{ "S1sh3::signage": { "fp": "1b9e6afaf87c53b5", "inscriptions": [], "cues": [], "dropped": [] }, "era_assess::1460b94ba23ff64a": { "subjects": [], "subject_text": "좁은 자전거 정비소 내부\n좁은 단일 작업 공간. 천장 형광등 아래 기름때 묻은 작업대, 열린 공구 상자, 거꾸로 세운 낡은 자전거가 빽빽하게 놓여 있다.", "identity": "canonical", "scope_id": "L01", "scope_role": "location_interior", "scope_sha": "1a2dd4d1c4d2b639" }, "S1sh3::bgfirst_bg": { "input_fingerprint": "1a32c63621151bb8", "prompt": "Create the EMPTY BACKGROUND PLATE for one film shot — NO PEOPLE, no figures, no body parts, no sketch lines, no arrows anywhere.\n\"Empty\" means no people only: KEEP the location's inherent occupants and stock that define the place — animals in an animal shelter, pen or farm, goods in a market, moored boats in a harbour — unless the shot text explicitly removes them.\nThe FIRST attached image is a thin-line storyboard sketch: use ONLY its camera angle, horizon, perspective and the placement/size of buildings and set masses — ignore the sketched people and arrows entirely. The SECOND attached image (LOCATION PHOTOGRAPH) is the real place: take its architecture, materials, signage and fixed features, and RE-PROJECT them into the sketch's camera. If the photograph's camera differs from the sketch's, the sketch's camera wins.\nHUMAN-SCALE CALIBRATION: derive every structure's true size from human-scale elements — a door ≈ 2m, a window ≈ 1–1.5m wide, one storey ≈ 2.5–3m; never inflate a small structure or shrink a large one.\n\nSHOT TEXT this background must serve (Korean): 어깨를 잔뜩 움츠린 채 입을 크게 벌리고 서 있는 연희의 상체.\n\nLOCATION (lock): Just inside the entrance of the cramped bicycle repair shop, under the single hanging fluorescent light.\n\nTIME OF DAY (lock): evening.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\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 — subject scale and screen placement. The viewing angle is deliberately left open here; choose the angle that serves the shot. 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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The single overhead fluorescent light gives restrained, naturalistic evening illumination with muted color and gentle contrast.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nRender ONE photorealistic empty location photograph, 16:9, that this shot can be staged inside later. No readable writing anywhere: surfaces that would carry writing may be present, but stage any wording out of legibility — an oblique angle, distance, shallow focus. No captions, watermarks or overlay text.", "effective_prompt": "Create the EMPTY BACKGROUND PLATE for one film shot — NO PEOPLE, no figures, no body parts, no sketch lines, no arrows anywhere.\n\"Empty\" means no people only: KEEP the location's inherent occupants and stock that define the place — animals in an animal shelter, pen or farm, goods in a market, moored boats in a harbour — unless the shot text explicitly removes them.\nThe FIRST attached image is a thin-line storyboard sketch: use ONLY its camera angle, horizon, perspective and the placement/size of buildings and set masses — ignore the sketched people and arrows entirely. The SECOND attached image (LOCATION PHOTOGRAPH) is the real place: take its architecture, materials, signage and fixed features, and RE-PROJECT them into the sketch's camera. If the photograph's camera differs from the sketch's, the sketch's camera wins.\nHUMAN-SCALE CALIBRATION: derive every structure's true size from human-scale elements — a door ≈ 2m, a window ≈ 1–1.5m wide, one storey ≈ 2.5–3m; never inflate a small structure or shrink a large one.\n\nSHOT TEXT this background must serve (Korean): 어깨를 잔뜩 움츠린 채 입을 크게 벌리고 서 있는 연희의 상체.\n\nLOCATION (lock): Just inside the entrance of the cramped bicycle repair shop, under the single hanging fluorescent light.\n\nTIME OF DAY (lock): evening.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\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 — subject scale and screen placement. The viewing angle is deliberately left open here; choose the angle that serves the shot. 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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The single overhead fluorescent light gives restrained, naturalistic evening illumination with muted color and gentle contrast.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nRender ONE photorealistic empty location photograph, 16:9, that this shot can be staged inside later. No readable writing anywhere: surfaces that would carry writing may be present, but stage any wording out of legibility — an oblique angle, distance, shallow focus. No captions, watermarks or overlay text.", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/759e2b63-52cf-4d1b-8953-8599ac2a6141/images/3e83f3ee-ded7-4f2a-aded-01584d6ea5c5/scene/recipe/S1sh3__bgfirst_bg.png", "asset_id": "f66e1c0a-be24-4e38-8039-d411a6e40ac1", "input_asset_ids": [ "9701b93a-342a-4110-8a39-eaa88cb19321", "1257cbfa-d800-4473-a5e8-6299694d776f" ] }, "S1sh3": { "input_fingerprint": "764452e0d791f612", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean-speaking unless stated. TIME OF DAY (lock): evening.\n\nSHOT TEXT (authoritative, Korean): 어깨를 잔뜩 움츠린 채 입을 크게 벌리고 서 있는 연희의 상체.\n\nLOCATION (lock): Just inside the entrance of the cramped bicycle repair shop, under the single hanging fluorescent light. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\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 — subject scale and screen placement. The viewing angle is deliberately left open here; choose the angle that serves the shot. 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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The single overhead fluorescent light gives restrained, naturalistic evening illumination with muted color and gentle contrast.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging within whatever this brief already fixes,\nnot literal fantasy imagery.\n\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person it puts in\nthis shot, imagine that description and still show them as a\nconcrete, fully-formed human being:\nrender the human form as fully as the framing shows — never reduce\na person to a shape, blob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands naturally positioned for the action\nthe SHOT TEXT already gives them, gaze on the target the SHOT TEXT\nimplies; avoid a stiff attention stance (feet together, arms hanging\nstraight down) and a blank stare into the lens. If the SHOT TEXT or\nany POSE/IMMOBILE contract above stages stillness, death, sleep,\nunconsciousness, restraint, drill or an explicit direct-to-camera\nlook, follow THAT exactly — this clause never overrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): 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\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 연희 (한국인, 20대 여성, 자연스러운 젊은 얼굴, 자연스러운 짙은색 머리카락) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nNo readable writing anywhere in this image. Surfaces that would carry writing may be present, but nothing a viewer could read: stage every one of them out of legibility — a hand across, an oblique angle, shallow focus, or simply turned away. No caption, subtitle, watermark, logo or overlay.", "roll_prompts": { "A": "Stage the shot. The FIRST attached image (SHOT BACKGROUND) is the finished empty background of this shot — keep it EXACTLY: its camera, perspective, architecture, lighting and every fixed feature stay untouched. The SECOND attached image (LAYOUT SKETCH) tells you ONLY where the people go: each sketched person's position, screen size, pose and the gaze/motion arrows. Ignore the sketch's background lines. The CHARACTER REFERENCE photographs show the real people.\nPlace the real people into the background at exactly the sketched positions, sizes and poses, following the arrow directions. No sketch lines or arrows may remain.\n\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean-speaking unless stated. TIME OF DAY (lock): evening.\n\nSHOT TEXT (authoritative, Korean): 어깨를 잔뜩 움츠린 채 입을 크게 벌리고 서 있는 연희의 상체.\n\nLOCATION (lock): Just inside the entrance of the cramped bicycle repair shop, under the single hanging fluorescent light. The shot takes place here — the FIRST attached image (SHOT BACKGROUND) is this exact place, already built: its ground, structures, horizon, materials and lighting are the finished truth of this location and must not be redesigned or replaced. No location photograph is attached — read the place from that image alone, and add no scenery, structure, vehicle or fixture that it does not already show. This lock governs the place only; the figures in the shot follow the staging and pose instructions.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\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 — subject scale and screen placement. The viewing angle is deliberately left open here; choose the angle that serves the shot. 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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The single overhead fluorescent light gives restrained, naturalistic evening illumination with muted color and gentle contrast.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging within whatever this brief already fixes,\nnot literal fantasy imagery.\n\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person it puts in\nthis shot, imagine that description and still show them as a\nconcrete, fully-formed human being:\nrender the human form as fully as the framing shows — never reduce\na person to a shape, blob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands naturally positioned for the action\nthe SHOT TEXT already gives them, gaze on the target the SHOT TEXT\nimplies; avoid a stiff attention stance (feet together, arms hanging\nstraight down) and a blank stare into the lens. If the SHOT TEXT or\nany POSE/IMMOBILE contract above stages stillness, death, sleep,\nunconsciousness, restraint, drill or an explicit direct-to-camera\nlook, follow THAT exactly — this clause never overrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): 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\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 연희 (한국인, 20대 여성, 자연스러운 젊은 얼굴, 자연스러운 짙은색 머리카락) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nNo readable writing anywhere in this image. Surfaces that would carry writing may be present, but nothing a viewer could read: stage every one of them out of legibility — a hand across, an oblique angle, shallow focus, or simply turned away. No caption, subtitle, watermark, logo or overlay.", "B": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean-speaking unless stated. TIME OF DAY (lock): evening.\n\nSHOT TEXT (authoritative, Korean): 어깨를 잔뜩 움츠린 채 입을 크게 벌리고 서 있는 연희의 상체.\n\nLOCATION (lock): Just inside the entrance of the cramped bicycle repair shop, under the single hanging fluorescent light. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\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 — subject scale and screen placement. The viewing angle is deliberately left open here; choose the angle that serves the shot. 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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The single overhead fluorescent light gives restrained, naturalistic evening illumination with muted color and gentle contrast.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging within whatever this brief already fixes,\nnot literal fantasy imagery.\n\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person it puts in\nthis shot, imagine that description and still show them as a\nconcrete, fully-formed human being:\nrender the human form as fully as the framing shows — never reduce\na person to a shape, blob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands naturally positioned for the action\nthe SHOT TEXT already gives them, gaze on the target the SHOT TEXT\nimplies; avoid a stiff attention stance (feet together, arms hanging\nstraight down) and a blank stare into the lens. If the SHOT TEXT or\nany POSE/IMMOBILE contract above stages stillness, death, sleep,\nunconsciousness, restraint, drill or an explicit direct-to-camera\nlook, follow THAT exactly — this clause never overrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): 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\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 연희 (한국인, 20대 여성, 자연스러운 젊은 얼굴, 자연스러운 짙은색 머리카락) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nNo readable writing anywhere in this image. Surfaces that would carry writing may be present, but nothing a viewer could read: stage every one of them out of legibility — a hand across, an oblique angle, shallow focus, or simply turned away. No caption, subtitle, watermark, logo or overlay.\n\nCOMPOSITION VARIATION (this candidate only): keep the place, the people and the moment exactly as specified, and keep from the CAMERA & FRAME contract its subject scale, screen placement and key background elements exactly. For this candidate only, its camera angle and height are deliberately left open: choose a camera position distinctly different from the obvious one, as a film director picking a second setup on the same blocking. Stay true to any explicit framing the SHOT TEXT itself dictates." }, "roll_refs": { "A": [ { "label": "SHOT BACKGROUND", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/759e2b63-52cf-4d1b-8953-8599ac2a6141/images/3e83f3ee-ded7-4f2a-aded-01584d6ea5c5/scene/recipe/S1sh3__bgfirst_bg.png", "asset_id": "f66e1c0a-be24-4e38-8039-d411a6e40ac1", "role": "bgfirst_bg" }, { "label": "LAYOUT SKETCH (people placement only)", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/759e2b63-52cf-4d1b-8953-8599ac2a6141/images/3e83f3ee-ded7-4f2a-aded-01584d6ea5c5/conti/conti_S1sh3.png", "asset_id": "9701b93a-342a-4110-8a39-eaa88cb19321", "role": "conti_light" }, { "label": "CHARACTER REFERENCE — 연희: the exact person appearing in this shot; match face, hair and build exactly.", "path": "", "asset_id": "54b62e1d-165e-49d1-861f-eb748948f90d", "role": "character_ref" } ], "B": [ { "label": "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/759e2b63-52cf-4d1b-8953-8599ac2a6141/episodes/3e83f3ee-ded7-4f2a-aded-01584d6ea5c5/images/background_chain/L01B01.png", "asset_id": "1257cbfa-d800-4473-a5e8-6299694d776f", "role": "location_plate" }, { "label": "CHARACTER REFERENCE — 연희: the exact person appearing in this shot; match face, hair and build exactly.", "path": "", "asset_id": "54b62e1d-165e-49d1-861f-eb748948f90d", "role": "character_ref" } ] }, "shot_run_spend_attempt_count": 1, "judge_flip": { "forward_raw": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 3, "verdict_ko": "어깨를 잔뜩 움츠린 역동적인 자세는 프롬프트를 잘 반영했으나, 클로즈업 프레이밍을 지키지 않았고 결정적으로 '거꾸로 세워져 있어야 할 자전거'가 똑바로 세워져 있어 실격입니다." }, { "label": "B", "score": 2, "verdict_ko": "자전거가 똑바로 세워져 있는 명백한 지시 위반에 더해, 바닥에 손전등이 중복으로 나타나며 움츠린 자세의 표현력도 A에 비해 떨어집니다." } ], "readings": [ { "label": "A", "direction": "시선과 들고 있는 손전등의 방향이 화면 오른쪽 바깥을 향하고 있다.", "built_space": "자전거 수리점 입구 안쪽. 인물 뒤편 우측에 작업대가 있으며, 그 옆에 자전거가 바퀴를 바닥에 댄 채 똑바로 세워져 있다.", "entities": "지정된 외모의 연희가 노란 우비를 입고 물에 젖은 채 어깨를 한껏 움츠리고 입을 크게 벌리고 있다. 손에는 손전등을 쥐고 있다.", "hard_violations": [ "프롬프트에 '거꾸로 세워져 있음'으로 명시된 자전거가 똑바로 세워져 있음" ], "physics": "바닥에 발을 딛고 서서 몸을 지탱하고 있으며, 손으로 손전등을 확실하게 쥐고 있다." }, { "label": "B", "direction": "시선은 화면 왼쪽 전방을 향하고 있으며, 쥐고 있는 손전등은 하단 우측을 향한다.", "built_space": "자전거 수리점 내부. 인물 뒤로 작업대와 똑바로 세워진 자전거가 보이며, 바닥에는 위치 레퍼런스 사진에 있던 손전등이 그대로 놓여 있다.", "entities": "지정된 외모의 연희가 젖은 노란 우비를 입고 입을 벌리고 서 있다. 손전등을 쥐고 있다.", "hard_violations": [ "프롬프트에 '거꾸로 세워져 있음'으로 명시된 자전거가 똑바로 세워져 있음", "인물이 손전등을 들고 있음에도 바닥에 배경 사진의 손전등이 그대로 남아 있어 사물이 중복됨" ], "physics": "두 발로 바닥에 서서 자세를 유지하고 있으며, 손으로 손전등을 쥐고 있다." } ], "all_candidates_fail": true, "gq": { "route": "agree", "gap": 0.0, "per_model_winner": { "gemini-pro": "A", "openrouter:x-ai/grok-4.6": "A" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] } }, "forward_normalized": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 3, "verdict_ko": "어깨를 잔뜩 움츠린 역동적인 자세는 프롬프트를 잘 반영했으나, 클로즈업 프레이밍을 지키지 않았고 결정적으로 '거꾸로 세워져 있어야 할 자전거'가 똑바로 세워져 있어 실격입니다." }, { "label": "B", "score": 2, "verdict_ko": "자전거가 똑바로 세워져 있는 명백한 지시 위반에 더해, 바닥에 손전등이 중복으로 나타나며 움츠린 자세의 표현력도 A에 비해 떨어집니다." } ], "all_candidates_fail": true, "readings": [ { "label": "A", "direction": "시선과 들고 있는 손전등의 방향이 화면 오른쪽 바깥을 향하고 있다.", "built_space": "자전거 수리점 입구 안쪽. 인물 뒤편 우측에 작업대가 있으며, 그 옆에 자전거가 바퀴를 바닥에 댄 채 똑바로 세워져 있다.", "entities": "지정된 외모의 연희가 노란 우비를 입고 물에 젖은 채 어깨를 한껏 움츠리고 입을 크게 벌리고 있다. 손에는 손전등을 쥐고 있다.", "hard_violations": [ "프롬프트에 '거꾸로 세워져 있음'으로 명시된 자전거가 똑바로 세워져 있음" ], "physics": "바닥에 발을 딛고 서서 몸을 지탱하고 있으며, 손으로 손전등을 확실하게 쥐고 있다." }, { "label": "B", "direction": "시선은 화면 왼쪽 전방을 향하고 있으며, 쥐고 있는 손전등은 하단 우측을 향한다.", "built_space": "자전거 수리점 내부. 인물 뒤로 작업대와 똑바로 세워진 자전거가 보이며, 바닥에는 위치 레퍼런스 사진에 있던 손전등이 그대로 놓여 있다.", "entities": "지정된 외모의 연희가 젖은 노란 우비를 입고 입을 벌리고 서 있다. 손전등을 쥐고 있다.", "hard_violations": [ "프롬프트에 '거꾸로 세워져 있음'으로 명시된 자전거가 똑바로 세워져 있음", "인물이 손전등을 들고 있음에도 바닥에 배경 사진의 손전등이 그대로 남아 있어 사물이 중복됨" ], "physics": "두 발로 바닥에 서서 자세를 유지하고 있으며, 손으로 손전등을 쥐고 있다." } ] }, "reverse_raw": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 7, "verdict_ko": "클로즈업보다는 다소 넓은 샷이고 자전거가 거꾸로 세워지지 않은 점은 아쉬우나, '어깨를 잔뜩 움츠린 채 입을 크게 벌리고'라는 핵심 동작 지시를 가장 충실하고 생동감 있게 구현했습니다." }, { "label": "A", "score": 3, "verdict_ko": "레퍼런스 이미지 바닥에 있던 손전등이 그대로 유출되어 손에 든 손전등과 함께 2개가 존재하는 하드 위반이 발생했으며, 어깨를 움츠린 동작 묘사가 부족합니다." } ], "readings": [ { "label": "A", "direction": "시선은 화면 오른쪽 밖을 향하고 있음.", "built_space": "수리점 입구 안쪽. 우측에 작업대와 공구들이 있고, 그 뒤로 거치대에 똑바로 세워진 자전거가 보임. 바닥에 손전등이 하나 놓여 있음.", "entities": "연희(노란 우비, 젖은 머리카락, 일치하는 외모). 손전등(바닥에 하나, 손에 하나).", "hard_violations": [ "중복된 사물: 프롬프트가 요구한 손전등을 손에 들고 있음에도, 레퍼런스에서 유출된 바닥의 손전등이 그대로 남아 있어 공간에 2개의 손전등이 존재함." ], "physics": "바닥에 똑바로 서서 손전등을 쥐고 있음. 바닥의 손전등은 지면에 닿아 있음." }, { "label": "B", "direction": "시선은 화면 오른쪽 밖을 향하며, 상체를 크게 앞으로 숙이고 있음.", "built_space": "수리점 내부. 우측에 작업대와 공구들이 뚜렷하게 보이며, 앞바퀴가 있는 자전거가 거치대에 똑바로 세워져 있음.", "entities": "연희(노란 우비, 젖은 머리카락). 손에 쥔 손전등 1개.", "hard_violations": [], "physics": "바닥에 발을 딛고 상체를 깊이 숙인 자세이며, 손으로 손전등의 무게를 지탱하고 있음." } ], "all_candidates_fail": false, "gq": { "route": "agree", "gap": 0.0, "per_model_winner": { "gemini-pro": "B", "openrouter:x-ai/grok-4.6": "B" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] } }, "reverse_normalized": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 7, "verdict_ko": "클로즈업보다는 다소 넓은 샷이고 자전거가 거꾸로 세워지지 않은 점은 아쉬우나, '어깨를 잔뜩 움츠린 채 입을 크게 벌리고'라는 핵심 동작 지시를 가장 충실하고 생동감 있게 구현했습니다." }, { "label": "B", "score": 3, "verdict_ko": "레퍼런스 이미지 바닥에 있던 손전등이 그대로 유출되어 손에 든 손전등과 함께 2개가 존재하는 하드 위반이 발생했으며, 어깨를 움츠린 동작 묘사가 부족합니다." } ], "all_candidates_fail": false, "readings": [ { "label": "B", "direction": "시선은 화면 오른쪽 밖을 향하고 있음.", "built_space": "수리점 입구 안쪽. 우측에 작업대와 공구들이 있고, 그 뒤로 거치대에 똑바로 세워진 자전거가 보임. 바닥에 손전등이 하나 놓여 있음.", "entities": "연희(노란 우비, 젖은 머리카락, 일치하는 외모). 손전등(바닥에 하나, 손에 하나).", "hard_violations": [ "중복된 사물: 프롬프트가 요구한 손전등을 손에 들고 있음에도, 레퍼런스에서 유출된 바닥의 손전등이 그대로 남아 있어 공간에 2개의 손전등이 존재함." ], "physics": "바닥에 똑바로 서서 손전등을 쥐고 있음. 바닥의 손전등은 지면에 닿아 있음." }, { "label": "A", "direction": "시선은 화면 오른쪽 밖을 향하며, 상체를 크게 앞으로 숙이고 있음.", "built_space": "수리점 내부. 우측에 작업대와 공구들이 뚜렷하게 보이며, 앞바퀴가 있는 자전거가 거치대에 똑바로 세워져 있음.", "entities": "연희(노란 우비, 젖은 머리카락). 손에 쥔 손전등 1개.", "hard_violations": [], "physics": "바닥에 발을 딛고 상체를 깊이 숙인 자세이며, 손으로 손전등의 무게를 지탱하고 있음." } ] }, "combined": { "totals": { "A": 10, "B": 5 }, "ranking": [ "A", "B" ], "agreement": true, "policy": 1 } }, "readings": [ { "label": "A", "direction": "시선과 들고 있는 손전등의 방향이 화면 오른쪽 바깥을 향하고 있다.", "built_space": "자전거 수리점 입구 안쪽. 인물 뒤편 우측에 작업대가 있으며, 그 옆에 자전거가 바퀴를 바닥에 댄 채 똑바로 세워져 있다.", "entities": "지정된 외모의 연희가 노란 우비를 입고 물에 젖은 채 어깨를 한껏 움츠리고 입을 크게 벌리고 있다. 손에는 손전등을 쥐고 있다.", "hard_violations": [ "프롬프트에 '거꾸로 세워져 있음'으로 명시된 자전거가 똑바로 세워져 있음" ], "physics": "바닥에 발을 딛고 서서 몸을 지탱하고 있으며, 손으로 손전등을 확실하게 쥐고 있다." }, { "label": "B", "direction": "시선은 화면 왼쪽 전방을 향하고 있으며, 쥐고 있는 손전등은 하단 우측을 향한다.", "built_space": "자전거 수리점 내부. 인물 뒤로 작업대와 똑바로 세워진 자전거가 보이며, 바닥에는 위치 레퍼런스 사진에 있던 손전등이 그대로 놓여 있다.", "entities": "지정된 외모의 연희가 젖은 노란 우비를 입고 입을 벌리고 서 있다. 손전등을 쥐고 있다.", "hard_violations": [ "프롬프트에 '거꾸로 세워져 있음'으로 명시된 자전거가 똑바로 세워져 있음", "인물이 손전등을 들고 있음에도 바닥에 배경 사진의 손전등이 그대로 남아 있어 사물이 중복됨" ], "physics": "두 발로 바닥에 서서 자세를 유지하고 있으며, 손으로 손전등을 쥐고 있다." } ], "totals": { "A": 10, "B": 5 }, "selected": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 3, "verdict_ko": "어깨를 잔뜩 움츠린 역동적인 자세는 프롬프트를 잘 반영했으나, 클로즈업 프레이밍을 지키지 않았고 결정적으로 '거꾸로 세워져 있어야 할 자전거'가 똑바로 세워져 있어 실격입니다." }, { "label": "B", "score": 2, "verdict_ko": "자전거가 똑바로 세워져 있는 명백한 지시 위반에 더해, 바닥에 손전등이 중복으로 나타나며 움츠린 자세의 표현력도 A에 비해 떨어집니다." } ], "refs": [ { "label": "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/759e2b63-52cf-4d1b-8953-8599ac2a6141/episodes/3e83f3ee-ded7-4f2a-aded-01584d6ea5c5/images/background_chain/L01B01.png", "asset_id": "1257cbfa-d800-4473-a5e8-6299694d776f", "role": "location_plate" }, { "label": "CHARACTER REFERENCE — 연희: the exact person appearing in this shot; match face, hair and build exactly.", "path": "", "asset_id": "54b62e1d-165e-49d1-861f-eb748948f90d", "role": "character_ref" } ], "critique": { "issues": [ { "issue_ko": "배경 원본에 없던 똑바로 세워진 자전거가 작업대 옆에 추가되어 배경을 그대로 유지하라는 지시를 위반했습니다.", "fix_en": "Replace the sharply focused upright bicycle next to the workbench with the defocused, upside-down bicycle frame exactly as it appears on the right edge of the background reference. Preserve Yeonhee's face, pose, yellow raincoat, flashlight, and the remaining workshop background.", "unfixable": false, "needs_regeneration": false, "severity": "critical", "observation_index": 0, "needs_ref_indices": [ 1 ], "adds_missing_entity": false, "missing_entity_name": "" } ], "observer_observations": [ { "issue_ko": "배경 원본에 없던 똑바로 세워진 자전거가 작업대 옆에 추가되어 배경을 그대로 유지하라는 지시를 위반했습니다.", "severity": "critical" }, { "issue_ko": "오른쪽 자전거가 거꾸로 세워져 있지 않고 바퀴가 바닥에 닿아 똑바로 세워져 있다.", "severity": "major" }, { "issue_ko": "자전거가 배경 가장자리의 흐릿한 비스듬한 일부가 아니라 프레임 오른쪽에 선명하고 크게 보인다.", "severity": "major" } ], "observer_models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ], "observer_counts": { "gemini-pro": 1, "openrouter:x-ai/grok-4.6": 2 } }, "repair_mode": "edit", "fix_ref_gate": { "mode": "gated", "available": 3, "kept": 1, "requested_indices": [ 1 ], "kept_labels": [ "SHOT BACKGROUND" ] }, "fix_ref_count": 2, "fix_prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Replace the sharply focused upright bicycle next to the workbench with the defocused, upside-down bicycle frame exactly as it appears on the right edge of the background reference. Preserve Yeonhee's face, pose, yellow raincoat, flashlight, and the remaining workshop background.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. Real-world writing that belongs\nto the scene — signs, banners, documents — stays exactly as the\noriginal shows it; do not add captions, subtitles, watermarks or\nany overlay text.", "fix_rejudge": { "forward_raw": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "A", "score": 3, "verdict_ko": "인물의 묘사는 훌륭하나, 원본 배경에서 렌즈 가까이에 아웃포커싱되어야 할 자전거를 삭제하고 작업대 앞에 선명하게 새로 배치하여 배경 고정 지시를 크게 위반했습니다." }, { "label": "B", "score": 10, "verdict_ko": "잔뜩 움츠린 어깨와 크게 벌린 입 등 텍스트의 인물 묘사를 완벽히 구현했으며, 우측 전경의 자전거를 아웃포커싱 처리하여 원본 배경을 훼손 없이 정확하게 보존했습니다." } ], "readings": [ { "label": "A", "direction": "연희의 시선은 화면 우측을 향하고 있으며, 오른손에 쥔 손전등은 전방 상단을 비추고 있다.", "built_space": "원본 배경(SHOT BACKGROUND) 우측 전경 가장자리에 있어야 할 아웃포커싱된 자전거 형태가 삭제되고, 작업대 앞 중간 거리에 자전거가 선명하게 전체 윤곽을 드러내며 배치되어 배경 공간의 구조적 고정 지시를 무시했다.", "entities": "연희의 얼굴, 헤어스타일, 비에 젖은 노란 우비는 레퍼런스와 일치하며 텍스트에 지시된 '입을 크게 벌리고 어깨를 움츠린 상체'의 요구 조건을 잘 반영했다.", "hard_violations": [ "배경 고정 지시 위반 (우측 전경 가장자리의 자전거 요소를 임의로 삭제하고 중간 거리에 새로운 자전거를 선명하게 배치함)" ], "physics": "손전등을 쥔 손의 형태나 신체의 무게 중심 등 물리적인 어색함은 없으며 바닥을 단단히 딛고 있다." }, { "label": "B", "direction": "연희의 시선은 화면 우측을 뚜렷하게 향하고 있으며, 손전등 역시 앞으로 내밀어져 시선 방향과 조화를 이룬다.", "built_space": "원본 배경 이미지와 완벽하게 일치한다. 프롬프트 지시대로 우측 전경 가장자리에 자전거 일부가 아웃포커싱되어 시야를 가리지 않게 배치되었으며, 작업대와 뒷배경의 구조가 원본 그대로 유지되었다.", "entities": "연희의 얼굴과 체형이 레퍼런스와 정확히 일치하며, 지시사항에 명시된 움츠린 어깨와 크게 벌린 입의 표정 묘사가 매우 사실적이고 자연스럽게 표현되었다.", "hard_violations": [], "physics": "손전등을 단단히 쥐고 상체를 굽혀 긴장한 채 서 있는 자세가 물리적으로 매우 자연스러우며, 허공에 떠 있거나 구조적으로 불가능한 부분은 발견되지 않는다." } ], "all_candidates_fail": false, "gq": { "route": "agree", "gap": 0.0, "per_model_winner": { "gemini-pro": "B", "openrouter:x-ai/grok-4.6": "B" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] } }, "forward_normalized": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "A", "score": 3, "verdict_ko": "인물의 묘사는 훌륭하나, 원본 배경에서 렌즈 가까이에 아웃포커싱되어야 할 자전거를 삭제하고 작업대 앞에 선명하게 새로 배치하여 배경 고정 지시를 크게 위반했습니다." }, { "label": "B", "score": 10, "verdict_ko": "잔뜩 움츠린 어깨와 크게 벌린 입 등 텍스트의 인물 묘사를 완벽히 구현했으며, 우측 전경의 자전거를 아웃포커싱 처리하여 원본 배경을 훼손 없이 정확하게 보존했습니다." } ], "all_candidates_fail": false, "readings": [ { "label": "A", "direction": "연희의 시선은 화면 우측을 향하고 있으며, 오른손에 쥔 손전등은 전방 상단을 비추고 있다.", "built_space": "원본 배경(SHOT BACKGROUND) 우측 전경 가장자리에 있어야 할 아웃포커싱된 자전거 형태가 삭제되고, 작업대 앞 중간 거리에 자전거가 선명하게 전체 윤곽을 드러내며 배치되어 배경 공간의 구조적 고정 지시를 무시했다.", "entities": "연희의 얼굴, 헤어스타일, 비에 젖은 노란 우비는 레퍼런스와 일치하며 텍스트에 지시된 '입을 크게 벌리고 어깨를 움츠린 상체'의 요구 조건을 잘 반영했다.", "hard_violations": [ "배경 고정 지시 위반 (우측 전경 가장자리의 자전거 요소를 임의로 삭제하고 중간 거리에 새로운 자전거를 선명하게 배치함)" ], "physics": "손전등을 쥔 손의 형태나 신체의 무게 중심 등 물리적인 어색함은 없으며 바닥을 단단히 딛고 있다." }, { "label": "B", "direction": "연희의 시선은 화면 우측을 뚜렷하게 향하고 있으며, 손전등 역시 앞으로 내밀어져 시선 방향과 조화를 이룬다.", "built_space": "원본 배경 이미지와 완벽하게 일치한다. 프롬프트 지시대로 우측 전경 가장자리에 자전거 일부가 아웃포커싱되어 시야를 가리지 않게 배치되었으며, 작업대와 뒷배경의 구조가 원본 그대로 유지되었다.", "entities": "연희의 얼굴과 체형이 레퍼런스와 정확히 일치하며, 지시사항에 명시된 움츠린 어깨와 크게 벌린 입의 표정 묘사가 매우 사실적이고 자연스럽게 표현되었다.", "hard_violations": [], "physics": "손전등을 단단히 쥐고 상체를 굽혀 긴장한 채 서 있는 자세가 물리적으로 매우 자연스러우며, 허공에 떠 있거나 구조적으로 불가능한 부분은 발견되지 않는다." } ] }, "reverse_raw": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 9, "verdict_ko": "지시된 원본 배경 이미지를 완벽하게 유지하면서, 잔뜩 움츠린 채 입을 벌린 연희의 표정과 자세를 캐릭터 레퍼런스에 맞춰 훌륭하게 구현했습니다." }, { "label": "B", "score": 4, "verdict_ko": "연희의 묘사는 훌륭하나, 배경을 그대로 유지하라는 지시를 어기고 스케치에만 있던 자전거를 임의로 추가하여 물리적 공간을 크게 훼손했습니다." } ], "readings": [ { "label": "A", "direction": "연희의 시선과 크게 벌린 입은 화면 오른쪽 바깥을 향하고 있으며, 오른손에 쥔 손전등은 우측 하단을 가리키고 있다.", "built_space": "원본 배경 이미지의 구조가 그대로 유지되었다. 왼쪽의 빈 벽, 오른쪽의 작업대와 바이스, 벽면의 공구들, 그리고 우측 전경에 위치한 아웃포커싱된 자전거 안장과 프레임이 원본과 동일한 위치에 있다.", "entities": "캐릭터 레퍼런스의 20대 한국인 여성(연희)과 이목구비 및 헤어스타일이 일치하며, 젖은 노란색 우비와 손전등의 묘사도 프롬프트와 정확히 맞아떨어진다.", "hard_violations": [], "physics": "어깨를 움츠리고 긴장한 채 서 있는 상체의 무게 중심이 자연스럽고, 오른손이 손전등을 단단하게 감싸 쥐고 있어 지지 관계가 명확하다." }, { "label": "B", "direction": "연희의 시선은 화면 오른쪽을 향하고, 오른손에 쥔 손전등의 앞부분은 우측 하단을 향하고 있다.", "built_space": "원본 배경 이미지 우측 전경에 있던 자전거의 일부가 완전히 삭제되었고, 대신 스케치의 레이아웃을 잘못 반영하여 작업대 옆 중간 거리에 새로운 자전거 전체를 임의로 배치하였다.", "entities": "연희의 얼굴 특징과 노란 우비, 손전등이 레퍼런스와 잘 일치하게 표현되었다.", "hard_violations": [ "원본 배경을 절대 수정하지 말고 스케치의 배경 선을 무시하라는 지시를 위반하여, 작업대 옆에 새 자전거를 추가하고 전경의 원래 자전거를 삭제함 (LOCATION lock 위반)" ], "physics": "움츠린 상체의 자세와 손전등을 쥔 손가락의 형태가 자연스러우며 들고 있는 물체와의 물리적 접촉이 정상적이다." } ], "all_candidates_fail": false, "gq": { "route": "agree", "gap": 0.0, "per_model_winner": { "gemini-pro": "A", "openrouter:x-ai/grok-4.6": "A" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] } }, "reverse_normalized": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 9, "verdict_ko": "지시된 원본 배경 이미지를 완벽하게 유지하면서, 잔뜩 움츠린 채 입을 벌린 연희의 표정과 자세를 캐릭터 레퍼런스에 맞춰 훌륭하게 구현했습니다." }, { "label": "A", "score": 4, "verdict_ko": "연희의 묘사는 훌륭하나, 배경을 그대로 유지하라는 지시를 어기고 스케치에만 있던 자전거를 임의로 추가하여 물리적 공간을 크게 훼손했습니다." } ], "all_candidates_fail": false, "readings": [ { "label": "B", "direction": "연희의 시선과 크게 벌린 입은 화면 오른쪽 바깥을 향하고 있으며, 오른손에 쥔 손전등은 우측 하단을 가리키고 있다.", "built_space": "원본 배경 이미지의 구조가 그대로 유지되었다. 왼쪽의 빈 벽, 오른쪽의 작업대와 바이스, 벽면의 공구들, 그리고 우측 전경에 위치한 아웃포커싱된 자전거 안장과 프레임이 원본과 동일한 위치에 있다.", "entities": "캐릭터 레퍼런스의 20대 한국인 여성(연희)과 이목구비 및 헤어스타일이 일치하며, 젖은 노란색 우비와 손전등의 묘사도 프롬프트와 정확히 맞아떨어진다.", "hard_violations": [], "physics": "어깨를 움츠리고 긴장한 채 서 있는 상체의 무게 중심이 자연스럽고, 오른손이 손전등을 단단하게 감싸 쥐고 있어 지지 관계가 명확하다." }, { "label": "A", "direction": "연희의 시선은 화면 오른쪽을 향하고, 오른손에 쥔 손전등의 앞부분은 우측 하단을 향하고 있다.", "built_space": "원본 배경 이미지 우측 전경에 있던 자전거의 일부가 완전히 삭제되었고, 대신 스케치의 레이아웃을 잘못 반영하여 작업대 옆 중간 거리에 새로운 자전거 전체를 임의로 배치하였다.", "entities": "연희의 얼굴 특징과 노란 우비, 손전등이 레퍼런스와 잘 일치하게 표현되었다.", "hard_violations": [ "원본 배경을 절대 수정하지 말고 스케치의 배경 선을 무시하라는 지시를 위반하여, 작업대 옆에 새 자전거를 추가하고 전경의 원래 자전거를 삭제함 (LOCATION lock 위반)" ], "physics": "움츠린 상체의 자세와 손전등을 쥔 손가락의 형태가 자연스러우며 들고 있는 물체와의 물리적 접촉이 정상적이다." } ] }, "combined": { "totals": { "A": 7, "B": 19 }, "ranking": [ "B", "A" ], "agreement": true, "policy": 1 }, "winner": "B", "fix_won": true, "all_candidates_fail": false, "policy": "fix_rejudge_v2_orig_on_tie" }, 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"input_fingerprint": "7753808c241c92a5", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean-speaking unless stated. TIME OF DAY (lock): evening.\n\nSHOT TEXT (authoritative, Korean): 민수의 손을 떠난 렌치가 작업대 위 열린 공구 상자 옆 바닥에 막 닿는 순간.\n\nLOCATION (lock): At the oil-stained workbench station inside the cramped bicycle repair shop, directly beside the open toolbox under the fluorescent light. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- FRAMING SCALE: insert close-up on a detail\n- FRAME LAYOUT: wrench in the lower-center of the frame, foreground; open toolbox in the middle-left of the frame, midground.\n- KEY BACKGROUND ELEMENTS: 렌치 (민수의 손을 떠나 작업대에 막 닿음) — Its long side lies diagonally across the camera-facing top plane of the workbench; used as Primary action detail in the lower center, kept below forty percent of the frame; 열린 공구 상자 (열려 있음) — The open top and one side face the camera at a steep oblique angle; used as Immediate spatial anchor beside the wrench; 기름때 묻은 작업대 (기름때가 묻어 있음) — The top plane is exposed to the steep camera angle, with the near edge crossing the lower frame; used as Contact surface that makes the wrench’s touchdown readable; 거꾸로 세운 낡은 자전거 (거꾸로 세워져 있음) — A partial side of the inverted bicycle remains visible beyond Minsu; used as Background scale reference for the close workbench detail.\nCompose the frame exactly as specified above — subject scale and screen placement. The viewing angle is deliberately left open here; choose the angle that serves the shot. 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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The overhead fluorescent light keeps the workbench action plainly legible in a muted, gently contrasted evening interior.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established about the place — its fixed features, wear and lighting — persists. The people visible in that photo are NOT in this shot: never carry their faces, bodies or clothing onto anyone here. Each person in THIS shot is defined solely by the PEOPLE list, their own CHARACTER REFERENCE images and their wardrobe notes. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging within whatever this brief already fixes,\nnot literal fantasy imagery.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The wrench has just landed on the grease-stained workbench beside the open toolbox. The old bicycle remains upside down nearby under the hanging fluorescent light.\n\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person appears in frame, and no face, and no figure standing, sitting or passing through. Do not invent someone to occupy the space.\n\nOne thing this rule does NOT forbid: the hand or arm of whoever is doing what the shot text describes. If the moment is an object being held, carried, operated, read, aimed, worn or handed over, the hand doing it belongs in frame, resting on or gripping that object exactly as its real use requires. An object photographed floating unsupported, with the hand that must be holding it erased, is a worse failure than the person you were avoiding — render the hand.\n\nNo readable writing anywhere in this image. Surfaces that would carry writing may be present, but nothing a viewer could read: stage every one of them out of legibility — a hand across, an oblique angle, shallow focus, or simply turned away. No caption, subtitle, watermark, logo or overlay.", "roll_prompts": { "A": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean-speaking unless stated. TIME OF DAY (lock): evening.\n\nSHOT TEXT (authoritative, Korean): 민수의 손을 떠난 렌치가 작업대 위 열린 공구 상자 옆 바닥에 막 닿는 순간.\n\nLOCATION (lock): At the oil-stained workbench station inside the cramped bicycle repair shop, directly beside the open toolbox under the fluorescent light. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- FRAMING SCALE: insert close-up on a detail\n- FRAME LAYOUT: wrench in the lower-center of the frame, foreground; open toolbox in the middle-left of the frame, midground.\n- KEY BACKGROUND ELEMENTS: 렌치 (민수의 손을 떠나 작업대에 막 닿음) — Its long side lies diagonally across the camera-facing top plane of the workbench; used as Primary action detail in the lower center, kept below forty percent of the frame; 열린 공구 상자 (열려 있음) — The open top and one side face the camera at a steep oblique angle; used as Immediate spatial anchor beside the wrench; 기름때 묻은 작업대 (기름때가 묻어 있음) — The top plane is exposed to the steep camera angle, with the near edge crossing the lower frame; used as Contact surface that makes the wrench’s touchdown readable; 거꾸로 세운 낡은 자전거 (거꾸로 세워져 있음) — A partial side of the inverted bicycle remains visible beyond Minsu; used as Background scale reference for the close workbench detail.\nCompose the frame exactly as specified above — subject scale and screen placement. The viewing angle is deliberately left open here; choose the angle that serves the shot. 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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The overhead fluorescent light keeps the workbench action plainly legible in a muted, gently contrasted evening interior.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established about the place — its fixed features, wear and lighting — persists. The people visible in that photo are NOT in this shot: never carry their faces, bodies or clothing onto anyone here. Each person in THIS shot is defined solely by the PEOPLE list, their own CHARACTER REFERENCE images and their wardrobe notes. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging within whatever this brief already fixes,\nnot literal fantasy imagery.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The wrench has just landed on the grease-stained workbench beside the open toolbox. The old bicycle remains upside down nearby under the hanging fluorescent light.\n\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person appears in frame, and no face, and no figure standing, sitting or passing through. Do not invent someone to occupy the space.\n\nOne thing this rule does NOT forbid: the hand or arm of whoever is doing what the shot text describes. If the moment is an object being held, carried, operated, read, aimed, worn or handed over, the hand doing it belongs in frame, resting on or gripping that object exactly as its real use requires. An object photographed floating unsupported, with the hand that must be holding it erased, is a worse failure than the person you were avoiding — render the hand.\n\nNo readable writing anywhere in this image. Surfaces that would carry writing may be present, but nothing a viewer could read: stage every one of them out of legibility — a hand across, an oblique angle, shallow focus, or simply turned away. No caption, subtitle, watermark, logo or overlay.", "B": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean-speaking unless stated. TIME OF DAY (lock): evening.\n\nSHOT TEXT (authoritative, Korean): 민수의 손을 떠난 렌치가 작업대 위 열린 공구 상자 옆 바닥에 막 닿는 순간.\n\nLOCATION (lock): At the oil-stained workbench station inside the cramped bicycle repair shop, directly beside the open toolbox under the fluorescent light. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- FRAMING SCALE: insert close-up on a detail\n- FRAME LAYOUT: wrench in the lower-center of the frame, foreground; open toolbox in the middle-left of the frame, midground.\n- KEY BACKGROUND ELEMENTS: 렌치 (민수의 손을 떠나 작업대에 막 닿음) — Its long side lies diagonally across the camera-facing top plane of the workbench; used as Primary action detail in the lower center, kept below forty percent of the frame; 열린 공구 상자 (열려 있음) — The open top and one side face the camera at a steep oblique angle; used as Immediate spatial anchor beside the wrench; 기름때 묻은 작업대 (기름때가 묻어 있음) — The top plane is exposed to the steep camera angle, with the near edge crossing the lower frame; used as Contact surface that makes the wrench’s touchdown readable; 거꾸로 세운 낡은 자전거 (거꾸로 세워져 있음) — A partial side of the inverted bicycle remains visible beyond Minsu; used as Background scale reference for the close workbench detail.\nCompose the frame exactly as specified above — subject scale and screen placement. The viewing angle is deliberately left open here; choose the angle that serves the shot. 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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The overhead fluorescent light keeps the workbench action plainly legible in a muted, gently contrasted evening interior.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established about the place — its fixed features, wear and lighting — persists. The people visible in that photo are NOT in this shot: never carry their faces, bodies or clothing onto anyone here. Each person in THIS shot is defined solely by the PEOPLE list, their own CHARACTER REFERENCE images and their wardrobe notes. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging within whatever this brief already fixes,\nnot literal fantasy imagery.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The wrench has just landed on the grease-stained workbench beside the open toolbox. The old bicycle remains upside down nearby under the hanging fluorescent light.\n\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person appears in frame, and no face, and no figure standing, sitting or passing through. Do not invent someone to occupy the space.\n\nOne thing this rule does NOT forbid: the hand or arm of whoever is doing what the shot text describes. If the moment is an object being held, carried, operated, read, aimed, worn or handed over, the hand doing it belongs in frame, resting on or gripping that object exactly as its real use requires. An object photographed floating unsupported, with the hand that must be holding it erased, is a worse failure than the person you were avoiding — render the hand.\n\nNo readable writing anywhere in this image. Surfaces that would carry writing may be present, but nothing a viewer could read: stage every one of them out of legibility — a hand across, an oblique angle, shallow focus, or simply turned away. No caption, subtitle, watermark, logo or overlay.\n\nCOMPOSITION VARIATION (this candidate only): keep the place, the people and the moment exactly as specified, and keep from the CAMERA & FRAME contract its subject scale, screen placement and key background elements exactly. For this candidate only, its camera angle and height are deliberately left open: choose a camera position distinctly different from the obvious one, as a film director picking a second setup on the same blocking. Stay true to any explicit framing the SHOT TEXT itself dictates." }, "shot_run_spend_attempt_count": 1, "gq": { "route": "combined", "gap": 0.6, "per_model_winner": { "gemini-pro": "A", "openrouter:x-ai/grok-4.6": "B" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] }, "dual": { "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ], "normalized": { "A": 1.4, "B": 1.333 }, "adjusted": { "A": 0.9, "B": 1.333 }, "violations": { "A": [ "[openrouter:x-ai/grok-4.6] 무인물 샷에 사람 팔·손·몸통을 발명함", "[openrouter:x-ai/grok-4.6] 열린 공구상자가 둘로 중복됨" ] }, "per_model_winner": { "gemini-pro": "A", "openrouter:x-ai/grok-4.6": "B" }, "agreed": false }, "totals": { "A": 900, "B": 1333 }, "selected": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "A", "score": 900, "verdict_ko": "후보 A는 렌치를 화면 하단 40% 아래에 대각선으로 배치하고 열린 공구 상자를 중경에 두라는 프레이밍 지시를 정확히 따랐으며, 지시된 대로 손을 포함해 '막 닿는 순간'의 정황을 현실적으로 묘사했습니다. ★위반: [openrouter:x-ai/grok-4.6] 무인물 샷에 사람 팔·손·몸통을 발명함 / [openrouter:x-ai/grok-4.6] 열린 공구상자가 둘로 중복됨" }, { "label": "B", "score": 1333, "verdict_ko": "후보 B는 렌치가 화면 하단 40% 아래에 머물러야 한다는 명시적인 프레이밍 지시를 어기고 화면 상단 밖으로 거대하게 뻗어나가도록 묘사하여 화면 구성을 크게 훼손했습니다." } ], "refs": [ { "label": "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features and lighting mood are LOCKED to this photo; never copy its camera framing. The people visible in that photo are NOT in this shot: never carry their faces, bodies or clothing onto anyone here. Each person in THIS shot is defined solely by the PEOPLE list, their own CHARACTER REFERENCE images and their wardrobe notes. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/759e2b63-52cf-4d1b-8953-8599ac2a6141/images/3e83f3ee-ded7-4f2a-aded-01584d6ea5c5/scene/recipe/S1sh3_sel.png", "asset_id": "cd447615-89f7-4bea-b0cf-ce6c0d843527", "role": "prev_still" } ], "critique": { "issues": [ { "issue_ko": "렌치가 프레임 하단 중앙에서 40% 면적 아래로 대각선으로 누워 있어야 한다는 명시적 구도 지시를 어기고, 화면 우측 전경에서 거의 수직으로 세워진 채 프레임 상단까지 닿을 정도로 크게 배치되었습니다.", "fix_en": "Erase the vertically standing wrench handle and redraw the entire wrench lying flat diagonally across the stained wooden workbench in the lower-center foreground, kept entirely below the bottom 40% of the frame. Preserve the open toolbox on the left, the workbench surface, the background bicycle parts, and the lighting.", "unfixable": false, "needs_regeneration": false, "severity": "critical", "observation_index": 0, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "" }, { "issue_ko": "배경 우측에 거꾸로 세워져 있어야 할 자전거가 온전한 프레임 구조 없이 바퀴, 체인, 크랭크 등의 부품들이 물리적으로 불가능한 형태로 허공에 뒤엉켜 왜곡되어 있습니다.", "fix_en": "Redraw the bicycle parts on the right to form a physically plausible inverted bicycle, connecting the frame, chain, and crank structurally and removing floating pieces. Preserve the wrench, the open toolbox, the workbench surface, and the room lighting.", "unfixable": false, "needs_regeneration": false, "severity": "critical", "observation_index": 1, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "" }, { "issue_ko": "렌치 손잡이에 BICO와 숫자 등 읽을 수 있는 글자가 보인다.", "fix_en": "Blend the legible letters and numbers on the wrench handle into generic metallic wear and scratches. Preserve the overall shape of the wrench, the workbench surface, the toolbox, and the bicycle.", "unfixable": false, "needs_regeneration": false, "severity": "major", "observation_index": 5, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "" } ], "observer_observations": [ { "issue_ko": "렌치가 프레임 하단 중앙에서 40% 면적 아래로 대각선으로 누워 있어야 한다는 명시적 구도 지시를 어기고, 화면 우측 전경에서 거의 수직으로 세워진 채 프레임 상단까지 닿을 정도로 크게 배치되었습니다.", "severity": "critical" }, { "issue_ko": "배경 우측에 거꾸로 세워져 있어야 할 자전거가 온전한 프레임 구조 없이 바퀴, 체인, 크랭크 등의 부품들이 물리적으로 불가능한 형태로 허공에 뒤엉켜 왜곡되어 있습니다.", "severity": "critical" }, { "issue_ko": "렌치가 작업대 상면에 긴 변이 대각선으로 누워 막 닿지 않고 개구부를 대고 거의 수직으로 서 있다.", "severity": "critical" }, { "issue_ko": "렌치가 하단 중앙 전경에 프레임의 40% 이하로 있지 않고 화면 중앙에서 상단까지 크게 차지한다.", "severity": "major" }, { "issue_ko": "배경의 거꾸로 세운 자전거가 작은 스케일 참조가 아니라 화면 오른쪽을 크게 차지한다.", "severity": "major" }, { "issue_ko": "렌치 손잡이에 BICO와 숫자 등 읽을 수 있는 글자가 보인다.", "severity": "major" } ], "observer_models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ], "observer_counts": { "gemini-pro": 2, "openrouter:x-ai/grok-4.6": 4 } }, "fix_severity_skipped_count": 1, "fix_severity_skipped": [ { "issue_ko": "렌치 손잡이에 BICO와 숫자 등 읽을 수 있는 글자가 보인다.", "fix_en": "Blend the legible letters and numbers on the wrench handle into generic metallic wear and scratches. Preserve the overall shape of the wrench, the workbench surface, the toolbox, and the bicycle.", "unfixable": false, "needs_regeneration": false, "severity": "major", "observation_index": 5, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "" } ], "repair_mode": "edit", "fix_ref_gate": { "mode": "gated", "available": 1, "kept": 0, "requested_indices": [], "kept_labels": [] }, "fix_ref_count": 1, "fix_prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Erase the vertically standing wrench handle and redraw the entire wrench lying flat diagonally across the stained wooden workbench in the lower-center foreground, kept entirely below the bottom 40% of the frame. Preserve the open toolbox on the left, the workbench surface, the background bicycle parts, and the lighting.\n- Redraw the bicycle parts on the right to form a physically plausible inverted bicycle, connecting the frame, chain, and crank structurally and removing floating pieces. Preserve the wrench, the open toolbox, the workbench surface, and the room lighting.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. Real-world writing that belongs\nto the scene — signs, banners, documents — stays exactly as the\noriginal shows it; do not add captions, subtitles, watermarks or\nany overlay text.", "fix_rejudge": { "forward_raw": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 1429, "verdict_ko": "렌치가 작업대에 막 닿으며 파편이 튀는 찰나의 순간을 역동적이고 사실적으로 포착하여 프롬프트의 의도를 훌륭하게 구현했습니다." }, { "label": "B", "score": 944, "verdict_ko": "렌치가 이미 정지된 상태로 평평하게 놓여 있어 '막 닿는 순간'을 전혀 표현하지 못했으며, 렌치에 명확히 읽을 수 있는 글자가 있고 자전거 체인 구조가 물리적으로 불가능합니다. ★위반: [gemini-pro] 화면 내 읽을 수 있는 텍스트 존재 (렌치 표면의 'EAC 11x13') / [gemini-pro] 물리적으로 불가능한 묘사 (우측 자전거의 체인이 톱니바퀴로 순환하지 않고 프레임 밖 허공으로 곧게 뻗어 나감)" } ], "all_candidates_fail": false, "dual": { "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ], "normalized": { "A": 1.429, "B": 1.444 }, "adjusted": { "A": 1.429, "B": 0.944 }, "violations": { "B": [ "[gemini-pro] 화면 내 읽을 수 있는 텍스트 존재 (렌치 표면의 'EAC 11x13')", "[gemini-pro] 물리적으로 불가능한 묘사 (우측 자전거의 체인이 톱니바퀴로 순환하지 않고 프레임 밖 허공으로 곧게 뻗어 나감)" ] }, "per_model_winner": { "gemini-pro": "A", "openrouter:x-ai/grok-4.6": "B" }, "agreed": false }, "gq": { "route": "combined", "gap": 0.571, "per_model_winner": { "gemini-pro": "A", "openrouter:x-ai/grok-4.6": "B" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] } }, "forward_normalized": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 1429, "verdict_ko": "렌치가 작업대에 막 닿으며 파편이 튀는 찰나의 순간을 역동적이고 사실적으로 포착하여 프롬프트의 의도를 훌륭하게 구현했습니다." }, { "label": "B", "score": 944, "verdict_ko": "렌치가 이미 정지된 상태로 평평하게 놓여 있어 '막 닿는 순간'을 전혀 표현하지 못했으며, 렌치에 명확히 읽을 수 있는 글자가 있고 자전거 체인 구조가 물리적으로 불가능합니다. ★위반: [gemini-pro] 화면 내 읽을 수 있는 텍스트 존재 (렌치 표면의 'EAC 11x13') / [gemini-pro] 물리적으로 불가능한 묘사 (우측 자전거의 체인이 톱니바퀴로 순환하지 않고 프레임 밖 허공으로 곧게 뻗어 나감)" } ], "all_candidates_fail": false }, "reverse_raw": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 8, "verdict_ko": "렌치의 긴 면이 작업대에 대각선으로 놓여야 한다는 프레이밍 지시를 정확히 따르고 물리적으로 안정적이나, 화면 내 읽을 수 있는 글씨를 배제하라는 지시를 어기고 렌치 표면에 'EAC', '11x13'이 명확히 노출된 점이 아쉽습니다." }, { "label": "B", "score": 3, "verdict_ko": "렌치의 긴 면이 바닥에 닿아 있어야 한다는 구도 지시를 완전히 어기고 수직으로 떨어지게 배치했으며, 공중에 뜬 상태임에도 렌치를 지탱하거나 쥐고 있는 손이 없어 물리 법칙을 심각하게 위반했습니다." } ], "readings": [ { "label": "A", "direction": "카메라는 작업대 표면을 비스듬히 내려다보고 있으며, 렌치의 양 끝이 화면의 좌우를 향해 대각선으로 뻗어 있음.", "built_space": "자전거 수리점 내부. 전경의 작업대를 중심으로 좌측 중경에 뚜껑이 열린 공구 상자가 놓여 있고, 우측 배경에 거꾸로 세워진 자전거가 프레임에 걸쳐 있음. 공간 구성과 배치가 자연스러움.", "entities": "금속 렌치(표면에 'EAC', '11x13' 등 읽을 수 있는 글자가 각인됨), 내부가 보이는 낡고 열린 공구 상자, 기름때가 묻어 있는 나무 작업대, 배경의 자전거 뼈대. 요구된 대로 인물은 등장하지 않음.", "hard_violations": [], "physics": "렌치의 넓고 긴 면이 작업대 표면에 완전히 맞닿아 있어 바닥면에 의해 온전하고 자연스럽게 지탱되고 있음." }, { "label": "B", "direction": "카메라는 작업대 표면을 향하고 있으며, 렌치의 끝부분이 작업대 바닥을 수직에 가깝게 찌르듯 향하고 있음.", "built_space": "자전거 수리점 내부. 전경의 작업대 위로 좌측에 열린 공구 상자가 놓여 있고, 우측 배경에 거꾸로 세워진 자전거가 보임. 상단에서 형광등 불빛이 내려옴.", "entities": "수직으로 선 채 바닥에 부딪히는 금속 렌치, 여러 도구가 담긴 열린 공구 상자, 파편과 기름방울이 튀어 오르는 작업대, 배경의 자전거 프레임 및 바퀴. 인물은 등장하지 않음.", "hard_violations": [ "지탱하는 손이나 아무런 지지대 없이 허공에 수직으로 떠 있는 렌치 (물리 법칙 위반)" ], "physics": "렌치가 작업대 표면에 끝부분만 닿은 채 떨어지며 튕기는 순간을 묘사했으나, 몸통 대부분이 허공에 떠 있는 상태임에도 이를 쥐고 있거나 지탱하는 손이 전혀 보이지 않아 물리적으로 불가능한 장면이 연출됨." } ], "all_candidates_fail": false, "gq": { "route": "agree", "gap": 0.0, "per_model_winner": { "gemini-pro": "A", "openrouter:x-ai/grok-4.6": "A" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] } }, "reverse_normalized": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 8, "verdict_ko": "렌치의 긴 면이 작업대에 대각선으로 놓여야 한다는 프레이밍 지시를 정확히 따르고 물리적으로 안정적이나, 화면 내 읽을 수 있는 글씨를 배제하라는 지시를 어기고 렌치 표면에 'EAC', '11x13'이 명확히 노출된 점이 아쉽습니다." }, { "label": "A", "score": 3, "verdict_ko": "렌치의 긴 면이 바닥에 닿아 있어야 한다는 구도 지시를 완전히 어기고 수직으로 떨어지게 배치했으며, 공중에 뜬 상태임에도 렌치를 지탱하거나 쥐고 있는 손이 없어 물리 법칙을 심각하게 위반했습니다." } ], "all_candidates_fail": false, "readings": [ { "label": "B", "direction": "카메라는 작업대 표면을 비스듬히 내려다보고 있으며, 렌치의 양 끝이 화면의 좌우를 향해 대각선으로 뻗어 있음.", "built_space": "자전거 수리점 내부. 전경의 작업대를 중심으로 좌측 중경에 뚜껑이 열린 공구 상자가 놓여 있고, 우측 배경에 거꾸로 세워진 자전거가 프레임에 걸쳐 있음. 공간 구성과 배치가 자연스러움.", "entities": "금속 렌치(표면에 'EAC', '11x13' 등 읽을 수 있는 글자가 각인됨), 내부가 보이는 낡고 열린 공구 상자, 기름때가 묻어 있는 나무 작업대, 배경의 자전거 뼈대. 요구된 대로 인물은 등장하지 않음.", "hard_violations": [], "physics": "렌치의 넓고 긴 면이 작업대 표면에 완전히 맞닿아 있어 바닥면에 의해 온전하고 자연스럽게 지탱되고 있음." }, { "label": "A", "direction": "카메라는 작업대 표면을 향하고 있으며, 렌치의 끝부분이 작업대 바닥을 수직에 가깝게 찌르듯 향하고 있음.", "built_space": "자전거 수리점 내부. 전경의 작업대 위로 좌측에 열린 공구 상자가 놓여 있고, 우측 배경에 거꾸로 세워진 자전거가 보임. 상단에서 형광등 불빛이 내려옴.", "entities": "수직으로 선 채 바닥에 부딪히는 금속 렌치, 여러 도구가 담긴 열린 공구 상자, 파편과 기름방울이 튀어 오르는 작업대, 배경의 자전거 프레임 및 바퀴. 인물은 등장하지 않음.", "hard_violations": [ "지탱하는 손이나 아무런 지지대 없이 허공에 수직으로 떠 있는 렌치 (물리 법칙 위반)" ], "physics": "렌치가 작업대 표면에 끝부분만 닿은 채 떨어지며 튕기는 순간을 묘사했으나, 몸통 대부분이 허공에 떠 있는 상태임에도 이를 쥐고 있거나 지탱하는 손이 전혀 보이지 않아 물리적으로 불가능한 장면이 연출됨." } ] }, "combined": { "totals": { "A": 1432, "B": 952 }, "ranking": [ "A", "B" ], "agreement": false, "policy": 1 }, "winner": "A", "fix_won": false, "all_candidates_fail": false, "policy": "fix_rejudge_v2_orig_on_tie" }, "shot_run_produced": true, "shot_run_uid": "06a910e0-af6d-7645-8461-1758c92b88dd", "ref_mode": "prev만 (배경 전용·공유 계획)", "share_plan": { "ref_plan": "prev", "prev_anchor_tag": "S1sh3" }, "lane_policy": "share_plan_prev_bgonly" }, "S1sh5::cine": { "applied": true, "attempted_at": "2026-08-28T04:37:54.636415+00:00", "fingerprint": "e7c1998523596cc4f3f0cd882c0bcd2f1ee27ace7b4458a66e57cfd40b54e391", "fingerprint_version": 2, "provider": "reve", "endpoint": "reve/2.1/edit", "model": "reve/2.1/edit", "pack": "24.202608252115", "source_file": "S1sh5_sel.png", "source_sha256": "569eb680e8e6bc524000cf8dac753a5b29be743fea885b2707acfb5aa288806f", "file": "S1sh5_cine.png", "staged_sha256": "1836ac7d521a963ac8908151a7d5b40b4141eda2a9831041f88188a0247ff093", "latency_ms": 66698, "request_id": "01a046a9-05a7-7cb2-9359-611732ea44e1", "status_url": "https://queue.fal.run/reve/2.1/requests/01a046a9-05a7-7cb2-9359-611732ea44e1/status", "response_url": "https://queue.fal.run/reve/2.1/requests/01a046a9-05a7-7cb2-9359-611732ea44e1", "submitted_at": "2026-08-28T04:37:57.353913+00:00", "verify": { "ok": true, "broken": [], "split": [ "object_integrity" ], "findings": { "anatomy": { "sound": true, "note": "", "agreed": true }, "object_integrity": { "sound": false, "note": "오른쪽 자전거의 체인이 제대로 연결되어 있지 않고 구조가 이상하다.", "agreed": false }, "support": { "sound": true, "note": "", "agreed": true }, "duplication": { "sound": true, "note": "", "agreed": true } }, "rounds": 2, "requested": 2, "complete": true, "judged_size": [ 1376, 768 ], "contract": "6e5e7da7b2eff8ba", "error": null, "models": [ "gemini-pro", "grok" ], "model_usage": { "gemini-pro": { "alias": "gemini-pro", "max_tokens_sent": 65536, "physical_model": "gemini-3.1-pro-preview", "prompt_tokens": 1564, "completion_tokens": 95, "total_tokens": 1659, "estimated_cost_usd": 0.002068 }, "grok": { "alias": "grok", "max_tokens_sent": 8000, "physical_model": "x-ai/grok-4.6", "prompt_tokens": 1890, "completion_tokens": 1519, "total_tokens": 3409, "estimated_cost_usd": 0.012702 } }, "provenance": { "contract": "dual_vlm_v1", "aliases": [ "gemini-pro", "grok" ], "complete": true, "calls": [ { "alias": "gemini-pro", "physical_model": "gemini-3.1-pro-preview", "ok": true, "error": null, "usage": { "alias": "gemini-pro", "max_tokens_sent": 65536, "physical_model": "gemini-3.1-pro-preview", "prompt_tokens": 1564, "completion_tokens": 95, "total_tokens": 1659, "estimated_cost_usd": 0.002068 }, "raw": { "checks": [ { "category": "anatomy", "sound": true, "what_is_impossible_ko": "" }, { "category": "object_integrity", "sound": false, "what_is_impossible_ko": "오른쪽 자전거의 체인이 제대로 연결되어 있지 않고 구조가 이상하다." }, { "category": "support", "sound": true, "what_is_impossible_ko": "" }, { "category": "duplication", "sound": true, "what_is_impossible_ko": "" } ] } }, { "alias": "grok", "physical_model": "x-ai/grok-4.6", "ok": true, "error": null, "usage": { "alias": "grok", "max_tokens_sent": 8000, "physical_model": "x-ai/grok-4.6", "prompt_tokens": 1890, "completion_tokens": 1519, "total_tokens": 3409, "estimated_cost_usd": 0.012702 }, "raw": { "checks": [ { "category": "anatomy", "sound": true, "what_is_impossible_ko": "" }, { "category": "object_integrity", "sound": true, "what_is_impossible_ko": "" }, { "category": "support", "sound": true, "what_is_impossible_ko": "" }, { "category": "duplication", "sound": true, "what_is_impossible_ko": "" } ] } } ] } } }, "S2sh3::signage": { "fp": "8a7702fd2d727ba8", "inscriptions": [], "cues": [], "dropped": [] }, "era_assess::1d4ab095c9edab1e": { "subjects": [], "subject_text": "어두운 골목과 연결된 젖은 사거리 갈래길\n비가 그친 뒤 젖은 네 갈래 사거리. 어두운 골목들이 이어지며, 깜빡이는 가로등 하나와 바닥에 길게 번지는 불빛이 보인다.", "identity": "canonical", "scope_id": "L02", "scope_role": "location_exterior", "scope_sha": "e679dd7ab1ec2bb6" }, "groupbg::젖은_사거리": { "input_fingerprint": "4604abc99080adbf", "meta": { "model": "gpt-image-2", "size": "1536x864", "pack": "11.202607220237", "contract": "bgfirst_full_v3", "group_sig": { "key": "젖은_사거리", "tags": [ "S2sh3", "S2sh5" ] }, "context_sig": "5b33456068416b11" }, "prompt": "Create ONE empty live-action location background photograph — NO PEOPLE, no figures, no body parts, no silhouettes, no shadows or reflections of people anywhere.\n\"Empty\" means no people only: KEEP the location's inherent occupants and stock that define the place — animals in an animal shelter, pen or farm, goods and produce in a market, moored boats in a harbour — unless the shot text explicitly removes them.\nThe FIRST attached image is a thin-line storyboard sketch of a shot that happens at this location: use it ONLY as spatial evidence — what this place contains, how its ground, structures and landmarks are arranged and proportioned. Ignore the sketched people and arrows entirely, and do NOT copy its line style: render a fully photographic, physically plausible real place that fits THE LOCATION text below.\nHUMAN-SCALE CALIBRATION: derive every structure's true size from human-scale elements — a door ≈ 2m, a window ≈ 1–1.5m wide, one storey ≈ 2.5–3m; never inflate a small structure or shrink a large one.\n\nTHE LOCATION — contemporary Korean-speaking setting; all people are Korean-speaking unless stated: 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\nLOCATION DETAIL (descriptive evidence about this place from the production's location records — evidence, not a staging order): use it to understand what kind of place this is and what it permanently contains. Carry over ONLY its enduring physical features — layout, structures, ground and materials, fixed equipment and installations. Do NOT treat any lighting, weather or time-of-day wording, momentary object states, depicted events or subjective impressions in it as fixed facts of the place; the TIME OF DAY lock below is the sole authority for time and lighting.\n어두운 골목과 연결된 젖은 사거리 갈래길: 네 갈래로 나뉘는 좁고 어두운 야외 사거리 골목길이다. 비가 그친 직후라 바닥이 젖어 있으며, 깜빡이는 가로등 불빛이 길게 번져 반사된다. (특징: 네 갈래로 갈라지는 좁은 골목 사거리; 깜빡이는 가로등 하나; 비에 젖은 바닥; 젖은 바닥에 길게 번진 가로등 불빛; 어둡고 축축한 야외 골목길)\n\nSCENE EVIDENCE (verbatim quotes from the screenplay about this place — treat them as evidence of what the location physically contains and looks like; stage the PLACE those moments happen in, but do NOT depict the momentary actions, people or staged props themselves):\n- #2. 갈래길 – 저녁\n- 길이 네 갈래로 갈라지는 사거리. 가로등 하나가 깜빡인다. 젖은 바닥에 불빛이 길게 번져 있다.\n- 사거리 한가운데에 노인(70대)이 회색 외투 차림으로 눈을 감은 채 옆으로 누워 있다.\n\nTIME OF DAY (lock): evening.\n\nRender ONE photorealistic empty location photograph, 16:9, neutral enough that every shot of this place can be staged from it later. No readable writing anywhere: surfaces that would carry writing may be present, but stage any wording out of legibility — an oblique angle, distance, shallow focus. No captions, watermarks or overlay text.", "effective_prompt": "Create ONE empty live-action location background photograph — NO PEOPLE, no figures, no body parts, no silhouettes, no shadows or reflections of people anywhere.\n\"Empty\" means no people only: KEEP the location's inherent occupants and stock that define the place — animals in an animal shelter, pen or farm, goods and produce in a market, moored boats in a harbour — unless the shot text explicitly removes them.\nThe FIRST attached image is a thin-line storyboard sketch of a shot that happens at this location: use it ONLY as spatial evidence — what this place contains, how its ground, structures and landmarks are arranged and proportioned. Ignore the sketched people and arrows entirely, and do NOT copy its line style: render a fully photographic, physically plausible real place that fits THE LOCATION text below.\nHUMAN-SCALE CALIBRATION: derive every structure's true size from human-scale elements — a door ≈ 2m, a window ≈ 1–1.5m wide, one storey ≈ 2.5–3m; never inflate a small structure or shrink a large one.\n\nTHE LOCATION — contemporary Korean-speaking setting; all people are Korean-speaking unless stated: 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\nLOCATION DETAIL (descriptive evidence about this place from the production's location records — evidence, not a staging order): use it to understand what kind of place this is and what it permanently contains. Carry over ONLY its enduring physical features — layout, structures, ground and materials, fixed equipment and installations. Do NOT treat any lighting, weather or time-of-day wording, momentary object states, depicted events or subjective impressions in it as fixed facts of the place; the TIME OF DAY lock below is the sole authority for time and lighting.\n어두운 골목과 연결된 젖은 사거리 갈래길: 네 갈래로 나뉘는 좁고 어두운 야외 사거리 골목길이다. 비가 그친 직후라 바닥이 젖어 있으며, 깜빡이는 가로등 불빛이 길게 번져 반사된다. (특징: 네 갈래로 갈라지는 좁은 골목 사거리; 깜빡이는 가로등 하나; 비에 젖은 바닥; 젖은 바닥에 길게 번진 가로등 불빛; 어둡고 축축한 야외 골목길)\n\nSCENE EVIDENCE (verbatim quotes from the screenplay about this place — treat them as evidence of what the location physically contains and looks like; stage the PLACE those moments happen in, but do NOT depict the momentary actions, people or staged props themselves):\n- #2. 갈래길 – 저녁\n- 길이 네 갈래로 갈라지는 사거리. 가로등 하나가 깜빡인다. 젖은 바닥에 불빛이 길게 번져 있다.\n- 사거리 한가운데에 노인(70대)이 회색 외투 차림으로 눈을 감은 채 옆으로 누워 있다.\n\nTIME OF DAY (lock): evening.\n\nRender ONE photorealistic empty location photograph, 16:9, neutral enough that every shot of this place can be staged from it later. No readable writing anywhere: surfaces that would carry writing may be present, but stage any wording out of legibility — an oblique angle, distance, shallow focus. No captions, watermarks or overlay text.", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/759e2b63-52cf-4d1b-8953-8599ac2a6141/images/3e83f3ee-ded7-4f2a-aded-01584d6ea5c5/scene/recipe/groupbg_젖은_사거리_e122bc.png", "asset_id": "30b73add-7743-4ba8-aab8-f6ed45f37b9f", "input_asset_ids": [ "06e3f869-754a-4b64-a27a-5db815fd5579" ], "origin_tag": "S2sh3", "place_text": "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.", "origin_inputs": { "place_text": "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.", "time_of_day_en": "evening", "conti_asset_id": "06e3f869-754a-4b64-a27a-5db815fd5579" } }, "S2sh3::bgfirst_bg": { "input_fingerprint": "e1c4cb490472f906", "prompt": "Create the EMPTY BACKGROUND PLATE for one film shot — NO PEOPLE, no figures, no body parts, no sketch lines, no arrows anywhere.\n\"Empty\" means no people only: KEEP the location's inherent occupants and stock that define the place — animals in an animal shelter, pen or farm, goods in a market, moored boats in a harbour — unless the shot text explicitly removes them.\nThe FIRST attached image is a thin-line storyboard sketch: use ONLY its camera angle, horizon, perspective and the placement/size of buildings and set masses — ignore the sketched people and arrows entirely. The SECOND attached image (LOCATION PHOTOGRAPH) is the real place: take its architecture, materials, signage and fixed features, and RE-PROJECT them into the sketch's camera. If the photograph's camera differs from the sketch's, the sketch's camera wins.\nHUMAN-SCALE CALIBRATION: derive every structure's true size from human-scale elements — a door ≈ 2m, a window ≈ 1–1.5m wide, one storey ≈ 2.5–3m; never inflate a small structure or shrink a large one.\n\nSHOT TEXT this background must serve (Korean): 연희가 앞으로 곧게 뻗은 팔 끝의 손전등 빛줄기가 바닥에 누운 노인의 눈 감은 얼굴 위로 떨어지는 순간.\n\nLOCATION (lock): 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\nTIME OF DAY (lock): evening.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\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 — subject scale and screen placement. The viewing angle is deliberately left open here; choose the angle that serves the shot. 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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The flashlight beam carefully isolates the old man’s face against the subdued, flickering streetlight illumination reflected from the wet ground.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nRender ONE photorealistic empty location photograph, 16:9, that this shot can be staged inside later. No readable writing anywhere: surfaces that would carry writing may be present, but stage any wording out of legibility — an oblique angle, distance, shallow focus. No captions, watermarks or overlay text.", "effective_prompt": "Create the EMPTY BACKGROUND PLATE for one film shot — NO PEOPLE, no figures, no body parts, no sketch lines, no arrows anywhere.\n\"Empty\" means no people only: KEEP the location's inherent occupants and stock that define the place — animals in an animal shelter, pen or farm, goods in a market, moored boats in a harbour — unless the shot text explicitly removes them.\nThe FIRST attached image is a thin-line storyboard sketch: use ONLY its camera angle, horizon, perspective and the placement/size of buildings and set masses — ignore the sketched people and arrows entirely. The SECOND attached image (LOCATION PHOTOGRAPH) is the real place: take its architecture, materials, signage and fixed features, and RE-PROJECT them into the sketch's camera. If the photograph's camera differs from the sketch's, the sketch's camera wins.\nHUMAN-SCALE CALIBRATION: derive every structure's true size from human-scale elements — a door ≈ 2m, a window ≈ 1–1.5m wide, one storey ≈ 2.5–3m; never inflate a small structure or shrink a large one.\n\nSHOT TEXT this background must serve (Korean): 연희가 앞으로 곧게 뻗은 팔 끝의 손전등 빛줄기가 바닥에 누운 노인의 눈 감은 얼굴 위로 떨어지는 순간.\n\nLOCATION (lock): 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\nTIME OF DAY (lock): evening.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\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 — subject scale and screen placement. The viewing angle is deliberately left open here; choose the angle that serves the shot. 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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The flashlight beam carefully isolates the old man’s face against the subdued, flickering streetlight illumination reflected from the wet ground.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nRender ONE photorealistic empty location photograph, 16:9, that this shot can be staged inside later. No readable writing anywhere: surfaces that would carry writing may be present, but stage any wording out of legibility — an oblique angle, distance, shallow focus. No captions, watermarks or overlay text.", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/759e2b63-52cf-4d1b-8953-8599ac2a6141/images/3e83f3ee-ded7-4f2a-aded-01584d6ea5c5/scene/recipe/S2sh3__bgfirst_bg.png", "asset_id": "720787da-93dc-44c8-9624-f032fb26b804", "input_asset_ids": [ "06e3f869-754a-4b64-a27a-5db815fd5579", "30b73add-7743-4ba8-aab8-f6ed45f37b9f" ] }, "S2sh3": { "input_fingerprint": "0a4cc6250b8a3ab1", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean-speaking unless stated. TIME OF DAY (lock): evening.\n\nSHOT TEXT (authoritative, Korean): 연희가 앞으로 곧게 뻗은 팔 끝의 손전등 빛줄기가 바닥에 누운 노인의 눈 감은 얼굴 위로 떨어지는 순간.\n\nLOCATION (lock): 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. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\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 — subject scale and screen placement. The viewing angle is deliberately left open here; choose the angle that serves the shot. 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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The flashlight beam carefully isolates the old man’s face against the subdued, flickering streetlight illumination reflected from the wet ground.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\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\nIMMOBILE BODIES OBEY GRAVITY: a person who is dead or unconscious\nexerts NO muscular effort. Every part of their body — head, torso,\narms, hands, fingers, legs — rests fully on whatever supports it\n(floor, wall, furniture, their own lap) and hangs or slumps with\ngravity. NEVER show any part of an immobile person's body lifted,\nraised, held up in the air, or posed as if presenting something:\nan object in their grip stays clenched in a hand that itself lies\nfallen on a support — the hand does not hold the object up. If the\ncanonical pose leaves a body part unspecified, resolve it as the\nmost gravity-compliant, fully-supported position.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging within whatever this brief already fixes,\nnot literal fantasy imagery.\n\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person it puts in\nthis shot, imagine that description and still show them as a\nconcrete, fully-formed human being:\nrender the human form as fully as the framing shows — never reduce\na person to a shape, blob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands naturally positioned for the action\nthe SHOT TEXT already gives them, gaze on the target the SHOT TEXT\nimplies; avoid a stiff attention stance (feet together, arms hanging\nstraight down) and a blank stare into the lens. If the SHOT TEXT or\nany POSE/IMMOBILE contract above stages stillness, death, sleep,\nunconsciousness, restraint, drill or an explicit direct-to-camera\nlook, follow THAT exactly — this clause never overrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): 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\nTHE HAND THAT IS DOING THIS: the object at the centre of this shot is being held, operated, read, aimed or handed over by 연희 right now, so 연희's hand — and as much of the wrist and forearm as the framing reaches — is in the frame, gripping or resting on that object exactly the way its real use requires. Match that hand to 연희: its size, build, skin, age, grooming, sleeve and anything worn on it belong to that person and to no one else.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 연희 (한국인, 20대 여성, 자연스러운 젊은 얼굴, 자연스러운 짙은색 머리카락); 노인 (한국인, 70대 노년층, 자연스러운 노년층 얼굴, 성별 미지정) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nNo readable writing anywhere in this image. Surfaces that would carry writing may be present, but nothing a viewer could read: stage every one of them out of legibility — a hand across, an oblique angle, shallow focus, or simply turned away. No caption, subtitle, watermark, logo or overlay.", "roll_prompts": { "A": "Stage the shot. The FIRST attached image (SHOT BACKGROUND) is the finished empty background of this shot — keep it EXACTLY: its camera, perspective, architecture, lighting and every fixed feature stay untouched. The SECOND attached image (LAYOUT SKETCH) tells you ONLY where the people go: each sketched person's position, screen size, pose and the gaze/motion arrows. Ignore the sketch's background lines. The CHARACTER REFERENCE photographs show the real people.\nPlace the real people into the background at exactly the sketched positions, sizes and poses, following the arrow directions. No sketch lines or arrows may remain.\n\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean-speaking unless stated. TIME OF DAY (lock): evening.\n\nSHOT TEXT (authoritative, Korean): 연희가 앞으로 곧게 뻗은 팔 끝의 손전등 빛줄기가 바닥에 누운 노인의 눈 감은 얼굴 위로 떨어지는 순간.\n\nLOCATION (lock): 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. The shot takes place here — the FIRST attached image (SHOT BACKGROUND) is this exact place, already built: its ground, structures, horizon, materials and lighting are the finished truth of this location and must not be redesigned or replaced. No location photograph is attached — read the place from that image alone, and add no scenery, structure, vehicle or fixture that it does not already show. This lock governs the place only; the figures in the shot follow the staging and pose instructions.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\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 — subject scale and screen placement. The viewing angle is deliberately left open here; choose the angle that serves the shot. 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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The flashlight beam carefully isolates the old man’s face against the subdued, flickering streetlight illumination reflected from the wet ground.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\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\nIMMOBILE BODIES OBEY GRAVITY: a person who is dead or unconscious\nexerts NO muscular effort. Every part of their body — head, torso,\narms, hands, fingers, legs — rests fully on whatever supports it\n(floor, wall, furniture, their own lap) and hangs or slumps with\ngravity. NEVER show any part of an immobile person's body lifted,\nraised, held up in the air, or posed as if presenting something:\nan object in their grip stays clenched in a hand that itself lies\nfallen on a support — the hand does not hold the object up. If the\ncanonical pose leaves a body part unspecified, resolve it as the\nmost gravity-compliant, fully-supported position.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging within whatever this brief already fixes,\nnot literal fantasy imagery.\n\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person it puts in\nthis shot, imagine that description and still show them as a\nconcrete, fully-formed human being:\nrender the human form as fully as the framing shows — never reduce\na person to a shape, blob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands naturally positioned for the action\nthe SHOT TEXT already gives them, gaze on the target the SHOT TEXT\nimplies; avoid a stiff attention stance (feet together, arms hanging\nstraight down) and a blank stare into the lens. If the SHOT TEXT or\nany POSE/IMMOBILE contract above stages stillness, death, sleep,\nunconsciousness, restraint, drill or an explicit direct-to-camera\nlook, follow THAT exactly — this clause never overrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): 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\nTHE HAND THAT IS DOING THIS: the object at the centre of this shot is being held, operated, read, aimed or handed over by 연희 right now, so 연희's hand — and as much of the wrist and forearm as the framing reaches — is in the frame, gripping or resting on that object exactly the way its real use requires. Match that hand to 연희: its size, build, skin, age, grooming, sleeve and anything worn on it belong to that person and to no one else.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 연희 (한국인, 20대 여성, 자연스러운 젊은 얼굴, 자연스러운 짙은색 머리카락); 노인 (한국인, 70대 노년층, 자연스러운 노년층 얼굴, 성별 미지정) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nNo readable writing anywhere in this image. Surfaces that would carry writing may be present, but nothing a viewer could read: stage every one of them out of legibility — a hand across, an oblique angle, shallow focus, or simply turned away. No caption, subtitle, watermark, logo or overlay.", "B": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean-speaking unless stated. TIME OF DAY (lock): evening.\n\nSHOT TEXT (authoritative, Korean): 연희가 앞으로 곧게 뻗은 팔 끝의 손전등 빛줄기가 바닥에 누운 노인의 눈 감은 얼굴 위로 떨어지는 순간.\n\nLOCATION (lock): 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. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\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 — subject scale and screen placement. The viewing angle is deliberately left open here; choose the angle that serves the shot. 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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The flashlight beam carefully isolates the old man’s face against the subdued, flickering streetlight illumination reflected from the wet ground.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\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\nIMMOBILE BODIES OBEY GRAVITY: a person who is dead or unconscious\nexerts NO muscular effort. Every part of their body — head, torso,\narms, hands, fingers, legs — rests fully on whatever supports it\n(floor, wall, furniture, their own lap) and hangs or slumps with\ngravity. NEVER show any part of an immobile person's body lifted,\nraised, held up in the air, or posed as if presenting something:\nan object in their grip stays clenched in a hand that itself lies\nfallen on a support — the hand does not hold the object up. If the\ncanonical pose leaves a body part unspecified, resolve it as the\nmost gravity-compliant, fully-supported position.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging within whatever this brief already fixes,\nnot literal fantasy imagery.\n\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person it puts in\nthis shot, imagine that description and still show them as a\nconcrete, fully-formed human being:\nrender the human form as fully as the framing shows — never reduce\na person to a shape, blob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands naturally positioned for the action\nthe SHOT TEXT already gives them, gaze on the target the SHOT TEXT\nimplies; avoid a stiff attention stance (feet together, arms hanging\nstraight down) and a blank stare into the lens. If the SHOT TEXT or\nany POSE/IMMOBILE contract above stages stillness, death, sleep,\nunconsciousness, restraint, drill or an explicit direct-to-camera\nlook, follow THAT exactly — this clause never overrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): 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\nTHE HAND THAT IS DOING THIS: the object at the centre of this shot is being held, operated, read, aimed or handed over by 연희 right now, so 연희's hand — and as much of the wrist and forearm as the framing reaches — is in the frame, gripping or resting on that object exactly the way its real use requires. Match that hand to 연희: its size, build, skin, age, grooming, sleeve and anything worn on it belong to that person and to no one else.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 연희 (한국인, 20대 여성, 자연스러운 젊은 얼굴, 자연스러운 짙은색 머리카락); 노인 (한국인, 70대 노년층, 자연스러운 노년층 얼굴, 성별 미지정) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nNo readable writing anywhere in this image. Surfaces that would carry writing may be present, but nothing a viewer could read: stage every one of them out of legibility — a hand across, an oblique angle, shallow focus, or simply turned away. No caption, subtitle, watermark, logo or overlay.\n\nCOMPOSITION VARIATION (this candidate only): keep the place, the people and the moment exactly as specified, and keep from the CAMERA & FRAME contract its subject scale, screen placement and key background elements exactly. For this candidate only, its camera angle and height are deliberately left open: choose a camera position distinctly different from the obvious one, as a film director picking a second setup on the same blocking. Stay true to any explicit framing the SHOT TEXT itself dictates." }, "roll_refs": { "A": [ { "label": "SHOT BACKGROUND", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/759e2b63-52cf-4d1b-8953-8599ac2a6141/images/3e83f3ee-ded7-4f2a-aded-01584d6ea5c5/scene/recipe/S2sh3__bgfirst_bg.png", "asset_id": "720787da-93dc-44c8-9624-f032fb26b804", "role": "bgfirst_bg" }, { "label": "LAYOUT SKETCH (people placement only)", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/759e2b63-52cf-4d1b-8953-8599ac2a6141/images/3e83f3ee-ded7-4f2a-aded-01584d6ea5c5/conti/conti_S2sh3.png", "asset_id": "06e3f869-754a-4b64-a27a-5db815fd5579", "role": "conti_light" }, { "label": "CHARACTER REFERENCE — 연희: the exact person appearing in this shot; match face, hair and build exactly.", "path": "", "asset_id": "54b62e1d-165e-49d1-861f-eb748948f90d", "role": "character_ref" }, { "label": "CHARACTER REFERENCE — 노인: the exact person appearing in this shot; match face, hair and build exactly.", "path": "", "asset_id": "1c561a82-413d-4d63-8dec-c01cb4569e59", "role": "character_ref" } ], "B": [ { "label": "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/759e2b63-52cf-4d1b-8953-8599ac2a6141/images/3e83f3ee-ded7-4f2a-aded-01584d6ea5c5/scene/recipe/groupbg_젖은_사거리_e122bc.png", "asset_id": "30b73add-7743-4ba8-aab8-f6ed45f37b9f", "role": "bgfirst_group_bg" }, { "label": "CHARACTER REFERENCE — 연희: the exact person appearing in this shot; match face, hair and build exactly.", "path": "", "asset_id": "54b62e1d-165e-49d1-861f-eb748948f90d", "role": "character_ref" }, { "label": "CHARACTER REFERENCE — 노인: the exact person appearing in this shot; match face, hair and build exactly.", "path": "", "asset_id": "1c561a82-413d-4d63-8dec-c01cb4569e59", "role": "character_ref" } ] }, "shot_run_spend_attempt_count": 1, "judge_flip": { "forward_raw": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 9, "verdict_ko": "프롬프트가 요구한 '앞으로 곧게 뻗은 팔'과 '노인의 얼굴 위로 떨어지는 손전등 빛줄기'를 정확하게 묘사했으며, 레퍼런스 공간과 인물의 구도 및 배치도 완벽하게 구현했습니다." }, { "label": "B", "score": 4, "verdict_ko": "연희가 팔을 굽힌 채 웅크린 자세를 취하고 있으며, 손전등 빛줄기가 노인의 얼굴을 빗나가 바닥(맨홀)을 비추고 있어 샷 텍스트의 핵심 행동 묘사를 충족하지 못했습니다." } ], "readings": [ { "label": "A", "direction": "연희의 시선과 앞으로 곧게 뻗은 손전등의 빛줄기가 바닥에 누운 노인의 얼굴을 정확히 향하고 닿아 있음.", "built_space": "제공된 로케이션 레퍼런스의 4거리 교차로 형태, 가로등 위치, 주변 건물 및 젖은 노면이 일치하게 구현됨.", "entities": "연희(노란 우비, 20대 여성)와 노인(회색 코트, 눈 감음), 그리고 켜진 손전등과 바닥에 놓인 지팡이 모두 명세와 일치함.", "hard_violations": [], "physics": "연희는 서서 자세를 안정적으로 유지하며, 노인은 바닥에 쓰러진 채로 중력에 맞게 온몸이 지탱되어 있음." }, { "label": "B", "direction": "손전등의 방향이 노인의 얼굴이 아닌 바닥의 맨홀 뚜껑을 향하고 있어 빛이 빗나감.", "built_space": "지정된 교차로의 형태는 띠고 있으나, 카메라 앵글이 많이 낮아져 배경의 비례가 샷 스케일과 다소 어긋남.", "entities": "인물들의 외형, 복장, 지팡이 등의 프롭은 일치하나, 연희가 뻗은 팔이 아닌 굽힌 팔을 하고 있음.", "hard_violations": [], "physics": "무릎을 꿇고 있는 연희와 바닥에 누운 노인 모두 지면에 올바르게 지지되어 있음." } ], "all_candidates_fail": false, "gq": { "route": "agree", "gap": 0.0, "per_model_winner": { "gemini-pro": "A", "openrouter:x-ai/grok-4.6": "A" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] } }, "forward_normalized": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 9, "verdict_ko": "프롬프트가 요구한 '앞으로 곧게 뻗은 팔'과 '노인의 얼굴 위로 떨어지는 손전등 빛줄기'를 정확하게 묘사했으며, 레퍼런스 공간과 인물의 구도 및 배치도 완벽하게 구현했습니다." }, { "label": "B", "score": 4, "verdict_ko": "연희가 팔을 굽힌 채 웅크린 자세를 취하고 있으며, 손전등 빛줄기가 노인의 얼굴을 빗나가 바닥(맨홀)을 비추고 있어 샷 텍스트의 핵심 행동 묘사를 충족하지 못했습니다." } ], "all_candidates_fail": false, "readings": [ { "label": "A", "direction": "연희의 시선과 앞으로 곧게 뻗은 손전등의 빛줄기가 바닥에 누운 노인의 얼굴을 정확히 향하고 닿아 있음.", "built_space": "제공된 로케이션 레퍼런스의 4거리 교차로 형태, 가로등 위치, 주변 건물 및 젖은 노면이 일치하게 구현됨.", "entities": "연희(노란 우비, 20대 여성)와 노인(회색 코트, 눈 감음), 그리고 켜진 손전등과 바닥에 놓인 지팡이 모두 명세와 일치함.", "hard_violations": [], "physics": "연희는 서서 자세를 안정적으로 유지하며, 노인은 바닥에 쓰러진 채로 중력에 맞게 온몸이 지탱되어 있음." }, { "label": "B", "direction": "손전등의 방향이 노인의 얼굴이 아닌 바닥의 맨홀 뚜껑을 향하고 있어 빛이 빗나감.", "built_space": "지정된 교차로의 형태는 띠고 있으나, 카메라 앵글이 많이 낮아져 배경의 비례가 샷 스케일과 다소 어긋남.", "entities": "인물들의 외형, 복장, 지팡이 등의 프롭은 일치하나, 연희가 뻗은 팔이 아닌 굽힌 팔을 하고 있음.", "hard_violations": [], "physics": "무릎을 꿇고 있는 연희와 바닥에 누운 노인 모두 지면에 올바르게 지지되어 있음." } ] }, "reverse_raw": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 10, "verdict_ko": "'앞으로 곧게 뻗은 팔'과 '노인의 얼굴을 비추는 빛줄기'라는 핵심 행동을 완벽히 구현했으며, 요구된 프레이밍과 로케이션 배경 지시를 정확히 따랐습니다." }, { "label": "A", "score": 3, "verdict_ko": "손전등 빛줄기가 노인의 얼굴이 아닌 바닥을 비추고 있으며 팔을 곧게 뻗지 않아 핵심 연출 및 방향(DIRECTION) 지시를 크게 위반했습니다." } ], "readings": [ { "label": "B", "direction": "연희가 팔을 앞으로 곧게 뻗어 손전등을 쥐고 있으며, 빛줄기가 정확히 대각선 아래에 누워있는 노인의 얼굴을 향해 떨어지고 있음.", "built_space": "제시된 기준 사진의 교차로, 켜져 있는 가로등, 주변 건물 및 벽면이 매우 정확하게 구현되었으며, 젖은 바닥에 불빛이 번지는 효과도 자연스럽게 자리 잡음.", "entities": "노란 우비를 입은 연희, 눈을 감고 회색 코트를 입은 노인, 노인 곁에 비스듬히 놓인 지팡이, 켜진 손전등이 모두 프롬프트 및 레퍼런스와 완벽히 일치함.", "hard_violations": [], "physics": "서 있는 연희는 두 발로 지면에 안정적으로 서 있으며, 바닥에 누워 있는 노인은 중력에 맞게 몸과 팔이 바닥에 자연스럽게 안착되어 있음." }, { "label": "A", "direction": "연희가 팔을 구부린 채 손전등을 들고 있으며, 빛줄기가 노인의 얼굴이 아닌 바닥의 맨홀 뚜껑 주변을 비추고 있음.", "built_space": "젖은 교차로 바닥과 주변 골목이 묘사되어 있으며, 인물들의 위치가 배경 공간 안에 무리 없이 배치되어 있음.", "entities": "노란 우비를 입은 연희, 회색 코트를 입고 누워있는 노인, 바닥에 떨어진 지팡이, 손전등이 확인됨.", "hard_violations": [], "physics": "연희는 쪼그려 앉아 바닥에 지탱하고 있으며, 노인은 바닥에 자연스럽게 누워 중력의 영향을 정상적으로 받고 있음." } ], "all_candidates_fail": false, "gq": { "route": "agree", "gap": 0.0, "per_model_winner": { "gemini-pro": "B", "openrouter:x-ai/grok-4.6": "B" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] } }, "reverse_normalized": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 10, "verdict_ko": "'앞으로 곧게 뻗은 팔'과 '노인의 얼굴을 비추는 빛줄기'라는 핵심 행동을 완벽히 구현했으며, 요구된 프레이밍과 로케이션 배경 지시를 정확히 따랐습니다." }, { "label": "B", "score": 3, "verdict_ko": "손전등 빛줄기가 노인의 얼굴이 아닌 바닥을 비추고 있으며 팔을 곧게 뻗지 않아 핵심 연출 및 방향(DIRECTION) 지시를 크게 위반했습니다." } ], "all_candidates_fail": false, "readings": [ { "label": "A", "direction": "연희가 팔을 앞으로 곧게 뻗어 손전등을 쥐고 있으며, 빛줄기가 정확히 대각선 아래에 누워있는 노인의 얼굴을 향해 떨어지고 있음.", "built_space": "제시된 기준 사진의 교차로, 켜져 있는 가로등, 주변 건물 및 벽면이 매우 정확하게 구현되었으며, 젖은 바닥에 불빛이 번지는 효과도 자연스럽게 자리 잡음.", "entities": "노란 우비를 입은 연희, 눈을 감고 회색 코트를 입은 노인, 노인 곁에 비스듬히 놓인 지팡이, 켜진 손전등이 모두 프롬프트 및 레퍼런스와 완벽히 일치함.", "hard_violations": [], "physics": "서 있는 연희는 두 발로 지면에 안정적으로 서 있으며, 바닥에 누워 있는 노인은 중력에 맞게 몸과 팔이 바닥에 자연스럽게 안착되어 있음." }, { "label": "B", "direction": "연희가 팔을 구부린 채 손전등을 들고 있으며, 빛줄기가 노인의 얼굴이 아닌 바닥의 맨홀 뚜껑 주변을 비추고 있음.", "built_space": "젖은 교차로 바닥과 주변 골목이 묘사되어 있으며, 인물들의 위치가 배경 공간 안에 무리 없이 배치되어 있음.", "entities": "노란 우비를 입은 연희, 회색 코트를 입고 누워있는 노인, 바닥에 떨어진 지팡이, 손전등이 확인됨.", "hard_violations": [], "physics": "연희는 쪼그려 앉아 바닥에 지탱하고 있으며, 노인은 바닥에 자연스럽게 누워 중력의 영향을 정상적으로 받고 있음." } ] }, "combined": { "totals": { "A": 19, "B": 7 }, "ranking": [ "A", "B" ], "agreement": true, "policy": 1 } }, "readings": [ { "label": "A", "direction": "연희의 시선과 앞으로 곧게 뻗은 손전등의 빛줄기가 바닥에 누운 노인의 얼굴을 정확히 향하고 닿아 있음.", "built_space": "제공된 로케이션 레퍼런스의 4거리 교차로 형태, 가로등 위치, 주변 건물 및 젖은 노면이 일치하게 구현됨.", "entities": "연희(노란 우비, 20대 여성)와 노인(회색 코트, 눈 감음), 그리고 켜진 손전등과 바닥에 놓인 지팡이 모두 명세와 일치함.", "hard_violations": [], "physics": "연희는 서서 자세를 안정적으로 유지하며, 노인은 바닥에 쓰러진 채로 중력에 맞게 온몸이 지탱되어 있음." }, { "label": "B", "direction": "손전등의 방향이 노인의 얼굴이 아닌 바닥의 맨홀 뚜껑을 향하고 있어 빛이 빗나감.", "built_space": "지정된 교차로의 형태는 띠고 있으나, 카메라 앵글이 많이 낮아져 배경의 비례가 샷 스케일과 다소 어긋남.", "entities": "인물들의 외형, 복장, 지팡이 등의 프롭은 일치하나, 연희가 뻗은 팔이 아닌 굽힌 팔을 하고 있음.", "hard_violations": [], "physics": "무릎을 꿇고 있는 연희와 바닥에 누운 노인 모두 지면에 올바르게 지지되어 있음." } ], "totals": { "A": 19, "B": 7 }, "selected": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 9, "verdict_ko": "프롬프트가 요구한 '앞으로 곧게 뻗은 팔'과 '노인의 얼굴 위로 떨어지는 손전등 빛줄기'를 정확하게 묘사했으며, 레퍼런스 공간과 인물의 구도 및 배치도 완벽하게 구현했습니다." }, { "label": "B", "score": 4, "verdict_ko": "연희가 팔을 굽힌 채 웅크린 자세를 취하고 있으며, 손전등 빛줄기가 노인의 얼굴을 빗나가 바닥(맨홀)을 비추고 있어 샷 텍스트의 핵심 행동 묘사를 충족하지 못했습니다." } ], "refs": [ { "label": "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/759e2b63-52cf-4d1b-8953-8599ac2a6141/images/3e83f3ee-ded7-4f2a-aded-01584d6ea5c5/scene/recipe/groupbg_젖은_사거리_e122bc.png", "asset_id": "30b73add-7743-4ba8-aab8-f6ed45f37b9f", "role": "bgfirst_group_bg" }, { "label": "CHARACTER REFERENCE — 연희: the exact person appearing in this shot; match face, hair and build exactly.", "path": "", "asset_id": "54b62e1d-165e-49d1-861f-eb748948f90d", "role": "character_ref" }, { "label": "CHARACTER REFERENCE — 노인: the exact person appearing in this shot; match face, hair and build exactly.", "path": "", "asset_id": "1c561a82-413d-4d63-8dec-c01cb4569e59", "role": "character_ref" } ], "critique": { "issues": [ { "issue_ko": "화면 왼쪽 연희의 머리카락 길이가 레퍼런스(긴 머리)와 달리 짧은 단발로 렌더링되었습니다.", "fix_en": "Lengthen Yeonhee's hair so it falls past her shoulders, matching the reference. Maintain her face, yellow raincoat, posture, the flashlight, the old man in the grey coat, the cane, and the wet intersection background exactly as they are.", "unfixable": false, "needs_regeneration": false, "severity": "major", "observation_index": 0, "needs_ref_indices": [ 3 ], "adds_missing_entity": false, "missing_entity_name": "" }, { "issue_ko": "연희의 시선이 노인의 얼굴 방향이 아닌 앞쪽 허공을 향하고 있습니다.", "fix_en": "Adjust Yeonhee's eyes and head downward so her gaze aims directly at the old man's face. Maintain her facial features, hair, yellow raincoat, posture, the flashlight, the old man in the grey coat, the cane, and the wet intersection background exactly as they are.", "unfixable": false, "needs_regeneration": false, "severity": "major", "observation_index": 1, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "" }, { "issue_ko": "화면 오른쪽 아래 노인의 얼굴 밑에 회색 코트와 무관한 검은색 원단과 흰색 단면의 기형적인 신체 부위(잘린 팔 또는 다리 형태)가 생성되어 있습니다.", "fix_en": "Remove the black and white limb-like object completely from beneath the old man's head, replacing it with the wet pavement so his head rests directly on the ground. Maintain Yeonhee in her yellow raincoat, her flashlight and beam, the old man in his grey coat, the cane on the ground, and the entire wet intersection background exactly as they are.", "unfixable": false, "needs_regeneration": false, "severity": "critical", "observation_index": 2, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "" }, { "issue_ko": "왼쪽 연희가 캐릭터 레퍼런스의 짧은 노란 재킷이 아니라 무릎까지 오는 긴 레인코트를 입고 있다", "fix_en": "Change Yeonhee's long raincoat to a short, hip-length yellow rain jacket, revealing dark blue pants underneath, to match the reference. Maintain her face, hair, posture, the flashlight, the old man in the grey coat, the cane, and the wet intersection background exactly as they are.", "unfixable": false, "needs_regeneration": false, "severity": "major", "observation_index": 3, "needs_ref_indices": [ 3 ], "adds_missing_entity": false, "missing_entity_name": "" } ], "observer_observations": [ { "issue_ko": "화면 왼쪽 연희의 머리카락 길이가 레퍼런스(긴 머리)와 달리 짧은 단발로 렌더링되었습니다.", "severity": "major" }, { "issue_ko": "연희의 시선이 노인의 얼굴 방향이 아닌 앞쪽 허공을 향하고 있습니다.", "severity": "major" }, { "issue_ko": "화면 오른쪽 아래 노인의 얼굴 밑에 회색 코트와 무관한 검은색 원단과 흰색 단면의 기형적인 신체 부위(잘린 팔 또는 다리 형태)가 생성되어 있습니다.", "severity": "critical" }, { "issue_ko": "왼쪽 연희가 캐릭터 레퍼런스의 짧은 노란 재킷이 아니라 무릎까지 오는 긴 레인코트를 입고 있다", "severity": "major" }, { "issue_ko": "오른쪽 하단 누운 노인의 머리 밑에 하얀 베개가 놓여 있다", "severity": "major" } ], "observer_models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ], "observer_counts": { "gemini-pro": 3, "openrouter:x-ai/grok-4.6": 2 } }, "fix_severity_skipped_count": 3, "fix_severity_skipped": [ { "issue_ko": "화면 왼쪽 연희의 머리카락 길이가 레퍼런스(긴 머리)와 달리 짧은 단발로 렌더링되었습니다.", "fix_en": "Lengthen Yeonhee's hair so it falls past her shoulders, matching the reference. Maintain her face, yellow raincoat, posture, the flashlight, the old man in the grey coat, the cane, and the wet intersection background exactly as they are.", "unfixable": false, "needs_regeneration": false, "severity": "major", "observation_index": 0, "needs_ref_indices": [ 3 ], "adds_missing_entity": false, "missing_entity_name": "" }, { "issue_ko": "연희의 시선이 노인의 얼굴 방향이 아닌 앞쪽 허공을 향하고 있습니다.", "fix_en": "Adjust Yeonhee's eyes and head downward so her gaze aims directly at the old man's face. Maintain her facial features, hair, yellow raincoat, posture, the flashlight, the old man in the grey coat, the cane, and the wet intersection background exactly as they are.", "unfixable": false, "needs_regeneration": false, "severity": "major", "observation_index": 1, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "" }, { "issue_ko": "왼쪽 연희가 캐릭터 레퍼런스의 짧은 노란 재킷이 아니라 무릎까지 오는 긴 레인코트를 입고 있다", "fix_en": "Change Yeonhee's long raincoat to a short, hip-length yellow rain jacket, revealing dark blue pants underneath, to match the reference. Maintain her face, hair, posture, the flashlight, the old man in the grey coat, the cane, and the wet intersection background exactly as they are.", "unfixable": false, "needs_regeneration": false, "severity": "major", "observation_index": 3, "needs_ref_indices": [ 3 ], "adds_missing_entity": false, "missing_entity_name": "" } ], "repair_mode": "edit", "fix_ref_gate": { "mode": "gated", "available": 4, "kept": 0, "requested_indices": [], "kept_labels": [] }, "fix_ref_count": 1, "fix_prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Remove the black and white limb-like object completely from beneath the old man's head, replacing it with the wet pavement so his head rests directly on the ground. Maintain Yeonhee in her yellow raincoat, her flashlight and beam, the old man in his grey coat, the cane on the ground, and the entire wet intersection background exactly as they are.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. Real-world writing that belongs\nto the scene — signs, banners, documents — stays exactly as the\noriginal shows it; do not add captions, subtitles, watermarks or\nany overlay text.", "fix_rejudge": { "forward_raw": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 1857, "verdict_ko": "주어진 배경 이미지를 훼손 없이 완벽히 유지하면서, 손전등 불빛의 방향, 노인의 자세 및 레퍼런스 의상(회색 코트)을 모두 자연스럽고 정확하게 구현한 훌륭한 결과물입니다." }, { "label": "A", "score": 1194, "verdict_ko": "배경과 인물의 배치는 좋으나, 노인의 머리를 받치고 있는 팔이 입고 있는 회색 코트와 전혀 무관한 짙은 색으로 생성되어 신체 구조와 복장의 일관성을 훼손하는 치명적인 오류가 있습니다. ★위반: [gemini-pro] 노인의 머리를 받치고 있는 정체불명의 짙은 색 팔 (물리적으로 불가능한 신체 구조 및 복장 오류)" } ], "all_candidates_fail": false, "dual": { "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ], "normalized": { "A": 1.444, "B": 1.857 }, "adjusted": { "A": 1.194, "B": 1.857 }, "violations": { "A": [ "[gemini-pro] 노인의 머리를 받치고 있는 정체불명의 짙은 색 팔 (물리적으로 불가능한 신체 구조 및 복장 오류)" ] }, "per_model_winner": { "gemini-pro": "B", "openrouter:x-ai/grok-4.6": "A" }, "agreed": false }, "gq": { "route": "combined", "gap": 0.143, "per_model_winner": { "gemini-pro": "B", "openrouter:x-ai/grok-4.6": "A" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] } }, "forward_normalized": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 1857, "verdict_ko": "주어진 배경 이미지를 훼손 없이 완벽히 유지하면서, 손전등 불빛의 방향, 노인의 자세 및 레퍼런스 의상(회색 코트)을 모두 자연스럽고 정확하게 구현한 훌륭한 결과물입니다." }, { "label": "A", "score": 1194, "verdict_ko": "배경과 인물의 배치는 좋으나, 노인의 머리를 받치고 있는 팔이 입고 있는 회색 코트와 전혀 무관한 짙은 색으로 생성되어 신체 구조와 복장의 일관성을 훼손하는 치명적인 오류가 있습니다. ★위반: [gemini-pro] 노인의 머리를 받치고 있는 정체불명의 짙은 색 팔 (물리적으로 불가능한 신체 구조 및 복장 오류)" } ], "all_candidates_fail": false }, "reverse_raw": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 9, "verdict_ko": "프롬프트와 레이아웃 스케치를 완벽하게 구현했으며, 손전등 빛줄기와 인물의 묘사가 매우 자연스럽고 참조 이미지와 일치합니다." }, { "label": "B", "score": 2, "verdict_ko": "노인의 머리 아래에 정체불명의 잉여 신체 부위(다리 형태)가 생성되어 하드 위반에 해당합니다." } ], "readings": [ { "label": "A", "direction": "연희의 시선과 손전등 빛줄기가 바닥에 누운 노인의 얼굴을 정확히 향하고 있음.", "built_space": "제공된 배경 이미지의 젖은 교차로, 가로등, 주변 건물이 정확히 동일하게 유지됨.", "entities": "연희(단발머리, 노란 우비), 노인(백발, 회색 코트), 손전등, 지팡이 모두 지정된 특성과 위치에 맞게 존재함.", "hard_violations": [], "physics": "연희는 바닥에 서서 손전등을 들고 있으며, 노인은 바닥에 누워 자신의 팔로 머리를 받치고 지지함. 지팡이도 바닥에 온전히 놓여 있음." }, { "label": "B", "direction": "연희의 시선과 손전등 빛줄기가 노인의 얼굴을 향하고 있음.", "built_space": "제공된 원본 배경 이미지의 공간과 구조물을 동일하게 유지함.", "entities": "연희, 노인, 손전등, 지팡이가 존재하나, 노인의 머리 밑에 요구되지 않은 검은색 하의와 흰 양말을 신은 듯한 다리 형태가 생성됨.", "hard_violations": [ "invented people or objects (노인 머리 아래에 기형적인 잉여 신체 부위 생성)" ], "physics": "노인의 머리가 자신의 팔이 아닌, 정체불명의 신체 부위 위에 얹혀 있어 해부학적, 물리적으로 불가능한 구조임." } ], "all_candidates_fail": false, "gq": { "route": "agree", "gap": 0.0, "per_model_winner": { "gemini-pro": "A", "openrouter:x-ai/grok-4.6": "A" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] } }, "reverse_normalized": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 9, "verdict_ko": "프롬프트와 레이아웃 스케치를 완벽하게 구현했으며, 손전등 빛줄기와 인물의 묘사가 매우 자연스럽고 참조 이미지와 일치합니다." }, { "label": "A", "score": 2, "verdict_ko": "노인의 머리 아래에 정체불명의 잉여 신체 부위(다리 형태)가 생성되어 하드 위반에 해당합니다." } ], "all_candidates_fail": false, "readings": [ { "label": "B", "direction": "연희의 시선과 손전등 빛줄기가 바닥에 누운 노인의 얼굴을 정확히 향하고 있음.", "built_space": "제공된 배경 이미지의 젖은 교차로, 가로등, 주변 건물이 정확히 동일하게 유지됨.", "entities": "연희(단발머리, 노란 우비), 노인(백발, 회색 코트), 손전등, 지팡이 모두 지정된 특성과 위치에 맞게 존재함.", "hard_violations": [], "physics": "연희는 바닥에 서서 손전등을 들고 있으며, 노인은 바닥에 누워 자신의 팔로 머리를 받치고 지지함. 지팡이도 바닥에 온전히 놓여 있음." }, { "label": "A", "direction": "연희의 시선과 손전등 빛줄기가 노인의 얼굴을 향하고 있음.", "built_space": "제공된 원본 배경 이미지의 공간과 구조물을 동일하게 유지함.", "entities": "연희, 노인, 손전등, 지팡이가 존재하나, 노인의 머리 밑에 요구되지 않은 검은색 하의와 흰 양말을 신은 듯한 다리 형태가 생성됨.", "hard_violations": [ "invented people or objects (노인 머리 아래에 기형적인 잉여 신체 부위 생성)" ], "physics": "노인의 머리가 자신의 팔이 아닌, 정체불명의 신체 부위 위에 얹혀 있어 해부학적, 물리적으로 불가능한 구조임." } ] }, "combined": { "totals": { "A": 1196, "B": 1866 }, "ranking": [ "B", "A" ], "agreement": true, "policy": 1 }, "winner": "B", "fix_won": true, "all_candidates_fail": false, "policy": "fix_rejudge_v2_orig_on_tie" }, "shot_run_produced": true, "shot_run_uid": "06a91110-7c31-7de6-bdba-7074014a7b7a", "bgfirst": { "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/759e2b63-52cf-4d1b-8953-8599ac2a6141/images/3e83f3ee-ded7-4f2a-aded-01584d6ea5c5/scene/recipe/S2sh3__bgfirst_bg.png", "bg_asset_id": "720787da-93dc-44c8-9624-f032fb26b804", "bg_record_key": "S2sh3::bgfirst_bg", "chain_winner": true, "authority": "groupbg", "group_key": "젖은_사거리", "groupbg_asset_id": "30b73add-7743-4ba8-aab8-f6ed45f37b9f" }, "ref_mode": "재투영 배경+콘티+엔티티 (2택1: 체인 승)", "share_plan": { "ref_plan": "background" } }, "S2sh3::cine": { "applied": true, "attempted_at": "2026-08-28T05:01:40.323528+00:00", "fingerprint": "3ff6b0a7a583154e8b478ebad32d7f5cebd09cf8530a37c42bc4cf69f6cf6180", "fingerprint_version": 2, "provider": "reve", "endpoint": "reve/2.1/edit", "model": "reve/2.1/edit", "pack": "24.202608252115", "source_file": "S2sh3_sel.png", "source_sha256": "279c02443978bd9a1c2825075754859e8155a122269b59ea331ce374e93e89dd", "file": "S2sh3_cine.png", "staged_sha256": "e1ebc7b8039abb2a591422901363c2b12b74060d6e9e6209f884d2382e8a00c7", "latency_ms": 73923, "request_id": "01a046be-dcb2-7bb2-9b19-95603186dc39", "status_url": "https://queue.fal.run/reve/2.1/requests/01a046be-dcb2-7bb2-9b19-95603186dc39/status", "response_url": "https://queue.fal.run/reve/2.1/requests/01a046be-dcb2-7bb2-9b19-95603186dc39", "submitted_at": "2026-08-28T05:01:48.667973+00:00", "verify": { "ok": true, "broken": [], "split": [ "anatomy" ], "findings": { "anatomy": { "sound": false, "note": "손가락 모양 이상", "agreed": false }, "object_integrity": { "sound": true, "note": "", "agreed": true }, "support": { "sound": true, "note": "", "agreed": true }, "duplication": { "sound": true, "note": "", "agreed": true } }, "rounds": 2, "requested": 2, "complete": true, "judged_size": [ 1360, 752 ], "contract": "6e5e7da7b2eff8ba", "error": null, "models": [ "gemini-pro", "grok" ], "model_usage": { "gemini-pro": { "alias": "gemini-pro", "max_tokens_sent": 65536, "physical_model": "gemini-3.1-pro-preview", "prompt_tokens": 1544, "completion_tokens": 82, "total_tokens": 1626, "estimated_cost_usd": 0.001912 }, "grok": { "alias": "grok", "max_tokens_sent": 8000, "physical_model": "x-ai/grok-4.6", "prompt_tokens": 1890, "completion_tokens": 1091, "total_tokens": 2981, "estimated_cost_usd": 0.010134 } }, "provenance": { "contract": "dual_vlm_v1", "aliases": [ "gemini-pro", "grok" ], "complete": true, "calls": [ { "alias": "gemini-pro", "physical_model": "gemini-3.1-pro-preview", "ok": true, "error": null, "usage": { "alias": "gemini-pro", "max_tokens_sent": 65536, "physical_model": "gemini-3.1-pro-preview", "prompt_tokens": 1544, "completion_tokens": 82, "total_tokens": 1626, "estimated_cost_usd": 0.001912 }, "raw": { "checks": [ { "category": "anatomy", "sound": false, "what_is_impossible_ko": "손가락 모양 이상" }, { "category": "object_integrity", "sound": true, "what_is_impossible_ko": "" }, { "category": "support", "sound": true, "what_is_impossible_ko": "" }, { "category": "duplication", "sound": true, "what_is_impossible_ko": "" } ] } }, { "alias": "grok", "physical_model": "x-ai/grok-4.6", "ok": true, "error": null, "usage": { "alias": "grok", "max_tokens_sent": 8000, "physical_model": "x-ai/grok-4.6", "prompt_tokens": 1890, "completion_tokens": 1091, "total_tokens": 2981, "estimated_cost_usd": 0.010134 }, "raw": { "checks": [ { "category": "anatomy", "sound": true, "what_is_impossible_ko": "" }, { "category": "object_integrity", "sound": true, "what_is_impossible_ko": "" }, { "category": "support", "sound": true, "what_is_impossible_ko": "" }, { "category": "duplication", "sound": true, "what_is_impossible_ko": "" } ] } } ] } } }, "S2sh5::signage": { "fp": "12f9bfaa6adc01ee", "inscriptions": [], "cues": [], "dropped": [] }, "S2sh5": { "input_fingerprint": "694d6c4d6b5e2cf7", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean-speaking unless stated. TIME OF DAY (lock): evening.\n\nSHOT TEXT (authoritative, Korean): 민수의 두 손이 누워 있는 노인의 어깨를 움켜쥐고 밀치는 힘이 실린 찰나.\n\nLOCATION (lock): On the wet roadway at the center of the exterior intersection, immediately beside the fallen man's shoulders under the flickering streetlamp. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 젖은 바닥 (젖어 있고 불빛이 번져 있음) — The ground beside the bodies carries a partial reflection of the available street illumination; used as Narrow ground-level context around the old man’s shoulder and Minsu’s knee.\nCompose the frame exactly as specified above — subject scale and screen placement. The viewing angle is deliberately left open here; choose the angle that serves the shot. 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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: Flickering streetlight and the already active flashlight provide restrained, uneven evening illumination over the close physical contact.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established about the place — its fixed features, wear and lighting — persists. The clothing, hair and overall look of 노인 — who appear both in that photo and in this shot — are LOCKED to that photo. Anyone else visible in that photo is NOT in this shot: never carry their face, body or clothing onto anyone here. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude; it governs place and objects only, never who is in this shot or how the camera sees them): Take the wet crossroads pavement, the dim evening illumination, the reflected streetlight color, and the fallen cane beside the old man from the reference. Exclude the prior shot’s exact flashlight beam as a fixed environmental feature, and do not carry over the outstretched arm or any other person-specific detail.\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\nIMMOBILE BODIES OBEY GRAVITY: a person who is dead or unconscious\nexerts NO muscular effort. Every part of their body — head, torso,\narms, hands, fingers, legs — rests fully on whatever supports it\n(floor, wall, furniture, their own lap) and hangs or slumps with\ngravity. NEVER show any part of an immobile person's body lifted,\nraised, held up in the air, or posed as if presenting something:\nan object in their grip stays clenched in a hand that itself lies\nfallen on a support — the hand does not hold the object up. If the\ncanonical pose leaves a body part unspecified, resolve it as the\nmost gravity-compliant, fully-supported position.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging within whatever this brief already fixes,\nnot literal fantasy imagery.\n\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person it puts in\nthis shot, imagine that description and still show them as a\nconcrete, fully-formed human being:\nrender the human form as fully as the framing shows — never reduce\na person to a shape, blob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands naturally positioned for the action\nthe SHOT TEXT already gives them, gaze on the target the SHOT TEXT\nimplies; avoid a stiff attention stance (feet together, arms hanging\nstraight down) and a blank stare into the lens. If the SHOT TEXT or\nany POSE/IMMOBILE contract above stages stillness, death, sleep,\nunconsciousness, restraint, drill or an explicit direct-to-camera\nlook, follow THAT exactly — this clause never overrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The streetlamp continues flickering over the wet intersection, with its light reflected across the pavement. The fallen cane remains near the center, and the flashlight beam stays trained on the central area. He remains on his side at the center of the intersection in a gray coat, with his eyes closed. He kneels on the wet roadway in navy work clothes with rolled sleeves, leaning forward with his hands placed ahead of him. His fingertips remain stained with grease.\n\nTHE HAND THAT IS DOING THIS: the object at the centre of this shot is being held, operated, read, aimed or handed over by 민수 right now, so 민수's hand — and as much of the wrist and forearm as the framing reaches — is in the frame, gripping or resting on that object exactly the way its real use requires. Match that hand to 민수: its size, build, skin, age, grooming, sleeve and anything worn on it belong to that person and to no one else.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민수 (한국인, 40대 남성, 자연스러운 중년 얼굴, 자연스러운 짙은색 머리카락); 노인 (한국인, 70대 노년층, 자연스러운 노년층 얼굴, 성별 미지정) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nNo readable writing anywhere in this image. Surfaces that would carry writing may be present, but nothing a viewer could read: stage every one of them out of legibility — a hand across, an oblique angle, shallow focus, or simply turned away. No caption, subtitle, watermark, logo or overlay.", "roll_prompts": { "A": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean-speaking unless stated. TIME OF DAY (lock): evening.\n\nSHOT TEXT (authoritative, Korean): 민수의 두 손이 누워 있는 노인의 어깨를 움켜쥐고 밀치는 힘이 실린 찰나.\n\nLOCATION (lock): On the wet roadway at the center of the exterior intersection, immediately beside the fallen man's shoulders under the flickering streetlamp. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 젖은 바닥 (젖어 있고 불빛이 번져 있음) — The ground beside the bodies carries a partial reflection of the available street illumination; used as Narrow ground-level context around the old man’s shoulder and Minsu’s knee.\nCompose the frame exactly as specified above — subject scale and screen placement. The viewing angle is deliberately left open here; choose the angle that serves the shot. 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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: Flickering streetlight and the already active flashlight provide restrained, uneven evening illumination over the close physical contact.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established about the place — its fixed features, wear and lighting — persists. The clothing, hair and overall look of 노인 — who appear both in that photo and in this shot — are LOCKED to that photo. Anyone else visible in that photo is NOT in this shot: never carry their face, body or clothing onto anyone here. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude; it governs place and objects only, never who is in this shot or how the camera sees them): Take the wet crossroads pavement, the dim evening illumination, the reflected streetlight color, and the fallen cane beside the old man from the reference. Exclude the prior shot’s exact flashlight beam as a fixed environmental feature, and do not carry over the outstretched arm or any other person-specific detail.\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\nIMMOBILE BODIES OBEY GRAVITY: a person who is dead or unconscious\nexerts NO muscular effort. Every part of their body — head, torso,\narms, hands, fingers, legs — rests fully on whatever supports it\n(floor, wall, furniture, their own lap) and hangs or slumps with\ngravity. NEVER show any part of an immobile person's body lifted,\nraised, held up in the air, or posed as if presenting something:\nan object in their grip stays clenched in a hand that itself lies\nfallen on a support — the hand does not hold the object up. If the\ncanonical pose leaves a body part unspecified, resolve it as the\nmost gravity-compliant, fully-supported position.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging within whatever this brief already fixes,\nnot literal fantasy imagery.\n\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person it puts in\nthis shot, imagine that description and still show them as a\nconcrete, fully-formed human being:\nrender the human form as fully as the framing shows — never reduce\na person to a shape, blob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands naturally positioned for the action\nthe SHOT TEXT already gives them, gaze on the target the SHOT TEXT\nimplies; avoid a stiff attention stance (feet together, arms hanging\nstraight down) and a blank stare into the lens. If the SHOT TEXT or\nany POSE/IMMOBILE contract above stages stillness, death, sleep,\nunconsciousness, restraint, drill or an explicit direct-to-camera\nlook, follow THAT exactly — this clause never overrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The streetlamp continues flickering over the wet intersection, with its light reflected across the pavement. The fallen cane remains near the center, and the flashlight beam stays trained on the central area. He remains on his side at the center of the intersection in a gray coat, with his eyes closed. He kneels on the wet roadway in navy work clothes with rolled sleeves, leaning forward with his hands placed ahead of him. His fingertips remain stained with grease.\n\nTHE HAND THAT IS DOING THIS: the object at the centre of this shot is being held, operated, read, aimed or handed over by 민수 right now, so 민수's hand — and as much of the wrist and forearm as the framing reaches — is in the frame, gripping or resting on that object exactly the way its real use requires. Match that hand to 민수: its size, build, skin, age, grooming, sleeve and anything worn on it belong to that person and to no one else.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민수 (한국인, 40대 남성, 자연스러운 중년 얼굴, 자연스러운 짙은색 머리카락); 노인 (한국인, 70대 노년층, 자연스러운 노년층 얼굴, 성별 미지정) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nNo readable writing anywhere in this image. Surfaces that would carry writing may be present, but nothing a viewer could read: stage every one of them out of legibility — a hand across, an oblique angle, shallow focus, or simply turned away. No caption, subtitle, watermark, logo or overlay.", "B": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean-speaking unless stated. TIME OF DAY (lock): evening.\n\nSHOT TEXT (authoritative, Korean): 민수의 두 손이 누워 있는 노인의 어깨를 움켜쥐고 밀치는 힘이 실린 찰나.\n\nLOCATION (lock): On the wet roadway at the center of the exterior intersection, immediately beside the fallen man's shoulders under the flickering streetlamp. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 젖은 바닥 (젖어 있고 불빛이 번져 있음) — The ground beside the bodies carries a partial reflection of the available street illumination; used as Narrow ground-level context around the old man’s shoulder and Minsu’s knee.\nCompose the frame exactly as specified above — subject scale and screen placement. The viewing angle is deliberately left open here; choose the angle that serves the shot. 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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: Flickering streetlight and the already active flashlight provide restrained, uneven evening illumination over the close physical contact.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established about the place — its fixed features, wear and lighting — persists. The clothing, hair and overall look of 노인 — who appear both in that photo and in this shot — are LOCKED to that photo. Anyone else visible in that photo is NOT in this shot: never carry their face, body or clothing onto anyone here. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude; it governs place and objects only, never who is in this shot or how the camera sees them): Take the wet crossroads pavement, the dim evening illumination, the reflected streetlight color, and the fallen cane beside the old man from the reference. Exclude the prior shot’s exact flashlight beam as a fixed environmental feature, and do not carry over the outstretched arm or any other person-specific detail.\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\nIMMOBILE BODIES OBEY GRAVITY: a person who is dead or unconscious\nexerts NO muscular effort. Every part of their body — head, torso,\narms, hands, fingers, legs — rests fully on whatever supports it\n(floor, wall, furniture, their own lap) and hangs or slumps with\ngravity. NEVER show any part of an immobile person's body lifted,\nraised, held up in the air, or posed as if presenting something:\nan object in their grip stays clenched in a hand that itself lies\nfallen on a support — the hand does not hold the object up. If the\ncanonical pose leaves a body part unspecified, resolve it as the\nmost gravity-compliant, fully-supported position.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging within whatever this brief already fixes,\nnot literal fantasy imagery.\n\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person it puts in\nthis shot, imagine that description and still show them as a\nconcrete, fully-formed human being:\nrender the human form as fully as the framing shows — never reduce\na person to a shape, blob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands naturally positioned for the action\nthe SHOT TEXT already gives them, gaze on the target the SHOT TEXT\nimplies; avoid a stiff attention stance (feet together, arms hanging\nstraight down) and a blank stare into the lens. If the SHOT TEXT or\nany POSE/IMMOBILE contract above stages stillness, death, sleep,\nunconsciousness, restraint, drill or an explicit direct-to-camera\nlook, follow THAT exactly — this clause never overrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The streetlamp continues flickering over the wet intersection, with its light reflected across the pavement. The fallen cane remains near the center, and the flashlight beam stays trained on the central area. He remains on his side at the center of the intersection in a gray coat, with his eyes closed. He kneels on the wet roadway in navy work clothes with rolled sleeves, leaning forward with his hands placed ahead of him. His fingertips remain stained with grease.\n\nTHE HAND THAT IS DOING THIS: the object at the centre of this shot is being held, operated, read, aimed or handed over by 민수 right now, so 민수's hand — and as much of the wrist and forearm as the framing reaches — is in the frame, gripping or resting on that object exactly the way its real use requires. Match that hand to 민수: its size, build, skin, age, grooming, sleeve and anything worn on it belong to that person and to no one else.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민수 (한국인, 40대 남성, 자연스러운 중년 얼굴, 자연스러운 짙은색 머리카락); 노인 (한국인, 70대 노년층, 자연스러운 노년층 얼굴, 성별 미지정) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nNo readable writing anywhere in this image. Surfaces that would carry writing may be present, but nothing a viewer could read: stage every one of them out of legibility — a hand across, an oblique angle, shallow focus, or simply turned away. No caption, subtitle, watermark, logo or overlay.\n\nCOMPOSITION VARIATION (this candidate only): keep the place, the people and the moment exactly as specified, and keep from the CAMERA & FRAME contract its subject scale, screen placement and key background elements exactly. For this candidate only, its camera angle and height are deliberately left open: choose a camera position distinctly different from the obvious one, as a film director picking a second setup on the same blocking. Stay true to any explicit framing the SHOT TEXT itself dictates." }, "shot_run_spend_attempt_count": 1, "initial_roll_all_fail": true, "readings": [ { "label": "A", "direction": "화면 왼쪽에서 손전등 빛이 인물들을 향해 비추고 있으며, 민수의 시선은 쓰러진 노인의 얼굴을 향함. 민수의 오른손이 노인의 등 쪽에 닿아 있음.", "built_space": "젖은 교차로 바닥과 맨홀 뚜껑, 멀리 배경의 골목길 건물 벽면이 보임. 가로등 빛이 젖은 바닥에 넓게 반사됨.", "entities": "노인(회색 코트, 눈을 감고 쓰러진 자세 일치), 민수(40대 남성 얼굴, 남색 작업복 일치, 한 손만 사용함), 화면 왼쪽의 정체불명의 손전등을 든 손(프롬프트가 금지한 요소).", "hard_violations": [ "등장인물 제한 위배: 숏 텍스트에 존재하지 않는 제3자의 손(손전등을 든 뻗은 팔)이 화면 왼쪽에 등장함 (invented people)", "참고자료 배제 지시 위배: 이전 샷의 '뻗은 팔(outstretched arm)'을 제외하라는 명시적 지시를 무시하고 렌더링함" ], "physics": "민수는 무릎을 꿇고 몸을 굽혀 한 손으로 노인을 짚고 있으며, 노인은 중력에 의해 바닥에 쓰러진 채 완전히 지탱됨. 왼쪽의 손전등은 프레임 밖의 누군가의 팔에 들려 있음." }, { "label": "B", "direction": "화면 왼쪽에서 손전등 빛이 노인과 민수의 손을 향해 비추며, 민수의 두 손은 노인의 어깨를 향해 아래로 누르는 압력을 가하고 있음.", "built_space": "젖은 아스팔트 바닥과 맨홀 뚜껑이 보이며, 가로등 불빛이 바닥에 좁게 반사됨. 클로즈업 화각으로 인해 주변 구조물은 거의 보이지 않음.", "entities": "노인(회색 코트, 눈을 감고 쓰러진 자세 일치), 민수(남색 작업복, 걷어 올린 소매 일치, 두 손이 모두 등장함), 화면 왼쪽의 정체불명의 손전등을 든 손(프롬프트가 금지한 요소).", "hard_violations": [ "등장인물 제한 위배: 숏 텍스트에 존재하지 않는 제3자의 손(손전등을 든 뻗은 팔)이 화면 왼쪽에 등장함 (invented people)", "참고자료 배제 지시 위배: 이전 샷의 '뻗은 팔(outstretched arm)'을 제외하라는 명시적 지시를 무시하고 렌더링함" ], "physics": "민수는 체중을 실어 두 손으로 노인의 어깨를 누르고 있으며, 노인은 바닥에 온전히 뉘어져 지탱되고 있음. 화면 왼쪽의 손전등은 프레임 밖의 인물에 의해 공중에 들려 있음." } ], "gq": { "route": "agree", "gap": 0.0, "per_model_winner": { "gemini-pro": "B", "openrouter:x-ai/grok-4.6": "B" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] }, "totals": { "B": 3, "A": 2 }, "selected": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 3, "verdict_ko": "민수의 두 손이 어깨를 움켜쥐는 행동과 클로즈업 프레이밍은 잘 표현되었으나, 지시사항에서 명시적으로 제외하라고 한 '손전등을 든 팔'이 화면 왼쪽에 등장하여 치명적인 위반을 범했습니다." }, { "label": "A", "score": 2, "verdict_ko": "민수가 두 손이 아닌 한 손만 사용하고 프레이밍이 지시된 클로즈업보다 넓으며, 제외해야 할 '손전등을 든 팔'이 화면 왼쪽에 그대로 나타나 치명적인 위반이 발생했습니다." } ], "refs": [ { "label": "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features and lighting mood are LOCKED to this photo; never copy its camera framing. The clothing, hair and overall look of 노인 — who appear both in that photo and in this shot — are LOCKED to that photo. Anyone else visible in that photo is NOT in this shot: never carry their face, body or clothing onto anyone here. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/759e2b63-52cf-4d1b-8953-8599ac2a6141/images/3e83f3ee-ded7-4f2a-aded-01584d6ea5c5/scene/recipe/S2sh3_sel.png", "asset_id": "0a00c744-9e6b-4a54-8319-6a0d7cf00aa3", "role": "prev_still" }, { "label": "CHARACTER REFERENCE — 민수: the exact person appearing in this shot; match face, hair and build exactly.", "path": "", "asset_id": "b4466066-f899-4439-8ae6-81d5953412fb", "role": "character_ref" } ], "critique": { "issues": [ { "issue_ko": "화면 왼쪽 상단에 프롬프트가 명시적으로 제외할 것을 지시한 이전 샷 인물의 '손전등을 들고 뻗은 팔'이 포함됨.", "fix_en": "Erase the hand and the flashlight it is holding from the top left corner, replacing them with the dark, out-of-focus background and wet street surface. Maintain Minsu, his hands pushing the old man, the old man's pose and clothing, the fallen cane, and the overall lighting on the bodies exactly as they are.", "unfixable": false, "needs_regeneration": false, "severity": "critical", "observation_index": 0, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "" }, { "issue_ko": "클로즈업으로 노인 어깨와 민수 무릎 주변 좁은 지면이어야 하는데 노인 상반신·넓은 도로·손전등이 보임", "fix_en": "Crop the image to a close-up framing that tightly isolates only the old man's shoulder, Minsu's hands, and a narrow area of the wet ground.", "unfixable": false, "needs_regeneration": true, "severity": "major", "observation_index": 2, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "" } ], "observer_observations": [ { "issue_ko": "화면 왼쪽 상단에 프롬프트가 명시적으로 제외할 것을 지시한 이전 샷 인물의 '손전등을 들고 뻗은 팔'이 포함됨.", "severity": "critical" }, { "issue_ko": "왼쪽 상단에 민수의 손이 아닌 제3자가 든 손전등이 프레임에 들어와 샷에 없는 인물이 암시됨", "severity": "critical" }, { "issue_ko": "클로즈업으로 노인 어깨와 민수 무릎 주변 좁은 지면이어야 하는데 노인 상반신·넓은 도로·손전등이 보임", "severity": "major" } ], "observer_models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ], "observer_counts": { "gemini-pro": 1, "openrouter:x-ai/grok-4.6": 2 } }, "fix_severity_skipped_count": 1, "fix_severity_skipped": [ { "issue_ko": "클로즈업으로 노인 어깨와 민수 무릎 주변 좁은 지면이어야 하는데 노인 상반신·넓은 도로·손전등이 보임", "fix_en": "Crop the image to a close-up framing that tightly isolates only the old man's shoulder, Minsu's hands, and a narrow area of the wet ground.", "unfixable": false, "needs_regeneration": true, "severity": "major", "observation_index": 2, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "" } ], "repair_mode": "edit", "fix_ref_gate": { "mode": "gated", "available": 2, "kept": 0, "requested_indices": [], "kept_labels": [] }, "fix_ref_count": 1, "fix_prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Erase the hand and the flashlight it is holding from the top left corner, replacing them with the dark, out-of-focus background and wet street surface. Maintain Minsu, his hands pushing the old man, the old man's pose and clothing, the fallen cane, and the overall lighting on the bodies exactly as they are.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. Real-world writing that belongs\nto the scene — signs, banners, documents — stays exactly as the\noriginal shows it; do not add captions, subtitles, watermarks or\nany overlay text.", "fix_rejudge": { "forward_raw": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 7, "verdict_ko": "프롬프트에 지시된 등장인물 제한을 엄격히 준수하였으며, 이전 샷의 팔 요소를 제거하고 조명과 인물 간의 물리적 상호작용을 충실히 묘사했습니다." }, { "label": "A", "score": 3, "verdict_ko": "화면 좌측에 프롬프트가 허용하지 않은 제3자의 손과 손전등이 등장하여 인물 제한 및 이전 샷 배제 지시를 위반했습니다." } ], "readings": [ { "label": "B", "direction": "민수의 두 손이 노인의 양어깨를 향해 뻗어 정확히 움켜쥐고 있음.", "built_space": "젖은 아스팔트 바닥, 맨홀 뚜껑 1개, 불빛이 반사되는 노면이 인물들 주변을 둘러쌈.", "entities": "회색 코트를 입은 노인, 남색 작업복에 소매를 걷은 민수의 팔과 몸, 바닥에 놓인 지팡이가 정확히 일치함.", "hard_violations": [], "physics": "노인은 지면에 누워 체중을 지탱하고 있으며, 민수는 무릎을 바닥에 대고 안정적으로 웅크림." }, { "label": "A", "direction": "민수의 두 손이 노인의 양어깨를 향해 뻗어 정확히 움켜쥐고 있음.", "built_space": "젖은 아스팔트 바닥, 맨홀 뚜껑 1개, 불빛이 반사되는 노면이 보임.", "entities": "노인과 민수, 지팡이가 존재하나, 화면 좌측 상단에 허용되지 않은 제3자의 손과 손전등이 있음.", "hard_violations": [ "프롬프트에 없는 제3자의 신체(손전등을 쥔 손) 등장" ], "physics": "노인과 민수는 바닥과 무릎으로 각각 지지되나, 좌측 손전등은 금지된 신체 부위에 의해 들려 있음." } ], "all_candidates_fail": false, "gq": { "route": "agree", "gap": 0.0, "per_model_winner": { "gemini-pro": "B", "openrouter:x-ai/grok-4.6": "B" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] } }, "forward_normalized": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 7, "verdict_ko": "프롬프트에 지시된 등장인물 제한을 엄격히 준수하였으며, 이전 샷의 팔 요소를 제거하고 조명과 인물 간의 물리적 상호작용을 충실히 묘사했습니다." }, { "label": "A", "score": 3, "verdict_ko": "화면 좌측에 프롬프트가 허용하지 않은 제3자의 손과 손전등이 등장하여 인물 제한 및 이전 샷 배제 지시를 위반했습니다." } ], "all_candidates_fail": false, "readings": [ { "label": "B", "direction": "민수의 두 손이 노인의 양어깨를 향해 뻗어 정확히 움켜쥐고 있음.", "built_space": "젖은 아스팔트 바닥, 맨홀 뚜껑 1개, 불빛이 반사되는 노면이 인물들 주변을 둘러쌈.", "entities": "회색 코트를 입은 노인, 남색 작업복에 소매를 걷은 민수의 팔과 몸, 바닥에 놓인 지팡이가 정확히 일치함.", "hard_violations": [], "physics": "노인은 지면에 누워 체중을 지탱하고 있으며, 민수는 무릎을 바닥에 대고 안정적으로 웅크림." }, { "label": "A", "direction": "민수의 두 손이 노인의 양어깨를 향해 뻗어 정확히 움켜쥐고 있음.", "built_space": "젖은 아스팔트 바닥, 맨홀 뚜껑 1개, 불빛이 반사되는 노면이 보임.", "entities": "노인과 민수, 지팡이가 존재하나, 화면 좌측 상단에 허용되지 않은 제3자의 손과 손전등이 있음.", "hard_violations": [ "프롬프트에 없는 제3자의 신체(손전등을 쥔 손) 등장" ], "physics": "노인과 민수는 바닥과 무릎으로 각각 지지되나, 좌측 손전등은 금지된 신체 부위에 의해 들려 있음." } ] }, "reverse_raw": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 7, "verdict_ko": "요구된 인물의 행동과 배치를 정확히 묘사했으며, 금지된 추가 인물의 개입 없이 지시된 조명과 질감을 잘 구현했습니다." }, { "label": "B", "score": 3, "verdict_ko": "조명 유지를 위해 이전 샷의 인물(손전등을 든 손)을 화면에 그대로 포함시키는 치명적인 오류를 범했습니다." } ], "readings": [ { "label": "A", "direction": "민수의 두 손이 노인의 어깨와 가슴 쪽을 향해 압박을 가하고 있음.", "built_space": "젖은 아스팔트 교차로 바닥과 맨홀 뚜껑이 보이며, 배경에 흐릿한 거리가 위치함.", "entities": "민수(남색 작업복, 걷어붙인 소매, 기름 묻은 손), 노인(회색 코트, 감은 눈), 바닥의 지팡이 모두 일치함.", "hard_violations": [], "physics": "노인의 몸과 지팡이는 바닥에 안정적으로 닿아 있으며, 민수는 노인의 어깨를 짚고 몸을 지탱함." }, { "label": "B", "direction": "민수의 손이 노인을 향하며, 화면 좌측에서 손전등 빛이 중앙을 비춤.", "built_space": "젖은 아스팔트 교차로 바닥과 맨홀 뚜껑, 배경의 건물이 있음.", "entities": "민수와 노인, 지팡이는 일치하나, 화면 좌측에 프롬프트에 없는 인물의 손이 등장함.", "hard_violations": [ "등장해서는 안 되는 추가 인물의 신체(손전등을 든 손)가 화면 좌측에 포함됨." ], "physics": "두 인물은 바닥에 물리적으로 올바르게 지지되어 있으나, 손전등을 든 손은 프레임 밖에서 뻗어 나옴." } ], "all_candidates_fail": false, "gq": { "route": "agree", "gap": 0.0, "per_model_winner": { "gemini-pro": "A", "openrouter:x-ai/grok-4.6": "A" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] } }, "reverse_normalized": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 7, "verdict_ko": "요구된 인물의 행동과 배치를 정확히 묘사했으며, 금지된 추가 인물의 개입 없이 지시된 조명과 질감을 잘 구현했습니다." }, { "label": "A", "score": 3, "verdict_ko": "조명 유지를 위해 이전 샷의 인물(손전등을 든 손)을 화면에 그대로 포함시키는 치명적인 오류를 범했습니다." } ], "all_candidates_fail": false, "readings": [ { "label": "B", "direction": "민수의 두 손이 노인의 어깨와 가슴 쪽을 향해 압박을 가하고 있음.", "built_space": "젖은 아스팔트 교차로 바닥과 맨홀 뚜껑이 보이며, 배경에 흐릿한 거리가 위치함.", "entities": "민수(남색 작업복, 걷어붙인 소매, 기름 묻은 손), 노인(회색 코트, 감은 눈), 바닥의 지팡이 모두 일치함.", "hard_violations": [], "physics": "노인의 몸과 지팡이는 바닥에 안정적으로 닿아 있으며, 민수는 노인의 어깨를 짚고 몸을 지탱함." }, { "label": "A", "direction": "민수의 손이 노인을 향하며, 화면 좌측에서 손전등 빛이 중앙을 비춤.", "built_space": "젖은 아스팔트 교차로 바닥과 맨홀 뚜껑, 배경의 건물이 있음.", "entities": "민수와 노인, 지팡이는 일치하나, 화면 좌측에 프롬프트에 없는 인물의 손이 등장함.", "hard_violations": [ "등장해서는 안 되는 추가 인물의 신체(손전등을 든 손)가 화면 좌측에 포함됨." ], "physics": "두 인물은 바닥에 물리적으로 올바르게 지지되어 있으나, 손전등을 든 손은 프레임 밖에서 뻗어 나옴." } ] }, "combined": { "totals": { "A": 6, "B": 14 }, "ranking": [ "B", "A" ], "agreement": true, "policy": 1 }, "winner": "B", "fix_won": true, "all_candidates_fail": false, "policy": "fix_rejudge_v2_orig_on_tie" }, "shot_run_produced": true, "shot_run_uid": "06a91169-2cc8-7733-861b-207829317f9a", "ref_mode": "prev+엔티티", "share_plan": { "ref_plan": "prev", "prev_anchor_tag": "S2sh3" }, "locked_char_refs_excluded": [ "노인(C03)" ] }, "S2sh5::cine": { "applied": true, "attempted_at": "2026-08-28T05:15:30.664014+00:00", "fingerprint": "3208953f641b753f94227eacc8f4948cb7850776be750ccbf16085225e9218e5", "fingerprint_version": 2, "provider": "reve", "endpoint": "reve/2.1/edit", "model": "reve/2.1/edit", "pack": "24.202608252115", "source_file": "S2sh5_sel.png", "source_sha256": "0506a0dd5a6f685153564bc8541c4e75b360fdaf66562cf01aebac698e72494c", "file": "S2sh5_cine.png", "staged_sha256": "19de55b14b5c0e0d6c86a73c2cfecc20d0686482f3b926bed2874ee78e52ddf8", "latency_ms": 75676, "request_id": "01a046cb-8083-7ab0-90ef-718a643f5a2f", "status_url": "https://queue.fal.run/reve/2.1/requests/01a046cb-8083-7ab0-90ef-718a643f5a2f/status", "response_url": "https://queue.fal.run/reve/2.1/requests/01a046cb-8083-7ab0-90ef-718a643f5a2f", "submitted_at": "2026-08-28T05:15:33.051662+00:00", "verify": { "ok": true, "broken": [], "split": [ "anatomy" ], "findings": { "anatomy": { "sound": false, "note": "화면 중앙 앞쪽에 있는 손을 보면 손가락이 6개입니다.", "agreed": false }, "object_integrity": { "sound": true, "note": "", "agreed": true }, "support": { "sound": true, "note": "", "agreed": true }, "duplication": { "sound": true, "note": "", "agreed": true } }, "rounds": 2, "requested": 2, "complete": true, "judged_size": [ 1360, 752 ], "contract": "6e5e7da7b2eff8ba", "error": null, "models": [ "gemini-pro", "grok" ], "model_usage": { "gemini-pro": { "alias": "gemini-pro", "max_tokens_sent": 65536, "physical_model": "gemini-3.1-pro-preview", "prompt_tokens": 1544, "completion_tokens": 2257, "total_tokens": 3801, "estimated_cost_usd": 0.028012000000000002 }, "grok": { "alias": "grok", "max_tokens_sent": 8000, "physical_model": "x-ai/grok-4.6", "prompt_tokens": 1890, "completion_tokens": 825, "total_tokens": 2715, "estimated_cost_usd": 0.008538 } }, "provenance": { "contract": "dual_vlm_v1", "aliases": [ "gemini-pro", "grok" ], "complete": true, "calls": [ { "alias": "gemini-pro", "physical_model": "gemini-3.1-pro-preview", "ok": true, "error": null, "usage": { "alias": "gemini-pro", "max_tokens_sent": 65536, "physical_model": "gemini-3.1-pro-preview", "prompt_tokens": 1544, "completion_tokens": 2257, "total_tokens": 3801, "estimated_cost_usd": 0.028012000000000002 }, "raw": { "checks": [ { "category": "anatomy", "sound": false, "what_is_impossible_ko": "화면 중앙 앞쪽에 있는 손을 보면 손가락이 6개입니다." }, { "category": "object_integrity", "sound": true, "what_is_impossible_ko": "" }, { "category": "support", "sound": true, "what_is_impossible_ko": "" }, { "category": "duplication", "sound": true, "what_is_impossible_ko": "" } ] } }, { "alias": "grok", "physical_model": "x-ai/grok-4.6", "ok": true, "error": null, "usage": { "alias": "grok", "max_tokens_sent": 8000, "physical_model": "x-ai/grok-4.6", "prompt_tokens": 1890, "completion_tokens": 825, "total_tokens": 2715, "estimated_cost_usd": 0.008538 }, "raw": { "checks": [ { "category": "anatomy", "sound": true, "what_is_impossible_ko": "" }, { "category": "object_integrity", "sound": true, "what_is_impossible_ko": "" }, { "category": "support", "sound": true, "what_is_impossible_ko": "" }, { "category": "duplication", "sound": true, "what_is_impossible_ko": "" } ] } } ] } } }, "S3sh2::signage": { "fp": "bca6f2ce4813cc4d", "inscriptions": [], "cues": [], "dropped": [] }, "S3sh2::bgfirst_bg": { "input_fingerprint": "29e2021356c1ebd8", "prompt": "Create the EMPTY BACKGROUND PLATE for one film shot — NO PEOPLE, no figures, no body parts, no sketch lines, no arrows anywhere.\n\"Empty\" means no people only: KEEP the location's inherent occupants and stock that define the place — animals in an animal shelter, pen or farm, goods in a market, moored boats in a harbour — unless the shot text explicitly removes them.\nThe FIRST attached image is a thin-line storyboard sketch: use ONLY its camera angle, horizon, perspective and the placement/size of buildings and set masses — ignore the sketched people and arrows entirely. The SECOND attached image (LOCATION PHOTOGRAPH) is the real place: take its architecture, materials, signage and fixed features, and RE-PROJECT them into the sketch's camera. If the photograph's camera differs from the sketch's, the sketch's camera wins.\nHUMAN-SCALE CALIBRATION: derive every structure's true size from human-scale elements — a door ≈ 2m, a window ≈ 1–1.5m wide, one storey ≈ 2.5–3m; never inflate a small structure or shrink a large one.\n\nSHOT TEXT this background must serve (Korean): 누워 있는 노인의 곁 바닥에 무릎을 모으고 쪼그려 앉은 민수의 전신.\n\nLOCATION (lock): 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\nTIME OF DAY (lock): night.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\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 — subject scale and screen placement. The viewing angle is deliberately left open here; choose the angle that serves the shot. 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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The overhead fluorescent light supplies subdued night-interior illumination with muted color and gentle contrast.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nRender ONE photorealistic empty location photograph, 16:9, that this shot can be staged inside later. No readable writing anywhere: surfaces that would carry writing may be present, but stage any wording out of legibility — an oblique angle, distance, shallow focus. No captions, watermarks or overlay text.", "effective_prompt": "Create the EMPTY BACKGROUND PLATE for one film shot — NO PEOPLE, no figures, no body parts, no sketch lines, no arrows anywhere.\n\"Empty\" means no people only: KEEP the location's inherent occupants and stock that define the place — animals in an animal shelter, pen or farm, goods in a market, moored boats in a harbour — unless the shot text explicitly removes them.\nThe FIRST attached image is a thin-line storyboard sketch: use ONLY its camera angle, horizon, perspective and the placement/size of buildings and set masses — ignore the sketched people and arrows entirely. The SECOND attached image (LOCATION PHOTOGRAPH) is the real place: take its architecture, materials, signage and fixed features, and RE-PROJECT them into the sketch's camera. If the photograph's camera differs from the sketch's, the sketch's camera wins.\nHUMAN-SCALE CALIBRATION: derive every structure's true size from human-scale elements — a door ≈ 2m, a window ≈ 1–1.5m wide, one storey ≈ 2.5–3m; never inflate a small structure or shrink a large one.\n\nSHOT TEXT this background must serve (Korean): 누워 있는 노인의 곁 바닥에 무릎을 모으고 쪼그려 앉은 민수의 전신.\n\nLOCATION (lock): 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\nTIME OF DAY (lock): night.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\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 — subject scale and screen placement. The viewing angle is deliberately left open here; choose the angle that serves the shot. 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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The overhead fluorescent light supplies subdued night-interior illumination with muted color and gentle contrast.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nRender ONE photorealistic empty location photograph, 16:9, that this shot can be staged inside later. No readable writing anywhere: surfaces that would carry writing may be present, but stage any wording out of legibility — an oblique angle, distance, shallow focus. No captions, watermarks or overlay text.", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/759e2b63-52cf-4d1b-8953-8599ac2a6141/images/3e83f3ee-ded7-4f2a-aded-01584d6ea5c5/scene/recipe/S3sh2__bgfirst_bg.png", "asset_id": "38fa3c1c-54e9-483e-bc88-5f61921410bc", "input_asset_ids": [ "bf79534f-1c10-4718-ab36-2da40a94fa9e", "a79a58e2-133e-4564-bfa9-985deccc8215" ] }, "S3sh2": { "input_fingerprint": "571b472010cbd1fd", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean-speaking unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 누워 있는 노인의 곁 바닥에 무릎을 모으고 쪼그려 앉은 민수의 전신.\n\nLOCATION (lock): 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. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\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 — subject scale and screen placement. The viewing angle is deliberately left open here; choose the angle that serves the shot. 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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The overhead fluorescent light supplies subdued night-interior illumination with muted color and gentle contrast.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\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\nIMMOBILE BODIES OBEY GRAVITY: a person who is dead or unconscious\nexerts NO muscular effort. Every part of their body — head, torso,\narms, hands, fingers, legs — rests fully on whatever supports it\n(floor, wall, furniture, their own lap) and hangs or slumps with\ngravity. NEVER show any part of an immobile person's body lifted,\nraised, held up in the air, or posed as if presenting something:\nan object in their grip stays clenched in a hand that itself lies\nfallen on a support — the hand does not hold the object up. If the\ncanonical pose leaves a body part unspecified, resolve it as the\nmost gravity-compliant, fully-supported position.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging within whatever this brief already fixes,\nnot literal fantasy imagery.\n\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person it puts in\nthis shot, imagine that description and still show them as a\nconcrete, fully-formed human being:\nrender the human form as fully as the framing shows — never reduce\na person to a shape, blob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands naturally positioned for the action\nthe SHOT TEXT already gives them, gaze on the target the SHOT TEXT\nimplies; avoid a stiff attention stance (feet together, arms hanging\nstraight down) and a blank stare into the lens. If the SHOT TEXT or\nany POSE/IMMOBILE contract above stages stillness, death, sleep,\nunconsciousness, restraint, drill or an explicit direct-to-camera\nlook, follow THAT exactly — this clause never overrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): 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\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민수 (한국인, 40대 남성, 자연스러운 중년 얼굴, 자연스러운 짙은색 머리카락); 노인 (한국인, 70대 노년층, 자연스러운 노년층 얼굴, 성별 미지정) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nNo readable writing anywhere in this image. Surfaces that would carry writing may be present, but nothing a viewer could read: stage every one of them out of legibility — a hand across, an oblique angle, shallow focus, or simply turned away. No caption, subtitle, watermark, logo or overlay.", "roll_prompts": { "A": "Stage the shot. The FIRST attached image (SHOT BACKGROUND) is the finished empty background of this shot — keep it EXACTLY: its camera, perspective, architecture, lighting and every fixed feature stay untouched. The SECOND attached image (LAYOUT SKETCH) tells you ONLY where the people go: each sketched person's position, screen size, pose and the gaze/motion arrows. Ignore the sketch's background lines. The CHARACTER REFERENCE photographs show the real people.\nPlace the real people into the background at exactly the sketched positions, sizes and poses, following the arrow directions. No sketch lines or arrows may remain.\n\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean-speaking unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 누워 있는 노인의 곁 바닥에 무릎을 모으고 쪼그려 앉은 민수의 전신.\n\nLOCATION (lock): 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. The shot takes place here — the FIRST attached image (SHOT BACKGROUND) is this exact place, already built: its ground, structures, horizon, materials and lighting are the finished truth of this location and must not be redesigned or replaced. No location photograph is attached — read the place from that image alone, and add no scenery, structure, vehicle or fixture that it does not already show. This lock governs the place only; the figures in the shot follow the staging and pose instructions.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\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 — subject scale and screen placement. The viewing angle is deliberately left open here; choose the angle that serves the shot. 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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The overhead fluorescent light supplies subdued night-interior illumination with muted color and gentle contrast.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\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\nIMMOBILE BODIES OBEY GRAVITY: a person who is dead or unconscious\nexerts NO muscular effort. Every part of their body — head, torso,\narms, hands, fingers, legs — rests fully on whatever supports it\n(floor, wall, furniture, their own lap) and hangs or slumps with\ngravity. NEVER show any part of an immobile person's body lifted,\nraised, held up in the air, or posed as if presenting something:\nan object in their grip stays clenched in a hand that itself lies\nfallen on a support — the hand does not hold the object up. If the\ncanonical pose leaves a body part unspecified, resolve it as the\nmost gravity-compliant, fully-supported position.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging within whatever this brief already fixes,\nnot literal fantasy imagery.\n\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person it puts in\nthis shot, imagine that description and still show them as a\nconcrete, fully-formed human being:\nrender the human form as fully as the framing shows — never reduce\na person to a shape, blob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands naturally positioned for the action\nthe SHOT TEXT already gives them, gaze on the target the SHOT TEXT\nimplies; avoid a stiff attention stance (feet together, arms hanging\nstraight down) and a blank stare into the lens. If the SHOT TEXT or\nany POSE/IMMOBILE contract above stages stillness, death, sleep,\nunconsciousness, restraint, drill or an explicit direct-to-camera\nlook, follow THAT exactly — this clause never overrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): 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\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민수 (한국인, 40대 남성, 자연스러운 중년 얼굴, 자연스러운 짙은색 머리카락); 노인 (한국인, 70대 노년층, 자연스러운 노년층 얼굴, 성별 미지정) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nNo readable writing anywhere in this image. Surfaces that would carry writing may be present, but nothing a viewer could read: stage every one of them out of legibility — a hand across, an oblique angle, shallow focus, or simply turned away. No caption, subtitle, watermark, logo or overlay.", "B": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean-speaking unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 누워 있는 노인의 곁 바닥에 무릎을 모으고 쪼그려 앉은 민수의 전신.\n\nLOCATION (lock): 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. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\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 — subject scale and screen placement. The viewing angle is deliberately left open here; choose the angle that serves the shot. 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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The overhead fluorescent light supplies subdued night-interior illumination with muted color and gentle contrast.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\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\nIMMOBILE BODIES OBEY GRAVITY: a person who is dead or unconscious\nexerts NO muscular effort. Every part of their body — head, torso,\narms, hands, fingers, legs — rests fully on whatever supports it\n(floor, wall, furniture, their own lap) and hangs or slumps with\ngravity. NEVER show any part of an immobile person's body lifted,\nraised, held up in the air, or posed as if presenting something:\nan object in their grip stays clenched in a hand that itself lies\nfallen on a support — the hand does not hold the object up. If the\ncanonical pose leaves a body part unspecified, resolve it as the\nmost gravity-compliant, fully-supported position.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging within whatever this brief already fixes,\nnot literal fantasy imagery.\n\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person it puts in\nthis shot, imagine that description and still show them as a\nconcrete, fully-formed human being:\nrender the human form as fully as the framing shows — never reduce\na person to a shape, blob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands naturally positioned for the action\nthe SHOT TEXT already gives them, gaze on the target the SHOT TEXT\nimplies; avoid a stiff attention stance (feet together, arms hanging\nstraight down) and a blank stare into the lens. If the SHOT TEXT or\nany POSE/IMMOBILE contract above stages stillness, death, sleep,\nunconsciousness, restraint, drill or an explicit direct-to-camera\nlook, follow THAT exactly — this clause never overrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): 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\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민수 (한국인, 40대 남성, 자연스러운 중년 얼굴, 자연스러운 짙은색 머리카락); 노인 (한국인, 70대 노년층, 자연스러운 노년층 얼굴, 성별 미지정) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nNo readable writing anywhere in this image. Surfaces that would carry writing may be present, but nothing a viewer could read: stage every one of them out of legibility — a hand across, an oblique angle, shallow focus, or simply turned away. No caption, subtitle, watermark, logo or overlay.\n\nCOMPOSITION VARIATION (this candidate only): keep the place, the people and the moment exactly as specified, and keep from the CAMERA & FRAME contract its subject scale, screen placement and key background elements exactly. For this candidate only, its camera angle and height are deliberately left open: choose a camera position distinctly different from the obvious one, as a film director picking a second setup on the same blocking. Stay true to any explicit framing the SHOT TEXT itself dictates." }, "roll_refs": { "A": [ { "label": "SHOT BACKGROUND", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/759e2b63-52cf-4d1b-8953-8599ac2a6141/images/3e83f3ee-ded7-4f2a-aded-01584d6ea5c5/scene/recipe/S3sh2__bgfirst_bg.png", "asset_id": "38fa3c1c-54e9-483e-bc88-5f61921410bc", "role": "bgfirst_bg" }, { "label": "LAYOUT SKETCH (people placement only)", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/759e2b63-52cf-4d1b-8953-8599ac2a6141/images/3e83f3ee-ded7-4f2a-aded-01584d6ea5c5/conti/conti_S3sh2.png", "asset_id": "bf79534f-1c10-4718-ab36-2da40a94fa9e", "role": "conti_light" }, { "label": "CHARACTER REFERENCE — 민수: the exact person appearing in this shot; match face, hair and build exactly.", "path": "", "asset_id": "b4466066-f899-4439-8ae6-81d5953412fb", "role": "character_ref" }, { "label": "CHARACTER REFERENCE — 노인: the exact person appearing in this shot; match face, hair and build exactly.", "path": "", "asset_id": "1c561a82-413d-4d63-8dec-c01cb4569e59", "role": "character_ref" } ], "B": [ { "label": "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/759e2b63-52cf-4d1b-8953-8599ac2a6141/episodes/3e83f3ee-ded7-4f2a-aded-01584d6ea5c5/images/background_chain/L01B02.png", "asset_id": "a79a58e2-133e-4564-bfa9-985deccc8215", "role": "location_plate" }, { "label": "CHARACTER REFERENCE — 민수: the exact person appearing in this shot; match face, hair and build exactly.", "path": "", "asset_id": "b4466066-f899-4439-8ae6-81d5953412fb", "role": "character_ref" }, { "label": "CHARACTER REFERENCE — 노인: the exact person appearing in this shot; match face, hair and build exactly.", "path": "", "asset_id": "1c561a82-413d-4d63-8dec-c01cb4569e59", "role": "character_ref" } ] }, "shot_run_spend_attempt_count": 1, "judge_flip": { "forward_raw": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 8, "verdict_ko": "민수가 무릎을 모으고 쪼그려 앉은 자세와 사지가 담요에 완전히 덮인 노인의 지정된 포즈를 훌륭하게 구현했으나, 지시와 달리 자전거가 똑바로 서 있는 점이 유일한 아쉬움입니다." }, { "label": "B", "score": 4, "verdict_ko": "자전거를 뒤집어 배치하려 했으나 형태가 물리적으로 붕괴되었고, 노인의 팔이 담요 밖으로 노출되며 민수의 무릎이 벌어져 있어 인물의 핵심 포즈 지시를 다수 위반했습니다." } ], "readings": [ { "label": "A", "direction": "민수의 시선이 바닥에 누워 있는 노인을 향해 아래로 향함.", "built_space": "좁은 수리점 내부로, 오른쪽의 밀려난 작업대와 그 앞의 빈 바닥 공간이 잘 나타남. 자전거는 스탠드에 지지되어 똑바로 서 있음.", "entities": "민수는 남색 작업복을 입고 무릎을 모은 채 쪼그려 앉음. 노인은 바닥에 누워 있으며 담요가 몸과 사지를 완전히 덮고 있어 포즈 지시와 일치함.", "hard_violations": [], "physics": "민수의 두 발이 바닥을 딛고 안정적으로 체중을 지지함. 노인은 바닥면에 중력에 맞게 누워 있음. 자전거는 스탠드 위에 정상적으로 지지됨." }, { "label": "B", "direction": "민수의 시선이 노인의 얼굴을 향함.", "built_space": "수리점 내부이며 작업대가 오른쪽에 밀려 있음. 뒤집힌 자전거가 배경 중앙에 위치함.", "entities": "민수는 남색 작업복을 입었으나 무릎이 벌어진 채 쪼그려 앉음. 노인은 누워 있으나 회색 코트를 입은 팔이 담요 밖으로 드러나 사지를 숨기라는 지시를 어김.", "hard_violations": [ "배경에 뒤집힌 자전거의 앞바퀴와 프레임이 물리적으로 불가능하게 단절되어 구조가 붕괴됨" ], "physics": "민수와 노인은 바닥에 잘 지지되어 있으나, 뒤집힌 자전거의 바퀴가 부자연스럽게 떠 있고 프레임 연결이 끊어져 있어 물리적 구조가 성립하지 않음." } ], "all_candidates_fail": false, "gq": { "route": "agree", "gap": 0.0, "per_model_winner": { "gemini-pro": "A", "openrouter:x-ai/grok-4.6": "A" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] } }, "forward_normalized": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 8, "verdict_ko": "민수가 무릎을 모으고 쪼그려 앉은 자세와 사지가 담요에 완전히 덮인 노인의 지정된 포즈를 훌륭하게 구현했으나, 지시와 달리 자전거가 똑바로 서 있는 점이 유일한 아쉬움입니다." }, { "label": "B", "score": 4, "verdict_ko": "자전거를 뒤집어 배치하려 했으나 형태가 물리적으로 붕괴되었고, 노인의 팔이 담요 밖으로 노출되며 민수의 무릎이 벌어져 있어 인물의 핵심 포즈 지시를 다수 위반했습니다." } ], "all_candidates_fail": false, "readings": [ { "label": "A", "direction": "민수의 시선이 바닥에 누워 있는 노인을 향해 아래로 향함.", "built_space": "좁은 수리점 내부로, 오른쪽의 밀려난 작업대와 그 앞의 빈 바닥 공간이 잘 나타남. 자전거는 스탠드에 지지되어 똑바로 서 있음.", "entities": "민수는 남색 작업복을 입고 무릎을 모은 채 쪼그려 앉음. 노인은 바닥에 누워 있으며 담요가 몸과 사지를 완전히 덮고 있어 포즈 지시와 일치함.", "hard_violations": [], "physics": "민수의 두 발이 바닥을 딛고 안정적으로 체중을 지지함. 노인은 바닥면에 중력에 맞게 누워 있음. 자전거는 스탠드 위에 정상적으로 지지됨." }, { "label": "B", "direction": "민수의 시선이 노인의 얼굴을 향함.", "built_space": "수리점 내부이며 작업대가 오른쪽에 밀려 있음. 뒤집힌 자전거가 배경 중앙에 위치함.", "entities": "민수는 남색 작업복을 입었으나 무릎이 벌어진 채 쪼그려 앉음. 노인은 누워 있으나 회색 코트를 입은 팔이 담요 밖으로 드러나 사지를 숨기라는 지시를 어김.", "hard_violations": [ "배경에 뒤집힌 자전거의 앞바퀴와 프레임이 물리적으로 불가능하게 단절되어 구조가 붕괴됨" ], "physics": "민수와 노인은 바닥에 잘 지지되어 있으나, 뒤집힌 자전거의 바퀴가 부자연스럽게 떠 있고 프레임 연결이 끊어져 있어 물리적 구조가 성립하지 않음." } ] }, "reverse_raw": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 1571, "verdict_ko": "노인이 담요에 완전히 덮인 핵심 지정 포즈와 화면 구성을 훌륭하게 구현했으나, 자전거가 거꾸로 놓여야 한다는 상태 지시를 누락하여 감점되었습니다." }, { "label": "A", "score": 1375, "verdict_ko": "자전거를 거꾸로 배치하려 했으나 형태가 구조적으로 붕괴되었고, 노인의 팔과 상체가 담요 밖으로 노출되어 절대 엄수해야 할 캐논 포즈를 위반했습니다. ★위반: [gemini-pro] 배경에 배치된 자전거의 프레임과 바퀴가 물리적으로 불가능한 형태로 기괴하게 융합되고 왜곡됨" } ], "all_candidates_fail": false, "dual": { "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ], "normalized": { "A": 1.625, "B": 1.571 }, "adjusted": { "A": 1.375, "B": 1.571 }, "violations": { "A": [ "[gemini-pro] 배경에 배치된 자전거의 프레임과 바퀴가 물리적으로 불가능한 형태로 기괴하게 융합되고 왜곡됨" ] }, "per_model_winner": { "gemini-pro": "B", "openrouter:x-ai/grok-4.6": "A" }, "agreed": false }, "gq": { "route": "combined", "gap": 0.429, "per_model_winner": { "gemini-pro": "B", "openrouter:x-ai/grok-4.6": "A" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] } }, "reverse_normalized": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 1571, "verdict_ko": "노인이 담요에 완전히 덮인 핵심 지정 포즈와 화면 구성을 훌륭하게 구현했으나, 자전거가 거꾸로 놓여야 한다는 상태 지시를 누락하여 감점되었습니다." }, { "label": "B", "score": 1375, "verdict_ko": "자전거를 거꾸로 배치하려 했으나 형태가 구조적으로 붕괴되었고, 노인의 팔과 상체가 담요 밖으로 노출되어 절대 엄수해야 할 캐논 포즈를 위반했습니다. ★위반: [gemini-pro] 배경에 배치된 자전거의 프레임과 바퀴가 물리적으로 불가능한 형태로 기괴하게 융합되고 왜곡됨" } ], "all_candidates_fail": false }, "combined": { "totals": { "A": 1579, "B": 1379 }, "ranking": [ "A", "B" ], "agreement": true, "policy": 1 } }, "readings": [ { "label": "A", "direction": "민수의 시선이 바닥에 누워 있는 노인을 향해 아래로 향함.", "built_space": "좁은 수리점 내부로, 오른쪽의 밀려난 작업대와 그 앞의 빈 바닥 공간이 잘 나타남. 자전거는 스탠드에 지지되어 똑바로 서 있음.", "entities": "민수는 남색 작업복을 입고 무릎을 모은 채 쪼그려 앉음. 노인은 바닥에 누워 있으며 담요가 몸과 사지를 완전히 덮고 있어 포즈 지시와 일치함.", "hard_violations": [], "physics": "민수의 두 발이 바닥을 딛고 안정적으로 체중을 지지함. 노인은 바닥면에 중력에 맞게 누워 있음. 자전거는 스탠드 위에 정상적으로 지지됨." }, { "label": "B", "direction": "민수의 시선이 노인의 얼굴을 향함.", "built_space": "수리점 내부이며 작업대가 오른쪽에 밀려 있음. 뒤집힌 자전거가 배경 중앙에 위치함.", "entities": "민수는 남색 작업복을 입었으나 무릎이 벌어진 채 쪼그려 앉음. 노인은 누워 있으나 회색 코트를 입은 팔이 담요 밖으로 드러나 사지를 숨기라는 지시를 어김.", "hard_violations": [ "배경에 뒤집힌 자전거의 앞바퀴와 프레임이 물리적으로 불가능하게 단절되어 구조가 붕괴됨" ], "physics": "민수와 노인은 바닥에 잘 지지되어 있으나, 뒤집힌 자전거의 바퀴가 부자연스럽게 떠 있고 프레임 연결이 끊어져 있어 물리적 구조가 성립하지 않음." } ], "totals": { "A": 1579, "B": 1379 }, "selected": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 8, "verdict_ko": "민수가 무릎을 모으고 쪼그려 앉은 자세와 사지가 담요에 완전히 덮인 노인의 지정된 포즈를 훌륭하게 구현했으나, 지시와 달리 자전거가 똑바로 서 있는 점이 유일한 아쉬움입니다." }, { "label": "B", "score": 4, "verdict_ko": "자전거를 뒤집어 배치하려 했으나 형태가 물리적으로 붕괴되었고, 노인의 팔이 담요 밖으로 노출되며 민수의 무릎이 벌어져 있어 인물의 핵심 포즈 지시를 다수 위반했습니다." } ], "refs": [ { "label": "LOCATION PHOTOGRAPH — the exact 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}, "S3sh3": { "input_fingerprint": "076e858d947abe00", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean-speaking unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 닫힌 정비소 문 옆에 바싹 붙어 서서 바깥의 어두운 골목을 뚫어지게 응시하는 연희의 옆얼굴.\n\nLOCATION (lock): Inside the bicycle repair shop, pressed against the wall beside its closed entrance door facing the dark alley. The fluorescent light remains on and briefly flickers. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: Yeonhee in the middle-left of the frame, foreground, looks toward off-screen alley; closed garage door edge in the middle-right of the frame, midground.\n- KEY BACKGROUND ELEMENTS: 정비소 문 (닫혀 있음) — The inner face and vertical edge angle slightly away from the camera beside Yeonhee’s profile; used as A narrow frame-right boundary showing how closely Yeonhee keeps to the door; 손전등 (연희가 껐다 켰다 하고 있음) — Its side is visible near her hand, with the beam end aimed toward the off-screen alley direction; used as Small hand-held action cue reinforcing her anxious vigil without becoming the main subject.\nCompose the frame exactly as specified above — subject scale and screen placement. The viewing angle is deliberately left open here; choose the angle that serves the shot. 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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: Subdued overhead fluorescent illumination holds Yeonhee’s profile in a muted night-interior palette with restrained contrast.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established about the place — its fixed features, wear and lighting — persists. The people visible in that photo are NOT in this shot: never carry their faces, bodies or clothing onto anyone here. Each person in THIS shot is defined solely by the PEOPLE list, their own CHARACTER REFERENCE images and their wardrobe notes. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging within whatever this brief already fixes,\nnot literal fantasy imagery.\n\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person it puts in\nthis shot, imagine that description and still show them as a\nconcrete, fully-formed human being:\nrender the human form as fully as the framing shows — never reduce\na person to a shape, blob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands naturally positioned for the action\nthe SHOT TEXT already gives them, gaze on the target the SHOT TEXT\nimplies; avoid a stiff attention stance (feet together, arms hanging\nstraight down) and a blank stare into the lens. If the SHOT TEXT or\nany POSE/IMMOBILE contract above stages stillness, death, sleep,\nunconsciousness, restraint, drill or an explicit direct-to-camera\nlook, follow THAT exactly — this clause never overrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The workbench remains pushed to one side with the open toolbox and wrench on it, while the old bicycle stays upside down nearby. The workshop remains lit by the hanging fluorescent light. She stands close to the doorway in her yellow raincoat, holding a flashlight and staring out toward the dark alley. She continues switching the flashlight off and on, and her shoulders remain wet.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 연희 (한국인, 20대 여성, 자연스러운 젊은 얼굴, 자연스러운 짙은색 머리카락) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nNo readable writing anywhere in this image. Surfaces that would carry writing may be present, but nothing a viewer could read: stage every one of them out of legibility — a hand across, an oblique angle, shallow focus, or simply turned away. No caption, subtitle, watermark, logo or overlay.", "roll_prompts": { "A": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean-speaking unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 닫힌 정비소 문 옆에 바싹 붙어 서서 바깥의 어두운 골목을 뚫어지게 응시하는 연희의 옆얼굴.\n\nLOCATION (lock): Inside the bicycle repair shop, pressed against the wall beside its closed entrance door facing the dark alley. The fluorescent light remains on and briefly flickers. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: Yeonhee in the middle-left of the frame, foreground, looks toward off-screen alley; closed garage door edge in the middle-right of the frame, midground.\n- KEY BACKGROUND ELEMENTS: 정비소 문 (닫혀 있음) — The inner face and vertical edge angle slightly away from the camera beside Yeonhee’s profile; used as A narrow frame-right boundary showing how closely Yeonhee keeps to the door; 손전등 (연희가 껐다 켰다 하고 있음) — Its side is visible near her hand, with the beam end aimed toward the off-screen alley direction; used as Small hand-held action cue reinforcing her anxious vigil without becoming the main subject.\nCompose the frame exactly as specified above — subject scale and screen placement. The viewing angle is deliberately left open here; choose the angle that serves the shot. 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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: Subdued overhead fluorescent illumination holds Yeonhee’s profile in a muted night-interior palette with restrained contrast.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established about the place — its fixed features, wear and lighting — persists. The people visible in that photo are NOT in this shot: never carry their faces, bodies or clothing onto anyone here. Each person in THIS shot is defined solely by the PEOPLE list, their own CHARACTER REFERENCE images and their wardrobe notes. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging within whatever this brief already fixes,\nnot literal fantasy imagery.\n\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person it puts in\nthis shot, imagine that description and still show them as a\nconcrete, fully-formed human being:\nrender the human form as fully as the framing shows — never reduce\na person to a shape, blob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands naturally positioned for the action\nthe SHOT TEXT already gives them, gaze on the target the SHOT TEXT\nimplies; avoid a stiff attention stance (feet together, arms hanging\nstraight down) and a blank stare into the lens. If the SHOT TEXT or\nany POSE/IMMOBILE contract above stages stillness, death, sleep,\nunconsciousness, restraint, drill or an explicit direct-to-camera\nlook, follow THAT exactly — this clause never overrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The workbench remains pushed to one side with the open toolbox and wrench on it, while the old bicycle stays upside down nearby. The workshop remains lit by the hanging fluorescent light. She stands close to the doorway in her yellow raincoat, holding a flashlight and staring out toward the dark alley. She continues switching the flashlight off and on, and her shoulders remain wet.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 연희 (한국인, 20대 여성, 자연스러운 젊은 얼굴, 자연스러운 짙은색 머리카락) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nNo readable writing anywhere in this image. Surfaces that would carry writing may be present, but nothing a viewer could read: stage every one of them out of legibility — a hand across, an oblique angle, shallow focus, or simply turned away. No caption, subtitle, watermark, logo or overlay.", "B": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean-speaking unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 닫힌 정비소 문 옆에 바싹 붙어 서서 바깥의 어두운 골목을 뚫어지게 응시하는 연희의 옆얼굴.\n\nLOCATION (lock): Inside the bicycle repair shop, pressed against the wall beside its closed entrance door facing the dark alley. The fluorescent light remains on and briefly flickers. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: Yeonhee in the middle-left of the frame, foreground, looks toward off-screen alley; closed garage door edge in the middle-right of the frame, midground.\n- KEY BACKGROUND ELEMENTS: 정비소 문 (닫혀 있음) — The inner face and vertical edge angle slightly away from the camera beside Yeonhee’s profile; used as A narrow frame-right boundary showing how closely Yeonhee keeps to the door; 손전등 (연희가 껐다 켰다 하고 있음) — Its side is visible near her hand, with the beam end aimed toward the off-screen alley direction; used as Small hand-held action cue reinforcing her anxious vigil without becoming the main subject.\nCompose the frame exactly as specified above — subject scale and screen placement. The viewing angle is deliberately left open here; choose the angle that serves the shot. 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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: Subdued overhead fluorescent illumination holds Yeonhee’s profile in a muted night-interior palette with restrained contrast.\n- MATERIAL REALISM: every object and surface must read as a real,\n physical material — correct texture, weight, wear and light response\n (metal reflects, fabric drapes and creases, liquid is glossy and\n pools, painted or drawn marks sit ON a surface and follow its\n curvature and lighting). Nothing may look like a flat sticker, a\n doodle or a graphic overlay pasted onto the frame.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established about the place — its fixed features, wear and lighting — persists. The people visible in that photo are NOT in this shot: never carry their faces, bodies or clothing onto anyone here. Each person in THIS shot is defined solely by the PEOPLE list, their own CHARACTER REFERENCE images and their wardrobe notes. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging within whatever this brief already fixes,\nnot literal fantasy imagery.\n\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person it puts in\nthis shot, imagine that description and still show them as a\nconcrete, fully-formed human being:\nrender the human form as fully as the framing shows — never reduce\na person to a shape, blob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands naturally positioned for the action\nthe SHOT TEXT already gives them, gaze on the target the SHOT TEXT\nimplies; avoid a stiff attention stance (feet together, arms hanging\nstraight down) and a blank stare into the lens. If the SHOT TEXT or\nany POSE/IMMOBILE contract above stages stillness, death, sleep,\nunconsciousness, restraint, drill or an explicit direct-to-camera\nlook, follow THAT exactly — this clause never overrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The workbench remains pushed to one side with the open toolbox and wrench on it, while the old bicycle stays upside down nearby. The workshop remains lit by the hanging fluorescent light. She stands close to the doorway in her yellow raincoat, holding a flashlight and staring out toward the dark alley. She continues switching the flashlight off and on, and her shoulders remain wet.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 연희 (한국인, 20대 여성, 자연스러운 젊은 얼굴, 자연스러운 짙은색 머리카락) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nNo readable writing anywhere in this image. Surfaces that would carry writing may be present, but nothing a viewer could read: stage every one of them out of legibility — a hand across, an oblique angle, shallow focus, or simply turned away. No caption, subtitle, watermark, logo or overlay.\n\nCOMPOSITION VARIATION (this candidate only): keep the place, the people and the moment exactly as specified, and keep from the CAMERA & FRAME contract its subject scale, screen placement and key background elements exactly. For this candidate only, its camera angle and height are deliberately left open: choose a camera position distinctly different from the obvious one, as a film director picking a second setup on the same blocking. Stay true to any explicit framing the SHOT TEXT itself dictates." }, "shot_run_spend_attempt_count": 1, "gq": { "route": "combined", "gap": 0.375, "per_model_winner": { "gemini-pro": "B", "openrouter:x-ai/grok-4.6": "A" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] }, "dual": { "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ], "normalized": { "A": 1.667, "B": 1.625 }, "adjusted": { "A": 1.167, "B": 1.375 }, "violations": { "A": [ "[gemini-pro] physically impossible anatomy (연희의 오른팔이 아래로 늘어져 있음에도 턱 아래에 몸과 분리된 또 다른 손이 떠 있음)", "[gemini-pro] physically impossible staging (손전등의 뒷부분이 콘크리트 벽면에 물리적으로 파묻혀 있음)" ], "B": [ "[gemini-pro] invented people (화면 우측 끝 가장자리의 어두운 공간에 이전 장면에 등장했던 남자의 얼굴이 명확하게 그려져 있음)" ] }, "per_model_winner": { "gemini-pro": "B", "openrouter:x-ai/grok-4.6": "A" }, "agreed": false }, "totals": { "B": 1375, "A": 1167 }, "selected": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 1375, "verdict_ko": "구도와 인물의 자세는 비교적 자연스러우나, 화면 우측 끝 어두운 골목에 지시문에서 명시적으로 제외를 요구한 이전 샷의 인물 얼굴이 뚜렷하게 나타나 치명적인 위반입니다. ★위반: [gemini-pro] invented people (화면 우측 끝 가장자리의 어두운 공간에 이전 장면에 등장했던 남자의 얼굴이 명확하게 그려져 있음)" }, { "label": "A", "score": 1167, "verdict_ko": "정비소 배경 요소들은 잘 구현되었으나, 연희의 턱 아래에 팔과 연결되지 않은 정체불명의 손이 떠 있고 손전등이 벽에 파묻혀 있어 샷을 사용할 수 없습니다. ★위반: [gemini-pro] physically impossible anatomy (연희의 오른팔이 아래로 늘어져 있음에도 턱 아래에 몸과 분리된 또 다른 손이 떠 있음) / [gemini-pro] physically impossible staging (손전등의 뒷부분이 콘크리트 벽면에 물리적으로 파묻혀 있음)" } ], "refs": [ { "label": "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features and lighting mood are LOCKED to this photo; never copy its camera framing. The people visible in that photo are NOT in this shot: never carry their faces, bodies or clothing onto anyone here. Each person in THIS shot is defined solely by the PEOPLE list, their own CHARACTER REFERENCE images and their wardrobe notes. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.", "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/759e2b63-52cf-4d1b-8953-8599ac2a6141/images/3e83f3ee-ded7-4f2a-aded-01584d6ea5c5/scene/recipe/S3sh2_sel.png", "asset_id": "3784dc39-c0d3-4613-b07f-5dc9c2b07c13", "role": "prev_still" }, { "label": "CHARACTER REFERENCE — 연희: the exact person appearing in this shot; match face, hair and build exactly.", "path": "", "asset_id": "54b62e1d-165e-49d1-861f-eb748948f90d", "role": "character_ref" } ], "critique": { "issues": [ { "issue_ko": "연희가 쥐고 있는 손전등의 렌즈 부분(빛이 나오는 넓은 쪽)이 프레임 밖 골목(우측)이 아닌 본인의 몸 쪽(좌측)을 향해 거꾸로 들려 있습니다.", "fix_en": "Reverse the flashlight in the right hand so the lens points rightward. Preserve the person, yellow raincoat, pose, door, and background.", "unfixable": false, "needs_regeneration": false, "severity": "critical", "observation_index": 0, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "" }, { "issue_ko": "화면 좌측 중경, 연희의 등 뒤 배경에 자전거 본체나 지지대 없이 손잡이(핸들바) 부분만 허공에 떠 있습니다.", "fix_en": "Erase the floating bicycle handlebars on the left background, filling with shop wall and floor. Preserve the person, raincoat, door, and lighting.", "unfixable": false, "needs_regeneration": false, "severity": "critical", "observation_index": 1, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "" }, { "issue_ko": "문틀을 짚고 있는 연희의 왼손 손가락 형태가 심하게 뭉개져 기형적으로 보입니다.", "fix_en": "Correct the anatomy of the left hand on the door frame. Preserve the person, raincoat, door, and background.", "unfixable": false, "needs_regeneration": false, "severity": "major", "observation_index": 2, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "" }, { "issue_ko": "레퍼런스 이미지에 명시된 나무 작업대와 공구함이 배경에서 누락되고 다른 형태의 선반이 배치되어 있습니다.", "fix_en": "Replace the left background shelves with the wooden workbench and toolbox. Preserve the person, foreground, and lighting.", "unfixable": false, "needs_regeneration": false, "severity": "major", "observation_index": 3, "needs_ref_indices": [ 1 ], "adds_missing_entity": true, "missing_entity_name": "workbench and toolbox" }, { "issue_ko": "지정된 클로즈업이 아니라 상반신과 왼쪽 복도가 넓게 보이는 미디엄 샷이다", "fix_en": "Adjust framing to a close-up on the character's face. Preserve lighting and character appearance.", "unfixable": false, "needs_regeneration": true, "severity": "major", "observation_index": 4, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "" }, { "issue_ko": "오프스크린이어야 할 골목이 프레임 오른쪽 끝에 어둡게 보인다", "fix_en": "Extend the right side door frame to cover the visible alleyway. Preserve the person and interior.", "unfixable": false, "needs_regeneration": false, "severity": "major", "observation_index": 5, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "" } ], "observer_observations": [ { "issue_ko": "연희가 쥐고 있는 손전등의 렌즈 부분(빛이 나오는 넓은 쪽)이 프레임 밖 골목(우측)이 아닌 본인의 몸 쪽(좌측)을 향해 거꾸로 들려 있습니다.", "severity": "critical" }, { "issue_ko": "화면 좌측 중경, 연희의 등 뒤 배경에 자전거 본체나 지지대 없이 손잡이(핸들바) 부분만 허공에 떠 있습니다.", "severity": "critical" }, { "issue_ko": "문틀을 짚고 있는 연희의 왼손 손가락 형태가 심하게 뭉개져 기형적으로 보입니다.", "severity": "major" }, { "issue_ko": "레퍼런스 이미지에 명시된 나무 작업대와 공구함이 배경에서 누락되고 다른 형태의 선반이 배치되어 있습니다.", "severity": "major" }, { "issue_ko": "지정된 클로즈업이 아니라 상반신과 왼쪽 복도가 넓게 보이는 미디엄 샷이다", "severity": "major" }, { "issue_ko": "오프스크린이어야 할 골목이 프레임 오른쪽 끝에 어둡게 보인다", "severity": "major" } ], "observer_models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ], "observer_counts": { "gemini-pro": 4, "openrouter:x-ai/grok-4.6": 2 } }, "fix_severity_skipped_count": 4, "fix_severity_skipped": [ { "issue_ko": "문틀을 짚고 있는 연희의 왼손 손가락 형태가 심하게 뭉개져 기형적으로 보입니다.", "fix_en": "Correct the anatomy of the left hand on the door frame. Preserve the person, raincoat, door, and background.", "unfixable": false, "needs_regeneration": false, "severity": "major", "observation_index": 2, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "" }, { "issue_ko": "레퍼런스 이미지에 명시된 나무 작업대와 공구함이 배경에서 누락되고 다른 형태의 선반이 배치되어 있습니다.", "fix_en": "Replace the left background shelves with the wooden workbench and toolbox. Preserve the person, foreground, and lighting.", "unfixable": false, "needs_regeneration": false, "severity": "major", "observation_index": 3, "needs_ref_indices": [ 1 ], "adds_missing_entity": true, "missing_entity_name": "workbench and toolbox" }, { "issue_ko": "지정된 클로즈업이 아니라 상반신과 왼쪽 복도가 넓게 보이는 미디엄 샷이다", "fix_en": "Adjust framing to a close-up on the character's face. Preserve lighting and character appearance.", "unfixable": false, "needs_regeneration": true, "severity": "major", "observation_index": 4, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "" }, { "issue_ko": "오프스크린이어야 할 골목이 프레임 오른쪽 끝에 어둡게 보인다", "fix_en": "Extend the right side door frame to cover the visible alleyway. Preserve the person and interior.", "unfixable": false, "needs_regeneration": false, "severity": "major", "observation_index": 5, "needs_ref_indices": [], "adds_missing_entity": false, "missing_entity_name": "" } ], "repair_mode": "edit", "fix_ref_gate": { "mode": "gated", "available": 2, "kept": 0, "requested_indices": [], "kept_labels": [] }, "fix_ref_count": 1, "fix_prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Reverse the flashlight in the right hand so the lens points rightward. Preserve the person, yellow raincoat, pose, door, and background.\n- Erase the floating bicycle handlebars on the left background, filling with shop wall and floor. Preserve the person, raincoat, door, and lighting.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. Real-world writing that belongs\nto the scene — signs, banners, documents — stays exactly as the\noriginal shows it; do not add captions, subtitles, watermarks or\nany overlay text.", "fix_rejudge": { "forward_raw": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 9, "verdict_ko": "A 후보에서 발생한 공중에 떠 있는 자전거 부품과 공구 오류를 완벽하게 수정하였으며, 연희의 클로즈업 프레이밍과 위치, 소품(손전등) 등 프롬프트의 모든 지시사항을 사실적으로 잘 구현했습니다." }, { "label": "A", "score": 2, "verdict_ko": "배경 좌측에 허공에 떠 있는 자전거 손잡이와 우측 손전등 아래 문틀에 걸쳐 공중에 떠 있는 공구가 존재하여 치명적인 물리적 위반이 발생했습니다." } ], "readings": [ { "label": "A", "direction": "연희의 시선과 손전등의 방향이 모두 화면 우측(어두운 골목 방향)을 향하고 있습니다.", "built_space": "정비소 내부의 벽면과 닫힌 셔터 문틀이 우측에 위치하며, 뒤편으로 선반과 형광등이 보입니다. 카메라 위치와 공간적 배치는 프롬프트와 일치합니다.", "entities": "연희의 얼굴과 체형, 노란색 우비(어깨에 젖은 자국 포함)가 레퍼런스와 일치하며, 지시된 손전등을 쥐고 있습니다.", "hard_violations": [ "아무것도 지지하지 않는 상태로 공중에 떠 있는 물체 (배경 좌측의 자전거 손잡이, 손전등 아래의 공구)" ], "physics": "연희가 짚고 있는 문틀과 서 있는 자세는 자연스러우나, 화면 좌측 배경에 자전거 손잡이가 허공에 떠 있고, 손전등 아래쪽에도 정체불명의 막대/공구가 지지대 없이 공중에 떠 있습니다." }, { "label": "B", "direction": "연희의 시선과 들고 있는 손전등의 빛이 향하는 방향이 화면 우측 밖(골목)으로 정확히 일치합니다.", "built_space": "정비소 문틀 옆에 바싹 붙어 있는 구도와 닫힌 문, 뒤쪽의 정비소 내부 구조가 설정된 위치와 일치하게 묘사되었습니다.", "entities": "연희의 인물 레퍼런스가 잘 반영되었고, 노란색 우비와 손전등 등 명시된 소품이 정확하게 표현되었습니다.", "hard_violations": [], "physics": "연희의 자세와 손의 접촉면이 자연스러우며, A 후보에 있던 공중에 떠 있는 물체들이 모두 제거되어 물리적으로 어색함이 없습니다." } ], "all_candidates_fail": false, "gq": { "route": "agree", "gap": 0.0, "per_model_winner": { "gemini-pro": "B", "openrouter:x-ai/grok-4.6": "B" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] } }, "forward_normalized": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 9, "verdict_ko": "A 후보에서 발생한 공중에 떠 있는 자전거 부품과 공구 오류를 완벽하게 수정하였으며, 연희의 클로즈업 프레이밍과 위치, 소품(손전등) 등 프롬프트의 모든 지시사항을 사실적으로 잘 구현했습니다." }, { "label": "A", "score": 2, "verdict_ko": "배경 좌측에 허공에 떠 있는 자전거 손잡이와 우측 손전등 아래 문틀에 걸쳐 공중에 떠 있는 공구가 존재하여 치명적인 물리적 위반이 발생했습니다." } ], "all_candidates_fail": false, "readings": [ { "label": "A", "direction": "연희의 시선과 손전등의 방향이 모두 화면 우측(어두운 골목 방향)을 향하고 있습니다.", "built_space": "정비소 내부의 벽면과 닫힌 셔터 문틀이 우측에 위치하며, 뒤편으로 선반과 형광등이 보입니다. 카메라 위치와 공간적 배치는 프롬프트와 일치합니다.", "entities": "연희의 얼굴과 체형, 노란색 우비(어깨에 젖은 자국 포함)가 레퍼런스와 일치하며, 지시된 손전등을 쥐고 있습니다.", "hard_violations": [ "아무것도 지지하지 않는 상태로 공중에 떠 있는 물체 (배경 좌측의 자전거 손잡이, 손전등 아래의 공구)" ], "physics": "연희가 짚고 있는 문틀과 서 있는 자세는 자연스러우나, 화면 좌측 배경에 자전거 손잡이가 허공에 떠 있고, 손전등 아래쪽에도 정체불명의 막대/공구가 지지대 없이 공중에 떠 있습니다." }, { "label": "B", "direction": "연희의 시선과 들고 있는 손전등의 빛이 향하는 방향이 화면 우측 밖(골목)으로 정확히 일치합니다.", "built_space": "정비소 문틀 옆에 바싹 붙어 있는 구도와 닫힌 문, 뒤쪽의 정비소 내부 구조가 설정된 위치와 일치하게 묘사되었습니다.", "entities": "연희의 인물 레퍼런스가 잘 반영되었고, 노란색 우비와 손전등 등 명시된 소품이 정확하게 표현되었습니다.", "hard_violations": [], "physics": "연희의 자세와 손의 접촉면이 자연스러우며, A 후보에 있던 공중에 떠 있는 물체들이 모두 제거되어 물리적으로 어색함이 없습니다." } ] }, "reverse_raw": { "winner": "A", "ranking": [ "A", "B" ], "verdicts": [ { "label": "A", "score": 1750, "verdict_ko": "프롬프트가 요구한 인물의 위치, 시선, 조명 분위기를 완벽하게 구현했으며, 클로즈업 샷에 맞게 불필요한 배경 요소를 자연스럽게 배제하여 물리적 오류 없이 완성도를 높였습니다." }, { "label": "B", "score": 722, "verdict_ko": "프롬프트에 언급된 자전거와 공구를 무리하게 프레임 안에 구겨 넣으려다 아무런 지지대 없이 허공에 떠 있게 만드는 치명적인 물리적 오류(Hard Violation)를 범했습니다. ★위반: [gemini-pro] 연희의 등 뒤 허공에 아무런 지지대 없이 떠 있는 자전거 핸들 / [gemini-pro] 연희의 손 아래쪽 허공에 받침대 없이 떠 있는 금속 파이프와 공구" } ], "all_candidates_fail": false, "dual": { "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ], "normalized": { "A": 1.75, "B": 1.222 }, "adjusted": { "A": 1.75, "B": 0.722 }, "violations": { "B": [ "[gemini-pro] 연희의 등 뒤 허공에 아무런 지지대 없이 떠 있는 자전거 핸들", "[gemini-pro] 연희의 손 아래쪽 허공에 받침대 없이 떠 있는 금속 파이프와 공구" ] }, "per_model_winner": { "gemini-pro": "A", "openrouter:x-ai/grok-4.6": "B" }, "agreed": false }, "gq": { "route": "combined", "gap": 0.25, "per_model_winner": { "gemini-pro": "A", "openrouter:x-ai/grok-4.6": "B" }, "models": [ "gemini-pro", "openrouter:x-ai/grok-4.6" ] } }, "reverse_normalized": { "winner": "B", "ranking": [ "B", "A" ], "verdicts": [ { "label": "B", "score": 1750, "verdict_ko": "프롬프트가 요구한 인물의 위치, 시선, 조명 분위기를 완벽하게 구현했으며, 클로즈업 샷에 맞게 불필요한 배경 요소를 자연스럽게 배제하여 물리적 오류 없이 완성도를 높였습니다." }, { "label": "A", "score": 722, "verdict_ko": "프롬프트에 언급된 자전거와 공구를 무리하게 프레임 안에 구겨 넣으려다 아무런 지지대 없이 허공에 떠 있게 만드는 치명적인 물리적 오류(Hard Violation)를 범했습니다. ★위반: [gemini-pro] 연희의 등 뒤 허공에 아무런 지지대 없이 떠 있는 자전거 핸들 / [gemini-pro] 연희의 손 아래쪽 허공에 받침대 없이 떠 있는 금속 파이프와 공구" } ], "all_candidates_fail": false }, "combined": { "totals": { "A": 724, "B": 1759 }, "ranking": [ "B", "A" ], "agreement": true, "policy": 1 }, "winner": "B", "fix_won": true, "all_candidates_fail": false, "policy": "fix_rejudge_v2_orig_on_tie" }, "shot_run_produced": true, "shot_run_uid": "06a911cf-19c7-74ea-b7f1-c7f12a7c24ca", "ref_mode": "prev+엔티티", "share_plan": { "ref_plan": "prev", "prev_anchor_tag": "S3sh2" } }, "S3sh3::cine": { "applied": true, "attempted_at": "2026-08-28T05:43:20.235012+00:00", "fingerprint": "6c214081348afecdd2438b3a729147fa226d8e59ba0b26021befb0ad0e34e93d", "fingerprint_version": 2, "provider": "reve", 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