{ "status": "completed", "applicable_count": 3, "completed_count": 3, "failed_count": 0, "schema_version": 4, "config_hash": "4aa3b8dca81ce492", "data": { "contis": { "S1sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/759e2b63-52cf-4d1b-8953-8599ac2a6141/images/3e83f3ee-ded7-4f2a-aded-01584d6ea5c5/conti/conti_S1sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/759e2b63-52cf-4d1b-8953-8599ac2a6141/episodes/3e83f3ee-ded7-4f2a-aded-01584d6ea5c5/images/background_chain/L01B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Just inside the entrance of the cramped bicycle repair shop, under the single hanging fluorescent light.\n\nSHOT TEXT (authoritative, Korean): 어깨를 잔뜩 움츠린 채 입을 크게 벌리고 서 있는 연희의 상체.\n\nCARRIED STATE (persist exactly): A single fluorescent light hangs from the ceiling above a grease-stained workbench with an open toolbox. An old bicycle remains upside down beside the workbench. She stands at the doorway in a yellow raincoat, holding a flashlight. Her shoulders are wet and hunched, and she is breathing hard.\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 prescribed interior three-quarter position at Yeonhee’s chest height, the camera continues a restrained dolly-in and tightens on her hunched upper body, slightly below her shoulders and offset toward her sightline to Minsu. Yeonhee occupies the center-left, her wet yellow-raincoat shoulders drawn upward and her torso pitched toward frame right as her fully open mouth catches the urgent appeal; the workshop remains only as soft context behind her.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 기름때 묻은 작업대 (기름때가 묻어 있음) — The upper edge is seen obliquely behind Yeonhee; used as Soft background context that places her urgent entrance inside the cramped workshop; 거꾸로 세운 낡은 자전거 (거꾸로 세워져 있음) — Only an oblique portion of the inverted frame is visible near the background edge; used as Defocused spatial cue without competing with Yeonhee’s 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, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/759e2b63-52cf-4d1b-8953-8599ac2a6141/episodes/3e83f3ee-ded7-4f2a-aded-01584d6ea5c5/images/background_chain/L01B01.png" ], [ "char:연희", "/Users/manta/Documents/Projects/TheRoad-I1/projects/759e2b63-52cf-4d1b-8953-8599ac2a6141/images/3e83f3ee-ded7-4f2a-aded-01584d6ea5c5/reference/20fe5b82-35f8-43ad-a03e-80d232b7c09c.png" ] ], "asset_id": "9701b93a-342a-4110-8a39-eaa88cb19321" }, "S1sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S2sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/759e2b63-52cf-4d1b-8953-8599ac2a6141/images/3e83f3ee-ded7-4f2a-aded-01584d6ea5c5/conti/conti_S2sh3.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 wet pavement at the center of the exterior four-way intersection, beside the fallen man's head. A flashlight beam reaches his face beneath the flickering streetlamp.\n\nSHOT TEXT (authoritative, Korean): 연희가 앞으로 곧게 뻗은 팔 끝의 손전등 빛줄기가 바닥에 누운 노인의 눈 감은 얼굴 위로 떨어지는 순간.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): The elderly man is positioned on his side on the wet ground at the center of the intersection, with his eyes closed and his body clothed in a gray coat. His cane rests on the ground beside him.\n\nCARRIED STATE (persist exactly): A lone streetlamp flickers above the four-way intersection, its light stretching across the wet pavement. A cane lies fallen near the center, while a focused flashlight beam illuminates the same area. He is positioned on his side in the middle of the intersection, wearing a gray coat with his eyes closed. She wears a yellow raincoat and holds a switched-on flashlight with her arm extended forward and the beam directed downward. Her shoulders remain wet.\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 Yeonhee at waist height, the camera finishes its dolly-in along the three-quarter line of her extended arm, looking past the flashlight toward the old man’s closed face. Yeonhee’s cropped body anchors the middle-left, her straight arm and flashlight cross the frame diagonally, and the beam terminates on the old man’s face in the lower-right while a narrow patch of wet ground preserves their physical separation.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: Yeonhee in the middle-left of the frame, midground, looks toward old man's face; old man in the lower-right of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: 손전등 (켜져 노인의 얼굴을 비추고 있음) — Its beam end points diagonally from Yeonhee’s hand toward the old man’s face; used as Connects the two figures as a continuous directional line without occupying more than a small part of the frame; 젖은 바닥 (젖어 있고 불빛이 길게 번져 있음) — The visible patch reflects an elongated trace of the flickering streetlight beneath the figures; used as Ground plane separating Yeonhee from the prone old man and supporting the diagonal composition; 지팡이 (노인의 곁 바닥에 떨어져 있음) — It lies at an oblique angle near the outer edge of the prone figure; used as Peripheral evidence of the old man’s collapse, kept secondary to his illuminated 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:연희", "/Users/manta/Documents/Projects/TheRoad-I1/projects/759e2b63-52cf-4d1b-8953-8599ac2a6141/images/3e83f3ee-ded7-4f2a-aded-01584d6ea5c5/reference/20fe5b82-35f8-43ad-a03e-80d232b7c09c.png" ], [ "char:노인", "/Users/manta/Documents/Projects/TheRoad-I1/projects/759e2b63-52cf-4d1b-8953-8599ac2a6141/images/3e83f3ee-ded7-4f2a-aded-01584d6ea5c5/reference/7e9ed52f-75a5-4325-bc8f-c72a022b7898.png" ] ], "asset_id": "06e3f869-754a-4b64-a27a-5db815fd5579" }, "S2sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S3sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/759e2b63-52cf-4d1b-8953-8599ac2a6141/images/3e83f3ee-ded7-4f2a-aded-01584d6ea5c5/conti/conti_S3sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/759e2b63-52cf-4d1b-8953-8599ac2a6141/episodes/3e83f3ee-ded7-4f2a-aded-01584d6ea5c5/images/background_chain/L01B02.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 cleared floor space inside the cramped bicycle repair shop, where the workbench has been pushed aside. The fluorescent light is on above the blanket-covered man.\n\nSHOT TEXT (authoritative, Korean): 누워 있는 노인의 곁 바닥에 무릎을 모으고 쪼그려 앉은 민수의 전신.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): The elderly man is positioned horizontally on the cleared workshop floor beneath the fluorescent light, with his eyes closed and his body covered by a blanket; his limbs are concealed beneath the blanket.\n\nCARRIED STATE (persist exactly): The workbench has been pushed to one side to clear floor space; the open toolbox and wrench remain on it, and the old bicycle remains upside down nearby. The hanging fluorescent light illuminates the workshop. He is positioned horizontally with his eyes closed in the cleared floor area, still wearing the gray coat beneath a blanket. He crouches low on the floor in navy work clothes with his sleeves rolled up. His fingertips remain grease-stained.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From seated-eye height beside the old man’s lower body, the static camera looks slightly downward from Minsu’s front three-quarter side and contains his entire compact crouch. Minsu occupies the center-right with his knees gathered and attention fixed on the old man, whose blanket-covered body extends across the lower-left; the cleared floor and displaced workbench remain visible without drawing focus.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: Minsu in the middle-right of the frame, midground; old man in the lower-left of the frame, midground; cleared floor beside displaced workbench in the middle-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: 한쪽으로 밀어 둔 작업대 (자리를 내기 위해 한쪽으로 옮겨져 있음) — Its long side recedes obliquely along the rear of the cleared area; used as Defines the improvised open space around the two figures; 담요 (누워 있는 노인을 덮고 있음) — It follows the length of the old man’s body across the lower-left portion of the frame; used as Clarifies the old man’s protected, motionless condition while preserving human scale; 비워 둔 바닥 공간 (작업대를 옮겨 자리가 마련되어 있음); used as Negative space around Minsu’s full crouched figure and the prone old man.\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/759e2b63-52cf-4d1b-8953-8599ac2a6141/episodes/3e83f3ee-ded7-4f2a-aded-01584d6ea5c5/images/background_chain/L01B02.png" ], [ "char:민수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/759e2b63-52cf-4d1b-8953-8599ac2a6141/images/3e83f3ee-ded7-4f2a-aded-01584d6ea5c5/reference/a4a95c45-30a2-4028-ba43-9a2c4f44feb0.png" ], [ "char:노인", "/Users/manta/Documents/Projects/TheRoad-I1/projects/759e2b63-52cf-4d1b-8953-8599ac2a6141/images/3e83f3ee-ded7-4f2a-aded-01584d6ea5c5/reference/7e9ed52f-75a5-4325-bc8f-c72a022b7898.png" ] ], "asset_id": "bf79534f-1c10-4718-ab36-2da40a94fa9e" }, "S3sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null } }, "map_conti": {}, "conti_pack": "5.202607222353", "lane_conti": {} }, "step_id": "shot_conti_light", "run_id": "e58a0715-b6ca-4083-a472-94b8d4b5c7c6", "resolved_model": "gpt-image-2", "updated_at": "2026-08-28T04:10:38.166588+00:00", "project_config_snapshot": {} }