8": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S55sh8.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L41B01.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 small prison interview room, across a simple table from the inmate.\n\nSHOT TEXT (authoritative, Korean): 서의용 쪽을 향해 상체를 바짝 들이민 채 목소리를 낮추듯 입술을 뗀 40대 체격이 큰 한국인 남성의 측면\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Beside the interview-room table at seated shoulder height, the lateral move begins in a profile-dominant medium view of the 40대 체격이 큰 재소자 leaning close toward 서의용. The Korean inmate occupies the near side of frame with his lips just parting to lower his voice, while 서의용 remains across the table, his attention fixed on the disclosure.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 40대 체격이 큰 재소자 in the middle-left of the frame, foreground, looks toward 서의용 across the table; 서의용 in the middle-right of the frame, midground, looks toward 40대 체격이 큰 재소자; interview-room table shared by both men in the lower-center of the frame, midground.\n- KEY BACKGROUND ELEMENTS: interview-room table (Between the seated inmate and 서의용); used as Lower-frame divider and tracking axis connecting speaker and listener; small interview room (Occupied by 서의용 and the inmate); used as Tight spatial enclosure visible around the two-person interview.\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/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L41B01.png" ] ], "asset_id": "9e56d10e-6f79-4666-a863-0fb9a0b412f7" }, "S56sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S56sh4.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: On the quiet street directly outside the coffeehouse entrance, beside the stopped scooter.\n\nSHOT TEXT (authoritative, Korean): 서의용의 신분증을 향해 시선을 고정한 채 당황한 기색으로 눈을 동그랗게 뜬 신경희의 얼굴 클로즈업\n\nCARRIED STATE (persist exactly): Euiyong keeps his police identification presented toward Gyeong-hui as he identifies himself.\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: Close behind 서의용's raised hand and right shoulder, the dolly-in settles slightly above 신경희's eye line on an oblique face close-up. Her widened eyes remain fixed on the identification at the edge of her eyeline, while 서의용's shoulder and raised hand form a narrow foreground obstruction without covering her startled expression.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 신경희 isolated in close-up in the middle-center of the frame, midground, looks toward identification held at the frame edge.\n- KEY BACKGROUND ELEMENTS: 서의용's identification (Raised in 서의용's hand) — The identification-bearing front face is presented toward 신경희 and appears obliquely at the frame edge; used as Identity-bearing surface held at the near edge of 신경희's fixed eyeline; coffee shop sign (Visible near the coffee shop entrance) — The sign's lettered face is oriented toward the street and remains partially visible behind the figures; used as Background location marker kept soft beyond the confrontation; coffee shop entrance (Approached by 신경희 before she is stopped) — The entrance faces the street behind the group; used as Deep background passage indicating where 신경희 was heading.\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:신경희", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/3a6e2a78-7484-48b3-8ed4-2a3b2a17d660.png" ] ], "asset_id": "d742d253-97d5-4387-ad93-2f0e339f5cae" }, "S56sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S56sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S57sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S57sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S58sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S58sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L55B02.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 cramped bedroom of the suspect's family home, amid a bed, wardrobe, and boxes being searched.\n\nSHOT TEXT (authoritative, Korean): 어수선한 방 안, 악을 쓰며 삿대질을 하는 유경자의 앞을 온몸으로 막아선 검찰 수사관의 상체\n\nCARRIED STATE (persist exactly): The searched room is left disturbed, while seized letters, notebooks, and photographs are collected in evidence boxes.\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 behind and slightly beside the 검찰 수사관, use a restrained handheld medium frame across his oblique shoulder line as his upper body blocks 유경자. The investigator braces across the center-right while 유경자 presses forward from the left background with one arm raised in accusation; partial search activity remains deeper in the narrow room without displacing their confrontation.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 검찰 수사관 in the middle-right of the frame, foreground; 유경자 in the middle-left of the frame, midground.\n- KEY BACKGROUND ELEMENTS: 침대 (Being searched) — Only part of its side and top remain visible behind the figures; used as Establishes the cramped search area behind the confrontation; 옷장 (Being searched) — Its front faces into the room and is seen obliquely by the camera; used as Creates a vertical boundary in the deeper room and indicates another search area; 잡동사니 상자들 (Being searched) — Different sides are visible where the boxes have been opened for inspection; used as Provides irregular foreground and background layers around the searching figures; 증거물 상자 (Receiving letters, notebooks, and photographs) — Its open upper side is visible from the oblique camera position; used as Procedural evidence anchor kept in the deeper portion of the frame.\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/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L55B02.png" ], [ "char:유경자", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/7138cdfd-f7d9-4a21-a7fc-67845f0128b8.png" ], [ "char:검찰 수사관", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/d60dcaa1-f294-4001-ab03-481695ebbf5f.png" ] ], "asset_id": "c61025b6-e634-495e-9bb7-11dbeb53b187" }, "S58sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S58sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S59sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S59sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S60sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S60sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L52B01.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 bar counter inside a quiet cocktail lounge, opposite the bartender.\n\nSHOT TEXT (authoritative, Korean): 전택수의 시선을 피한 채 씁쓸한 기색으로 자신의 술잔을 내려다보는 장원섭의 측면\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 at seated shoulder height from 장원섭's outer side, tightening from the two-person axis until his profile occupies most of the left-center frame. He folds slightly toward the counter and looks down at his own glass with a bitter expression, while only a restrained trace of 전택수 remains farther along the bar axis, watching him rather than the lens.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 바 카운터 (Both men are seated along it) — Its long edge recedes from 장원섭 toward 전택수 and the bartender's side; used as Carries the line of the dolly move and holds both men within the same conversational space; 장원섭의 술잔 (Resting before 장원섭) — The transparent sides reveal the drink remaining inside; used as Immediate focus for 장원섭's averted gaze, kept small in the lower frame.\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/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L52B01.png" ], [ "char:장원섭", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/feb708d6-e441-4b31-a7ac-2bcc66d39247.png" ] ], "asset_id": "fd581c2d-a0c4-4de5-abb3-b789adb7c76e" }, "S60sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S60sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S61sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S61sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S62sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S62sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L57B01.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 compact prosecution-building elevator at its closing doorway, with doors, control panel, and fixed standing positions close together.\n\nSHOT TEXT (authoritative, Korean): 닫히려는 엘리베이터 문 사이로 다급하게 상체를 들이민 장원섭의 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 chest height just outside and to one side of the elevator entrance, frame 장원섭 tightly in mid-lunge through the narrowing diagonal opening while keeping both converging door edges visible. His upper body occupies the middle-left as one foot drives him inward, while 차장검사 remains deeper inside at the right, caught looking down as the interruption reaches him.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 장원섭 in the middle-left of the frame, foreground, moves toward elevator interior; narrowing elevator doorway in the middle-center of the frame, midground; 차장검사 in the middle-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: elevator door panels (closing) — Their front faces angle toward the center seam as they close around the entrance; used as The two edges form a converging frame around 장원섭's urgent entry; elevator interior (occupied) — Viewed diagonally through the narrowing entrance; used as Provides the deeper spatial plane holding 차장검사 beyond 장원섭.\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/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L57B01.png" ], [ "char:장원섭", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/feb708d6-e441-4b31-a7ac-2bcc66d39247.png" ] ], "asset_id": "75c285ae-cc8f-430c-9b41-a0738b9f55af" }, "S62sh6": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S62sh6.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L57B01.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 compact elevator car at the open doors, with the two men standing beside its controls and fixed wall panels.\n\nSHOT TEXT (authoritative, Korean): 엘리베이터 문이 열린 채 나란히 서서 팽팽하게 대치하는 차장검사와 장원섭의 전경\n\nCARRIED STATE (persist exactly): The elevator doors remain open while Wonseop and the deputy chief prosecutor stand facing each other inside.\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 backward move settles several steps into the hallway at slightly below chest height, opening into a wide diagonal view of the fully open elevator doorway. 차장검사 holds the left side and 장원섭 the right, both seen full-body with planted feet and torsos turned toward one another, their locked attention tightening the otherwise exposed doorway.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 차장검사 in the middle-left of the frame, midground, looks toward 장원섭 across the elevator doorway; 장원섭 in the middle-right of the frame, midground, looks toward 차장검사 across the elevator doorway; open elevator doorway shared by both men in the middle-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: elevator doorway (fully open) — Its open front faces the camera on a diagonal three-quarter axis; used as Frames both men together and exposes their side-by-side placement within one confined opening; hallway area outside elevator (unoccupied in the immediate foreground); used as Creates the foreground clearance produced by the completed dolly-out.\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/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L57B01.png" ], [ "char:장원섭", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/feb708d6-e441-4b31-a7ac-2bcc66d39247.png" ], [ "char:차장검사", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/2278f60d-eaa7-450e-9ef1-306976721c85.png" ] ], "asset_id": "79a2bb5f-9e36-4a5c-9b1b-d6630635d69d" }, "S62sh9": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S62sh9.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L57B01.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 narrowing gap of the elevator's sliding doors, looking into the compact car and its tightly fixed interior fittings.\n\nSHOT TEXT (authoritative, Korean): 서로를 응시하는 두 사람을 사이에 두고 반쯤 닫힌 엘리베이터 문 틈새 클로즈업\n\nCARRIED STATE (persist exactly): The elevator doors are closing again around the two men, narrowing the visible gap between 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: Immediately outside the elevator at shoulder height, the camera completes its push toward the off-center seam as the half-closed panels create a narrow vertical viewing channel. 차장검사's face remains visible on the left and 장원섭's on the right, each in opposing three-quarter angles, with the door edges dividing their faces but leaving their reciprocal eyeline unbroken.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 차장검사 in the middle-left of the frame, background, looks toward 장원섭 across the closing seam; 장원섭 in the middle-right of the frame, background, looks toward 차장검사 across the closing seam; half-closed elevator door seam in the middle-center of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: elevator door panels (half closed) — Their front faces converge toward an off-center vertical seam facing the camera; used as The panels form foreground shutters that physically divide the two faces while preserving the eyeline through the central gap.\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/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L57B01.png" ], [ "char:장원섭", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/feb708d6-e441-4b31-a7ac-2bcc66d39247.png" ], [ "char:차장검사", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/2278f60d-eaa7-450e-9ef1-306976721c85.png" ] ], "asset_id": "d516a7ff-9aaa-4cc8-95cf-d07f6a717fcd" }, "S63sh5": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S63sh5.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L45B01.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 divided visitation counter inside the prison visiting room, across the transparent partition.\n\nSHOT TEXT (authoritative, Korean): 가림판 너머 신경희의 손바닥 위치에 맞춰 자신의 손을 포개어 얹은 지국현의 손 클로즈업\n\nCARRIED STATE (persist exactly): Gyeong-hui's palm remains against the transparent partition, with Ji Gukhyeon's hand aligned over hers on the opposite side.\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 hand height and very close to the divider, an oblique insert places 지국현's palm prominently in the center-right while 신경희's aligned palm remains clearly legible on the opposite side. The paired hands stay below forty percent each and are framed by a visible strip of divider and surrounding surface, making the separation as readable as the attempted contact.\n- FRAMING SCALE: insert close-up on a detail\n- FRAME LAYOUT: 지국현's hand in the middle-right of the frame, foreground, reaches for 신경희's aligned palm across the divider; 신경희's hand in the middle-left of the frame, background, reaches for 지국현's aligned palm across the divider; transparent divider between the palms in the middle-center of the frame, midground.\n- KEY BACKGROUND ELEMENTS: transparent plastic divider (fixed between the visitors) — The camera sees 지국현's near-side palm against the surface and 신경희's aligned palm through the opposite side; used as Separates the two palms while allowing their alignment to remain visible.\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/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L45B01.png" ], [ "char:지국현 (현재)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/8320acd9-9963-4009-bef8-b32cb6155ee2.png" ], [ "char:신경희", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/3a6e2a78-7484-48b3-8ed4-2a3b2a17d660.png" ] ], "asset_id": "a9978e5e-1bf1-4f7f-a1f5-2b51c38b1c14" }, "S63sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S64sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S64sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S65sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S66sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S66sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L58B01.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 podium in the prosecution office seminar room, facing the seated citizens and presentation screen.\n\nSHOT TEXT (authoritative, Korean): 단상에 선 채 객석을 향해 확신에 찬 눈빛으로 입을 크게 벌린 장원섭의 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: From near the front row at 장원섭's chest height, the dolly-in settles into a subtly low, off-axis three-quarter close view of his upper body as he speaks with his mouth open and conviction held in his eyes. He occupies the middle-right of the frame and directs his attention beyond the lens toward the seated citizen committee, with only restrained seminar-room context remaining at the edges.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 프레젠테이션 스크린 (Displaying the case presentation) — Only part of the displayed front face is visible behind 장원섭, carrying the prosecution citizens' committee case title; used as A partial background edge ties the close speech shot to the stated case presentation; 시민위원 객석 (Twenty men and women of varied ages seated and listening); used as Soft peripheral silhouettes establish the listeners toward whom 장원섭 is speaking.\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/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L58B01.png" ], [ "char:장원섭", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/feb708d6-e441-4b31-a7ac-2bcc66d39247.png" ] ], "asset_id": "9b37a808-2a88-484d-a0d8-4570bccc77ad" }, "S67sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S67sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L59B01.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: In the corridor directly outside the seminar room, at the small window in its closed door.\n\nSHOT TEXT (authoritative, Korean): 굳게 닫힌 세미나실 문 중앙의 작은 유리창 쪽으로 얼굴을 바짝 들이민 차장검사의 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: At shoulder height beside and slightly behind 차장검사, the continuing dolly-in frames his upper body diagonally against the closed door as he brings his face close to the small window. His near shoulder occupies the lower-left edge, the window sits ahead of his eyeline near the upper center, and his attention remains fixed on the seminar room beyond it.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 차장검사 in the middle-left of the frame, foreground, looks toward small door window; small door window in the upper-center of the frame, midground.\n- KEY BACKGROUND ELEMENTS: 세미나실 문의 작은 유리창 (Set into the closed door) — The window is seen obliquely, with the seminar-room interior lying beyond it; used as The camera looks across 차장검사 toward this constrained viewing aperture; 세미나실 문 (Closed) — Its corridor-facing side is seen at an oblique angle; used as Creates a firm planar barrier around the small window and compresses the observer against it.\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/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L59B01.png" ], [ "char:차장검사", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/2278f60d-eaa7-450e-9ef1-306976721c85.png" ] ], "asset_id": "4f5a4f8a-eb97-48b6-93e1-be5731a94ae7" }, "S68sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S68sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S69sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S69sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L60B01.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 press-room podium, facing rows of reporters and flashing cameras under indoor lighting.\n\nSHOT TEXT (authoritative, Korean): 수많은 카메라 플래시 불빛이 번쩍이는 가운데 단상에 서서 보도자료를 쥔 차장검사의 전경\n\nCARRIED STATE (persist exactly): The deputy chief prosecutor continues holding and reading from the prepared press release at the podium.\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 front-left side of the briefing room and slightly below 차장검사's eyeline, a static medium-wide three-quarter composition places him and the podium in the left-center while reporter rows recede along the right. He braces behind the podium with the press release in both hands, reading downward as camera flashes intermittently strike his face and the seated reporters continue typing.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 브리핑 단상과 연단 (Occupied by 차장검사) — The front and left side of the podium are visible from the camera's three-quarter position; used as Anchors 차장검사 at the front of the briefing room and separates him from the press rows; 보도자료 (Being read) — The printed face is angled upward toward 차장검사, leaving the camera a foreshortened view without requiring readable copy; used as Held in the speaker's hands as the textual basis of the briefing; 기자석 (Reporters seated and typing on laptops at differing moments and postures); used as Creates depth through staggered seated figures and open computers; 기자들의 노트북 (Open and in use) — The display faces are directed toward their individual users, while the camera sees varied side and rear angles; used as Supports the reporters' ongoing typing action in the receding rows.\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/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L60B01.png" ], [ "char:차장검사", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/2278f60d-eaa7-450e-9ef1-306976721c85.png" ] ], "asset_id": "9e277d6e-d99d-44b2-b2c5-3c425cdcff5d" }, "S69sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S70sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S71sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S71sh10": { "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 }, "S73sh5": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S73sh5.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L62B03.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: In the public gallery of the courtroom, facing the witness stand and projection screen.\n\nSHOT TEXT (authoritative, Korean): 두 눈을 질끈 감은 채 고통스러운 표정으로 고개를 푹 숙인 심옥의 굳은 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: At the end of the aisle-side dolly-in, frame 심옥 from slightly above her seated head height in a close three-quarter view, her face and rigid upper body occupying the left-center while the end of the seating row recedes behind her. Her shoulders fold inward, her head drops toward her lap, and her tightly closed eyes isolate her distress from the proceedings around her.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: public seating row (Occupied sparsely by spectators) — The row extends away from the camera along the side aisle; used as The edge of the row forms a restrained diagonal behind 심옥 and preserves the courtroom context.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L62B03.png" ], [ "char:심옥", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/e65d4828-cbc6-4c04-8424-efc2f0740599.png" ] ], "asset_id": "bdf2390a-ec74-499f-ba31-186ad85906cf" }, "S73sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S73sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S74sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S74sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S74sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S75sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S75sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S75sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S76sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S76sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L63B01.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: In the front seating section of the regional police assembly hall, below the stage and banner.\n\nSHOT TEXT (authoritative, Korean): 단상 아래 객석에 뻣뻣한 자세로 나란히 앉아 앞을 주시하는 나주경찰서장과 전택수의 전경.\n\nCARRIED STATE (persist exactly): Taeksu's smartphone is in his pocket and begins vibrating during the meeting, immediately before he takes it out.\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 front aisle at seated chest height, frame the 나주경찰서장 and 전택수 in a medium oblique two-shot as the track settles into the audience row; they occupy the center and right midground while keeping their attention on the off-screen platform. Their similarly rigid seated silhouettes are distinguished by slightly different shoulder and head angles, with the surrounding uniformed officials held in staggered depth rather than appearing mechanically identical.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 단상 현수막 (Hung above the platform) — The printed front faces the audience and carries the field-meeting slogan stated in the scene; used as Provides the formal institutional backdrop behind the two principal seated figures; 객석 좌석 (Occupied by uniformed police officials) — Seat fronts share the platform-facing axis while the camera views them obliquely from the aisle; used as Creates receding rows around and behind the two principal figures; 경찰 간부 십여 명 (Seated rigidly and watching the platform); used as Forms a restrained institutional background with individual variations in shoulder angle, head position, and spacing.\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/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L63B01.png" ], [ "char:전택수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/453fbc9f-56ab-4724-80f8-0022971a2516.png" ], [ "char:나주경찰서장", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/fc720874-5b3c-4c42-ba16-71bd5cbab33d.png" ] ], "asset_id": "9866e99a-83a7-483c-86c4-3504065b27de" }, "S76sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S77sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S77sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L64B01.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: In the corridor directly outside the regional police assembly hall.\n\nSHOT TEXT (authoritative, Korean): 귀에 댄 스마트폰을 향해 눈을 크게 뜬 채 당황한 표정으로 입술을 뗀 전택수의 얼굴 클로즈업.\n\nCARRIED STATE (persist exactly): Taeksu has taken the same smartphone from his pocket and holds it to his ear during Wonseop's call.\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 above 전택수's eye level, finish the dolly-in at a close three-quarter angle beside the smartphone so his widened eyes and newly parted lips carry the frame while the phone remains against the near side of his face. His head is held still in mid-call, attention absorbed by the unheard caller as the corridor falls soft behind him.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 전택수 in the middle-center of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: 스마트폰 (In active use during the call) — Its side edge and back are seen beside 전택수's cheek; the screen is turned away from the camera; used as Held against his face as the narrative source of the alarming information; 전남청 대회의실 앞 복도 (Visible behind 전택수); used as Soft environmental context behind the close reaction.\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/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L64B01.png" ], [ "char:전택수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/453fbc9f-56ab-4724-80f8-0022971a2516.png" ] ], "asset_id": "5bd31b1f-0bcf-487a-a18e-ec8a8360ab5a" }, "S77sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S78sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S78sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L65B01.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: On the road directly outside the kindergarten entrance, looking across toward the waiting officers.\n\nSHOT TEXT (authoritative, Korean): 서의용 쪽을 향해 고개를 돌린 채 미간을 잔뜩 찌푸린 이미경의 굳은 얼굴 클로즈업.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At 이미경's eye height, hold a static face close-up from a three-quarter angle offset from her line toward 서의용, placing her deeply furrowed brow and tightened mouth near the center while her turned cheek establishes the across-road gaze. Her halted upper body is only partially visible, keeping the single changed emphasis on the severity of her expression rather than altering the established sightline.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 이미경 in the middle-center of the frame, foreground, looks toward 서의용 across the road.\n- KEY BACKGROUND ELEMENTS: 유치원 앞 도로 (Visible in shallow background); used as Softly retained behind her to preserve the location without competing with her reaction; 유치원 입구 (Visible behind her) — The approach side lies behind 이미경 as her head turns away from it; used as Provides the destination she had been moving toward before noticing the men.\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/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L65B01.png" ], [ "char:이미경", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/bcdd16db-41f4-4213-8a63-5f836208b5f6.png" ] ], "asset_id": "21c6b359-d69f-449c-a342-15b29ff98e91" }, "S79sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S79sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L66B01.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 one side of the kindergarten's outdoor playground, apart from the playing children.\n\nSHOT TEXT (authoritative, Korean): 전택수의 스마트폰 화면 속 사진을 뚫어지게 내려다보며 눈을 동그랗게 뜬 이미경의 충격받은 얼굴 클로즈업.\n\nCARRIED STATE (persist exactly): Mi-gyeong is holding Taeksu's smartphone, which displays the 2001 alibi photograph of her with Ji Gukhyeon.\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 이미경's eye line and beside 전택수, finish the dolly-in on her shocked face while angling downward across the smartphone retained at the lower frame edge. 이미경 occupies most of the close frame with widened eyes fixed downward on the photograph; 전택수's near shoulder and extended hand remain peripheral so the evidence and its presenter share the same physical axis.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 스마트폰 화면 in the lower-center of the frame, foreground; 이미경 in the middle-center of the frame, midground, looks toward 스마트폰 화면.\n- KEY BACKGROUND ELEMENTS: 전택수의 스마트폰 (Screen on with the photograph displayed) — The screen side is angled toward 이미경 and partially toward the camera, showing the 2001 alibi photograph of 지국현 with 이미경; used as Retained along the lower edge as the immediate cause of 이미경's shock, occupying a limited portion of the frame; 유치원 놀이터 (Visible out of focus behind the subjects); used as Soft background context separating the close confrontation from the wider playground.\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/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L66B01.png" ], [ "char:이미경", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/bcdd16db-41f4-4213-8a63-5f836208b5f6.png" ] ], "asset_id": "5e076583-97a6-463c-aa0d-8c9d6a8a9e6f" }, "S79sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S79sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S80sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S81sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S81sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S81sh14": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S82sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S82sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/background_chain/seed_bg_roadside_bus_stop_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: Under the roof of a roadside bus shelter near the kindergarten, open to the falling rain.\n\nSHOT TEXT (authoritative, Korean): 정류장 지붕 아래 서서 난감한 표정으로 떨어지는 빗줄기를 올려다보는 이미경의 상체\n\nCARRIED STATE (persist exactly): Mi-gyeong has no umbrella and remains under the bus-stop roof while Taeksu approaches carrying one.\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: Under the bus-stop roof, the dolly-in settles at chest height beside and slightly ahead of 이미경, viewing her in profile across a medium upper-body frame. She holds her weight back beneath the shelter and tilts her face toward the falling rain outside, with the roof edge separating her protected position from the shower beyond.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: bus-stop roof (In use as shelter from the shower) — Its outer edge crosses the upper frame, with the street visible beyond it; used as Creates an overhead boundary that frames 이미경 beneath shelter; falling rain (A sudden morning shower is falling); used as Occupies the open streetward portion of the frame and motivates 이미경's upward gaze; street near the kindergarten (Visible through the falling rain); used as Provides the exterior depth beyond the sheltered foreground.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/background_chain/seed_bg_roadside_bus_stop_sel.png" ], [ "char:이미경", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/bcdd16db-41f4-4213-8a63-5f836208b5f6.png" ] ], "asset_id": "b710884d-75c5-478b-bf3e-f2a2e6e31bde" }, "S82sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S83sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S83sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S84sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S85sh17": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S85sh19": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S85sh21": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S86sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S86sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S87sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S87sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S88sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S88sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S88sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S89sh16": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S89sh18": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S89sh20": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S90sh5": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S90sh5.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L10B01.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 moving car beside a sunset-lit side window, with the rear seat, glass, and vehicle fittings closely framing the candlelit street outside.\n\nSHOT TEXT (authoritative, Korean): 노을 빛이 반사된 차창 유리 너머, 손에 촛불을 든 수많은 한국인 남녀들이 거리를 메운 평화로운 풍경\n\nCARRIED STATE (persist exactly): The candle-bearing crowd continues filling the road around Taeksu's slowly moving car.\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 parallel to the moving car from immediately outside the rear side window at seated head height, looking obliquely through the glass in a wide layered composition. The sunset reflection remains across the window while candle-bearing Korean men and women fill the street beyond, their slow walking phases, shoulder angles, spacing, and candle heights naturally varied rather than synchronized.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: car side window (moving past the street with the car) — The sunset is reflected across the camera-facing surface while the candle-bearing crowd remains visible through the glass; used as Layered optical plane between the camera and the procession; city street (filled with people walking slowly); used as Deep background establishing the scale and peaceful pace of the gathering; candles (lit and carried by the participants); used as Repeated points held throughout the crowd without uniform spacing.\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/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L10B01.png" ] ], "asset_id": "464a8184-1970-48c7-804a-4449b786476c" }, "S90sh7": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S90sh7.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L10B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the car's rear passenger compartment, beside the window overlooking the candlelight gathering.\n\nSHOT TEXT (authoritative, Korean): 차창 밖의 촛불들을 물끄러미 응시하며 한 손등이 눈물 젖은 볼에 맞닿아 있는 심옥의 옆얼굴\n\nCARRIED STATE (persist exactly): The candlelit crowd remains visible outside the moving car as Sim-ok wipes tears from her cheek.\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 rear compartment on 민정 (현재)'s side, finish the slow dolly-in slightly below 심옥's eye level at a close three-quarter profile. 심옥 occupies one side of the frame with restrained look room toward the side window, her attention fixed outside as the back of one hand rests against her tear-wet cheek and the candle procession stays softly legible beyond the glass.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: rear side window (beside 심옥 in the moving car) — The candle-bearing people pass beyond the glass along 심옥's line of sight; used as Carries 심옥's outward sightline and separates her from the passing procession; candle procession (passing slowly outside); used as Soft moving background retained at the edge of the close framing.\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/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L10B01.png" ], [ "char:심옥", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/e65d4828-cbc6-4c04-8424-efc2f0740599.png" ] ], "asset_id": "37baac42-2abe-41d6-82fd-a5b37c8a07dd" }, "S91sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/conti/conti_S91sh3.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: In the columbarium's exterior parking area, near the path leading to the building entrance.\n\nSHOT TEXT (authoritative, Korean): 전택수의 손을 위아래로 단단하게 맞잡은 심옥과 민정의 포개진 손 클로즈업\n\nCARRIED STATE (persist exactly): Sim-ok and Minjeong clasp Taeksu's hand firmly together in response to his apology.\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 statically just above hand height and slightly to the side, looking down obliquely at the three layered hands in an isolated insert. 전택수's hand lies between 심옥's firm upper clasp and 민정 (현재)'s supporting hand below, with only partial forearms and a small amount of parking-area context left around the gesture.\n- FRAMING SCALE: insert close-up on a detail\n- FRAME LAYOUT: 심옥 hand enclosing from above in the middle-center of the frame, foreground; 전택수 hand held in the middle in the middle-center of the frame, foreground; 민정 hand supporting from below in the lower-center of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: ossuary parking area (at dusk); used as Minimal contextual plane around the joined 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:심옥", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/e65d4828-cbc6-4c04-8424-efc2f0740599.png" ], [ "char:민정 (현재)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/f5372927-bbec-405d-ad2c-100d587f5373/reference/9b4a1df7-22ec-407a-9d7d-e4211f828c96.png" ] ], "asset_id": "6e0a06ee-76c4-406f-9569-79eaf0f59559" }, "S91sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", 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"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 neighborhood pedestrian approach just southwest of the playground-view bench zone. (coarse estimate x=0.28, y=0.72); its sight line ends at LOOK TARGET: In the open center of the neighborhood play area between the swing frame and the slide structure. (coarse estimate x=0.53, y=0.40); the frame's LEFT edge cuts through At the northwest edge of the neighborhood play area beside the green perimeter strip. (coarse estimate x=0.20, y=0.15) and its RIGHT edge through At the southeast edge of the neighborhood play area beside the green perimeter strip. (coarse estimate x=0.79, y=0.60)\n- E1 (seated woman): circle At the center of the playground-view bench facing the play area. (coarse estimate x=0.52, y=0.62), facing In the lower central portion of the neighborhood play area beyond the bench. (coarse estimate x=0.52, y=0.47)\n- E2 (running child with one foot lifted): circle On the play surface just below the swing frame. (coarse estimate x=0.37, y=0.42), facing In the open play surface southeast of the swing frame. (coarse estimate x=0.43, y=0.42)\n- E3 (running child with one foot lifted): circle On the play surface between the swing frame and the slide structure. (coarse estimate x=0.57, y=0.30), facing On the open play surface just right of the swing frame. (coarse estimate x=0.49, y=0.28)\n- E4 (running child with one foot lifted): circle On the play surface below and right of the slide structure. (coarse estimate x=0.67, y=0.45), facing On the play surface immediately right of the slide structure. (coarse estimate x=0.72, y=0.38)\n- E5 (running child with one foot lifted): circle In the open lower-left portion of the neighborhood play area. (coarse estimate x=0.45, y=0.50), facing On the open play surface below the swing frame. (coarse estimate x=0.37, y=0.48)\n\n[REGENERATE — the previous attempt failed the marker check: E3와 E4 마커가 카메라의 시야각(FoV) 영역 밖에 위치해 있습니다.. Draw exactly the specified markers and change nothing else on the plan.]", "geometry": { "camera": { "look_target": { "x": 0.53, "y": 0.4 }, "look_target_anchor_en": "In the open center of the neighborhood play area between the swing frame and the slide structure.", "origin": { "x": 0.285, "y": 0.72 }, "origin_anchor_en": "On the neighborhood pedestrian approach just southwest of the playground-view bench zone.", "view_left": { "x": 0.205, "y": 0.15 }, "view_left_anchor_en": "At the northwest edge of the neighborhood play area beside the green perimeter strip.", "view_right": { "x": 0.79, "y": 0.6 }, "view_right_anchor_en": "At the southeast edge of the neighborhood play area beside the green perimeter strip." }, "entity_placements": [ { "anchor_en": "At the center of the playground-view bench facing the play area.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.515, "y": 0.47 }, "facing_anchor_en": "In the lower central portion of the neighborhood play area beyond the bench.", "slot": "E1", "subject_en": "seated woman", "x": 0.515, "y": 0.625 }, { "anchor_en": "On the play surface just below the swing frame.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.43, "y": 0.42 }, "facing_anchor_en": "In the open play surface southeast of the swing frame.", "slot": "E2", "subject_en": "running child with one foot lifted", "x": 0.37, "y": 0.42 }, { "anchor_en": "On the play surface between the swing frame and the slide structure.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.49, "y": 0.28 }, "facing_anchor_en": "On the open play surface just right of the swing frame.", "slot": "E3", "subject_en": "running child with one foot lifted", "x": 0.57, "y": 0.3 }, { "anchor_en": "On the play surface below and right of the slide structure.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.72, "y": 0.38 }, "facing_anchor_en": "On the play surface immediately right of the slide structure.", "slot": "E4", "subject_en": "running child with one foot lifted", "x": 0.67, "y": 0.45 }, { "anchor_en": "In the open lower-left portion of the neighborhood play area.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.37, "y": 0.48 }, "facing_anchor_en": "On the open play surface below the swing frame.", "slot": "E5", "subject_en": "running child with one foot lifted", "x": 0.45, "y": 0.5 } ], "rationale_ko": "카메라는 보행 접근로의 높은 위치에서 벤치와 놀이터를 대각선으로 넓게 바라보도록 배치했다. 여성은 하단 전경의 벤치 중앙에 홀로 앉아 놀이터 안쪽을 향하며, 네 어린이는 그보다 깊은 놀이터 배경에 서로 간격을 두고 각기 다른 방향으로 달리도록 분산했다." }, "geometry_attempts": 1, "leakage": { "has_marker_leakage": false, "details_ko": "다이어그램 기호나 평면도 유출이 없는 일반적인 3D 투시도 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 neighborhood pedestrian approach just southwest of the playground-view bench zone. (coarse estimate x=0.28, y=0.72); its sight line ends at LOOK TARGET: In the open center of the neighborhood play area between the swing frame and the slide structure. (coarse estimate x=0.53, y=0.40); the frame's LEFT edge cuts through At the northwest edge of the neighborhood play area beside the green perimeter strip. (coarse estimate x=0.20, y=0.15) and its RIGHT edge through At the southeast edge of the neighborhood play area beside the green perimeter strip. (coarse estimate x=0.79, y=0.60) — everything between those two edges is in frame, anything outside them is out of frame\n- seated woman stands At the center of the playground-view bench facing the play area. (coarse estimate x=0.52, y=0.62), facing In the lower central portion of the neighborhood play area beyond the bench. (coarse estimate x=0.52, y=0.47) — 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- running child with one foot lifted stands On the play surface just below the swing frame. (coarse estimate x=0.37, y=0.42), facing In the open play surface southeast of the swing frame. (coarse estimate x=0.43, y=0.42) — 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- running child with one foot lifted stands On the play surface between the swing frame and the slide structure. (coarse estimate x=0.57, y=0.30), facing On the open play surface just right of the swing frame. (coarse estimate x=0.49, y=0.28) — 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- running child with one foot lifted stands On the play surface below and right of the slide structure. (coarse estimate x=0.67, y=0.45), facing On the play surface immediately right of the slide structure. (coarse estimate x=0.72, y=0.38) — 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- running child with one foot lifted stands In the open lower-left portion of the neighborhood play area. (coarse estimate x=0.45, y=0.50), facing On the open play surface below the swing frame. (coarse estimate x=0.37, y=0.48) — 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 running child with one foot lifted\n\nCAMERA DIRECTION (vertical angle / elevation / framing SOT): Begin above head height several meters from the bench, looking diagonally across Lee Soo-jung's entire seated figure toward the full playground in a high-angle wide composition. Place her alone in the lower foreground while three or four Korean children remain dispersed in the background, each caught at a different phase of running—different lifted feet, shoulder angles, and gaze directions—so their activity contrasts with her stillness without becoming a synchronized formation.\n\nTHE LOCATION: 놀이터\n\nSHOT TEXT (authoritative, Korean): 한 발을 들고 달리는 자세의 한국인 어린이들이 있는 놀이터를 배경으로 벤치에 홀로 앉아있는 이수정의 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.", "lane_sketch_pack": "14.202607270344", "lane_geometry_pack": "4.202607270248", "mannequin_chain_contract": "1", "asset_id": "e616ac9d-7433-4f9d-a42c-8ea477a3cf02" }, "S42sh3": { "lane": "structure_plate", "group_id": "bg_apartment_home", "segment_id": "SEG_02", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/images/background_chain/seed_bg_apartment_home_sel.png", "seed_asset_id": "a0b48e7f-ee0c-4fea-b260-8bf3490af68b", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/5bddbdfc-2681-42a6-9837-43f35f60049d/episodes/f5372927-bbec-405d-ad2c-100d587f5373/images/background_chain/L06B01.png", "bg_reason": "", "conti_path": 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