{
  "status": "completed",
  "applicable_count": 26,
  "completed_count": 26,
  "failed_count": 0,
  "schema_version": 3,
  "config_hash": "b7aceec6a4318cf9",
  "data": {
    "contis": {
      "S1sh3": {
        "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/conti/conti_S1sh3.png",
        "plate_path": null,
        "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: A dense patch of undergrowth within a mountain forest, at the spot where the fleeing victim is attacked outdoors at dusk.\n\nSHOT TEXT (authoritative, Korean): 허공에서 날아든 거무스름한 인영이 금월산 피해 남성의 어깨를 강하게 내리눌러 남자의 몸이 뒤로 크게 꺾이며 무너지는 충돌의 찰나.\n\nCARRIED STATE (persist exactly): The mountain victim is still missing one shoe, with the large bite wound on his thigh continuing to bleed as the dark figure knocks him down.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From upper-body height several steps away, the camera finishes its track on a three-quarter side view, tightening only around the shoulder impact while retaining the victim's torso and backward-breaking line. The dark figure enters across the left midground into the contact point near center, while the victim folds toward the right side of frame against the surrounding undergrowth.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 거무스름한 인영 in the middle-left of the frame, midground, moves toward fleeing victim's shoulder; 금월산 피해 남성 in the middle-right of the frame, midground.\n- KEY BACKGROUND ELEMENTS: 우거진 수풀 (우거진 상태); used as Surrounds the collision and preserves the forest setting behind both figures.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.",
        "skipped_reason": null,
        "error": null,
        "no_plate": true,
        "ref_paths": [],
        "asset_id": "7060ab7e-cb9a-4f6d-a66f-33c0e6037194"
      },
      "S2sh1": {
        "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/conti/conti_S2sh1.png",
        "plate_path": null,
        "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Beside a utility pole in a city back alley, outdoors under a dim streetlight at night.\n\nSHOT TEXT (authoritative, Korean): 도시의 뒷골목 전봇대 옆, 희미한 가로등 불빛 아래 한국인 남성과 효장동 피해 여성이 밀착해 있는 구도.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At chest height on the alley axis, the camera begins a slow dolly toward the pair from the alley interior, holding them together in a wide composition beside the utility pole. The man and woman occupy the center-right midground in a compressed embrace, with the pole forming a rigid vertical behind them and the alley remaining visible around their bodies.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 효장동 공격 남성 (활성 상태) in the middle-center of the frame, midground; 효장동 피해 여성 in the middle-right of the frame, midground; 전봇대 in the middle-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: 전봇대 (두 사람 옆에 위치) — Its alley-facing side is visible directly behind the pair; used as Forms the rigid backing against which the pair are intertwined; 도시 뒷골목 (야간); used as Provides spatial depth along the camera's slow approach; 가로등 (켜짐) — The side facing the alley is visible within the setting; used as Provides the explicitly described faint illumination over the pair.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.",
        "skipped_reason": null,
        "error": null,
        "no_plate": true,
        "ref_paths": [
          [
            "char:효장동 공격 남성 (활성 상태)",
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/reference/4cc9c9a3-4c23-4a99-9659-9f707b2f5b8e.png"
          ],
          [
            "char:효장동 피해 여성",
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/reference/0146414e-f653-4559-b50d-26669c04963e.png"
          ]
        ],
        "asset_id": "ae97241c-1757-48b3-946f-090d8527e814"
      },
      "S2sh4": {
        "image_path": null,
        "plate_path": null,
        "prompt": null,
        "skipped_reason": "prev",
        "error": null
      },
      "S3sh1": {
        "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/conti/conti_S3sh1.png",
        "plate_path": null,
        "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Inside the police cordon at the wooded mountain crime scene, where officers recover a body outdoors in daylight.\n\nSHOT TEXT (authoritative, Korean): 노란 폴리스 라인이 쳐진 낮의 숲속 현장, 한국인 경찰들이 검은 가방에 담긴 시신을 들것 위로 막 들어 올리는 찰나.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): His motionless body is fully enclosed in a black body bag supported on a stretcher as police lift it.\n\nCARRIED STATE (persist exactly): The mountain victim remains dead and his motionless body is fully enclosed in a black body bag supported on a stretcher as police lift it inside the police line.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Presented as local-news footage, the camera holds at chest height outside the police line on a side angle to the stretcher, pausing its lateral track at the instant the bag is lifted. The officers and raised black body bag occupy the central midground, while the police line cuts across the lower foreground and preserves the restricted distance of the news camera.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 폴리스 라인 in the lower-center of the frame, foreground; 들것과 시신 가방 in the middle-center of the frame, midground.\n- KEY BACKGROUND ELEMENTS: 노란 폴리스 라인 (설치됨) — Its broad side crosses the camera horizontally; used as Creates a foreground barrier between the news camera and recovery activity; 들것 (시신 가방을 받는 중) — Its long side is angled toward the camera; used as Receives the body bag at the center of the recovery action; 검은 시신 가방 (들것 위로 들어 올려지는 중) — Its side profile is visible as officers raise it; used as Acts as the central recovered evidence without exceeding a natural human scale; 숲속 현장 (낮); used as Places the recovery within the daytime forest scene.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.",
        "skipped_reason": null,
        "error": null,
        "no_plate": true,
        "ref_paths": [],
        "asset_id": "fff525bc-df9f-4247-84c4-e4454ca59478"
      },
      "S4sh1": {
        "image_path": null,
        "plate_path": null,
        "prompt": null,
        "skipped_reason": "bgonly",
        "error": null
      },
      "S5sh2": {
        "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/conti/conti_S5sh2.png",
        "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L04B01.png",
        "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The compact living and kitchen area inside a rooftop home, lit by a thin shaft of sunlight from its small window and the television screen.\n\nSHOT TEXT (authoritative, Korean): 굳은 표정으로 TV 화면을 뚫어지게 응시하는 강민숙의 상반신.\n\nCARRIED STATE (persist exactly): Min-sook already bears the small circular mark on her wrist; it has been present since long before this moment.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At waist height along the kitchen-to-living-room axis, the tracking frame ends at medium distance in front of Minsook and tightens to her upper body without crossing her television-facing eyeline. She occupies the right-center of frame in three-quarter view, with traces of the active kitchen held softly in the left background and the television remaining just beyond the camera-side edge as her fixed visual anchor.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: TV (뉴스 방송 중) — The active screen faces Minsook but remains just outside the camera-side edge; used as Functions as Minsook's off-screen eyeline anchor and the source of the continuing news report; 싱크대 수도꼭지 (물이 흐르는 중) — Its side profile is visible from the living-room axis; used as Appears in the softened kitchen background as evidence of interrupted preparation; 냄비 (물이 끓는 중이며 김이 피어오름) — Its upper opening is partly visible from the camera position; used as Provides a background cooking action behind Minsook; 거실의 작은 창 (햇살이 가늘게 비침) — Daylight is visible entering through the window into the room; used as Creates a narrow daylight accent within the living room.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.",
        "skipped_reason": null,
        "error": null,
        "ref_paths": [
          [
            "plate",
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L04B01.png"
          ],
          [
            "char:강민숙",
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/reference/18ba1f9b-510e-4482-852e-7f743398f003.png"
          ]
        ],
        "asset_id": "e0378e8a-fafb-488b-ba47-67b851566f48"
      },
      "S5sh8": {
        "image_path": null,
        "plate_path": null,
        "prompt": null,
        "skipped_reason": "prev",
        "error": null
      },
      "S5sh9": {
        "image_path": null,
        "plate_path": null,
        "prompt": null,
        "skipped_reason": "prev",
        "error": null
      },
      "S6sh1": {
        "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/conti/conti_S6sh1.png",
        "plate_path": null,
        "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: An open stretch of coastal road beside the sea, outdoors in bright daylight.\n\nSHOT TEXT (authoritative, Korean): 밝은 낮, 귀에 이어폰을 꽂은 수리영이 탁 트인 해안가 도로에서 자전거 안장에 앉아 한쪽 페달을 힘껏 내리밟는 중간 자세로, 머리카락과 옷깃이 뒤로 흩날리는 측면 전신.\n\nCARRIED STATE (persist exactly): Su-ri-young is riding her bicycle and has earphones fitted in her ears.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At waist height several meters beside Suriyoung, the camera travels parallel with her in a full-body side view as she rides from left to right along the coastal road. Her bicycle and body occupy the middle band of frame, one leg driving the pedal down while the road and open coastal setting remain broad enough to communicate speed and freedom.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 수리영 in the middle-center of the frame, midground, moves toward right side of the coastal road.\n- KEY BACKGROUND ELEMENTS: 해안가 도로 (밝은 낮) — The road extends along Suriyoung's left-to-right travel direction; used as Defines the horizontal travel axis shared by bicycle and tracking camera; 해안가 (낮); used as Provides the open coastal context behind the moving rider; 자전거 (주행 중) — Its full side profile faces the parallel camera; used as Maintains a clear side silhouette and realistic scale beneath the rider.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.",
        "skipped_reason": null,
        "error": null,
        "no_plate": true,
        "ref_paths": [
          [
            "char:수리영",
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/reference/141440ff-dbb3-4f0c-b0ae-cfd84dcac74f.png"
          ]
        ],
        "asset_id": "34691f2e-1752-4b6f-a2ed-6dc4dfc9c935"
      },
      "S7sh2": {
        "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/conti/conti_S7sh2.png",
        "plate_path": null,
        "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At a caged kennel enclosure within an abandoned-dog shelter, directly in front of the confined dog; the source does not establish whether the enclosure is fully indoors or open-air.\n\nSHOT TEXT (authoritative, Korean): 철창 너머로 로트와일러의 눈을 똑바로 노려보는 수리영의 강렬하고 서늘한 눈빛 클로즈업.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From the Rottweiler's side of the enclosure boundary, the camera completes its eye-level track about a meter across from Suriyoung and tightens to the explicitly extreme facial close-up. Her eyes hold the center of frame in a justified confrontational near-frontal angle, while a narrow section of enclosure bars remains at one edge to prove that her stare is directed through the boundary rather than at the audience.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 수리영 in the middle-center of the frame, midground, looks toward Rottweiler across the enclosure boundary; 철창 경계 in the middle-left of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: 철창 (수리영과 로트와일러 사이에 위치) — A small portion of the bar faces the camera edge-on between lens and subject; used as Remains as a narrow edge obstruction that physically separates Suriyoung from the animal.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.",
        "skipped_reason": null,
        "error": null,
        "no_plate": true,
        "ref_paths": [
          [
            "char:수리영",
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/reference/141440ff-dbb3-4f0c-b0ae-cfd84dcac74f.png"
          ]
        ],
        "asset_id": "95694376-778f-4875-92e6-bdf7d13a8227"
      },
      "S7sh5": {
        "image_path": null,
        "plate_path": null,
        "prompt": null,
        "skipped_reason": "prev",
        "error": null
      },
      "S8sh2": {
        "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/conti/conti_S8sh2.png",
        "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L08B01.png",
        "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: A merchandise aisle inside the large supermarket, between rows of stocked display shelves under store lighting.\n\nSHOT TEXT (authoritative, Korean): 진열대가 늘어선 마트 내부, 수리영이 한국인 중년 여성 직원을 마주 보고 서 있는 구도.\n\nCARRIED STATE (persist exactly): Su-ri-young’s bicycle remains parked outside the mart while she speaks to the employee inside.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At eye level beside the aisle, hold the stage-entry two-shot across the aisle axis before beginning the planned pan, placing 수리영 in the left midground and 한국인 중년 여성 마트 직원 in the right midground. Shelf edges form parallel boundaries behind them while their opposing three-quarter angles keep the exchange readable without either addressing the lens.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 마트 진열대 (Arranged in rows) — The shelf fronts run away from camera on both sides of the aisle, exposing their stocked faces obliquely; used as The rows establish the aisle axis and provide layered depth behind both speakers; 진열대 사이 통로 (Open for passage); used as The clear aisle separates the two figures while preserving their shared conversational space.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.",
        "skipped_reason": null,
        "error": null,
        "ref_paths": [
          [
            "plate",
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L08B01.png"
          ],
          [
            "char:수리영",
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/reference/141440ff-dbb3-4f0c-b0ae-cfd84dcac74f.png"
          ]
        ],
        "asset_id": "5e3458bf-dea0-4441-afd5-7cfe44bac8ac"
      },
      "S8sh4": {
        "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/conti/conti_S8sh4.png",
        "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L08B02.png",
        "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On the street immediately outside the large supermarket entrance, amid the darkening commercial district at dusk.\n\nSHOT TEXT (authoritative, Korean): 마트 밖으로 나온 수리영이 귀에 휴대폰을 댄 채 어두워진 길거리를 주시하는 모습.\n\nCARRIED STATE (persist exactly): Su-ri-young has her phone at her ear, and her bicycle remains available outside for her trip home.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From eye level in front of and slightly to one side of 수리영, tighten to a medium frame while keeping the darkened street extending through the side of the composition she watches. She occupies the left half with the phone pressed to her ear, leaving the right background open as an uneasy continuation of her sightline.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 수리영 in the middle-left of the frame, midground, looks toward darkened street; darkened street in the middle-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: 어두워진 길거리 (Darkened at dusk); used as Preserved as negative space in 수리영's viewing direction; 마트 외부 (수리영 has exited the market) — The entrance side faces the camera obliquely behind 수리영; used as Provides recognizable exterior context beyond 수리영 without becoming the focal plane.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.",
        "skipped_reason": null,
        "error": null,
        "ref_paths": [
          [
            "plate",
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L08B02.png"
          ],
          [
            "char:수리영",
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/reference/141440ff-dbb3-4f0c-b0ae-cfd84dcac74f.png"
          ]
        ],
        "asset_id": "06429d9d-4fce-4760-9754-6d9da658ce19"
      },
      "S9sh1": {
        "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/conti/conti_S9sh1.png",
        "plate_path": null,
        "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: A nighttime stretch of coastal road beside the sea, outdoors under sparse bluish streetlights.\n\nSHOT TEXT (authoritative, Korean): 어두운 밤, 푸르스름한 가로등 불빛 아래 해안도로에서 수리영이 상체를 웅크린 채 자전거 페달에 체중을 싣는 찰나.\n\nCARRIED STATE (persist exactly): Su-ri-young is still using the same bicycle as she hurries home along the coastal road.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Track parallel at bicycle-frame height from 수리영's front-left, tightening enough to bind her hunched upper body and the descending pedal stroke into one moving medium composition. Her torso occupies the upper center while the weight-bearing leg and pedal remain visible in the lower right, with the coastal road sliding laterally behind her.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 수리영 in the middle-center of the frame, midground, moves toward road ahead; road ahead in the middle-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: 해안도로 (Dark at night); used as Carries 수리영 through the frame and supplies lateral motion behind the bicycle; 가로등 (On) — The lit streetlamp is positioned above the roadway, outside or near the upper frame boundary; used as Provides the stated blue illumination over the moving rider; 자전거 (In motion) — Its front-left side is presented to camera while traveling parallel to the lens; used as Keeps the pedal mechanism and frame visible as scale and action references.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.",
        "skipped_reason": null,
        "error": null,
        "no_plate": true,
        "ref_paths": [
          [
            "char:수리영",
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/reference/141440ff-dbb3-4f0c-b0ae-cfd84dcac74f.png"
          ]
        ],
        "asset_id": "3c8094b8-4dc5-4ee3-b63b-fe4bebb0f3db"
      },
      "S10sh2": {
        "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/conti/conti_S10sh2.png",
        "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L03B02.png",
        "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On the rooftop landing directly outside the rooftop home's metal entrance door at night.\n\nSHOT TEXT (authoritative, Korean): 현관 철문 틈새에 끼워져 있던 광고 전단지를 꽉 쥔 남성의 손 클로즈업.\n\nCARRIED STATE (persist exactly): The advertisement flyer has been pulled from the iron door gap and is now held in the stranger’s hand for use on the lock.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Dolly in at hand height beside the doorway until the intruder's gripping hand occupies most of the insert, while the advertising leaflet remains below the nonhuman-object limit and the narrow door gap survives along one edge. Crop out the man's face and body, using the iron door edge as a rigid vertical against the compressed fingers and partly folded leaflet.\n- FRAMING SCALE: insert close-up on a detail\n- KEY BACKGROUND ELEMENTS: 광고 전단지 (Pulled from the gap and tightly gripped) — Part of its printed advertising face is visible to camera, though the grip and fold obscure the specific content; used as The key manipulated object compressed inside the intruder's fist beside the gap; 현관 철문과 문틈 (Closed and still locked at this instant) — The door edge is nearly side-on to camera, exposing the narrow gap beside the hand; used as A narrow vertical boundary framing the hand and the intended insertion point.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.",
        "skipped_reason": null,
        "error": null,
        "ref_paths": [
          [
            "plate",
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L03B02.png"
          ],
          [
            "char:옥탑방 침입 남성",
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/reference/a89e5cef-23d0-4e3e-ac7f-9e2c3e53780a.png"
          ]
        ],
        "asset_id": "d0029348-fa7d-4e1b-b564-94fd7c3745f9"
      },
      "S10sh4": {
        "image_path": null,
        "plate_path": null,
        "prompt": null,
        "skipped_reason": "bgonly",
        "error": null
      },
      "S11sh3": {
        "image_path": null,
        "plate_path": null,
        "prompt": null,
        "skipped_reason": "bgonly",
        "error": null
      },
      "S12sh8": {
        "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/conti/conti_S12sh8.png",
        "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L04B02.png",
        "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Behind the curtain in the young woman's bedroom inside the rooftop home, dimly lit at night by the home's faint lamp light.\n\nSHOT TEXT (authoritative, Korean): 젖혀진 커튼 뒤, 목을 앞으로 꺾은 채 바닥에 주저앉아 있는 강민숙의 피투성이 상반신.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): She is seated motionless on the floor behind the curtain with her torso slumped and her head bent forward; one hand is closed around a crumpled photograph.\n\nCARRIED STATE (persist exactly): Min-sook remains dead, seated motionless on the floor behind the curtain with her torso slumped and her head bent forward amid the blood. Because she cannot grasp it later, one hand is already closed around a crumpled photograph, and the small circular mark remains on her wrist.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From chest height just beyond the pulled curtain line, hold a slightly oblique medium frame on 강민숙's bloodied upper body, placing her collapsed form off-center while the curtain edge remains in the near foreground. Her dropped head and seated posture form a broken vertical, with the torn shoulder and collarbone region visible as the narrative center before the camera later tilts toward her hand.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 젖혀진 커튼 (Pulled aside); used as Creates a foreground reveal edge and partially encloses the body; 방 바닥의 혈흔 (Blood pooled on the floor); used as Grounds the body's seated position and carries evidence of the attack beneath it; 피 묻은 발자국 (Leading toward the curtain); used as Extends the discovered trail toward the curtain and the body.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.",
        "skipped_reason": null,
        "error": null,
        "ref_paths": [
          [
            "plate",
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L04B02.png"
          ],
          [
            "char:강민숙",
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/reference/18ba1f9b-510e-4482-852e-7f743398f003.png"
          ]
        ],
        "asset_id": "77040deb-09d7-499e-b45d-812ee2996e0d"
      },
      "S12sh13": {
        "image_path": null,
        "plate_path": null,
        "prompt": null,
        "skipped_reason": "prev",
        "error": null
      },
      "S12sh17": {
        "image_path": null,
        "plate_path": null,
        "prompt": null,
        "skipped_reason": "bgonly",
        "error": null
      },
      "S13sh1": {
        "image_path": null,
        "plate_path": null,
        "prompt": null,
        "skipped_reason": "prev",
        "error": null
      },
      "S13sh5": {
        "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/conti/conti_S13sh5.png",
        "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L11B02.png",
        "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: In the outdoor yard or alley at the base of the multi-unit villa, near the arriving vehicle and rooftop stairs at night.\n\nSHOT TEXT (authoritative, Korean): 혜수의 가슴팍 부근을 올려다보며 뺨에 눈물이 고여 흐르고 있는 수리영의 얼굴.\n\nCARRIED STATE (persist exactly): Min-sook’s corpse and the bloody room are still presumed to be upstairs at this point, before Hye-soo and Detective Kim enter and discover that everything has vanished.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: The dolly-in finishes close to Hyesu’s chest position and just above Suriyeong’s eye line, looking gently downward while preserving Suriyeong’s physically natural upward eyeline. Her tearful face occupies most of the center frame, turned slightly three-quarter rather than square to camera, with only a narrow trace of the exterior setting left at the edge.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 수리영 in the middle-center of the frame, foreground, looks toward Hyesu above her eyeline.\n- KEY BACKGROUND ELEMENTS: 계단 방향 (Unobstructed) — Only the side of the stair approach remains near the frame edge; used as A narrow peripheral spatial cue maintains continuity with Suriyeong’s descent and stop.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.",
        "skipped_reason": null,
        "error": null,
        "ref_paths": [
          [
            "plate",
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L11B02.png"
          ],
          [
            "char:수리영",
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/reference/141440ff-dbb3-4f0c-b0ae-cfd84dcac74f.png"
          ]
        ],
        "asset_id": "caffda7c-d779-4236-90b4-f4c85537c58b"
      },
      "S14sh4": {
        "image_path": null,
        "plate_path": null,
        "prompt": null,
        "skipped_reason": "bgonly",
        "error": null
      },
      "S14sh8": {
        "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/conti/conti_S14sh8.png",
        "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L04B07.png",
        "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The dining area of the rooftop home's living room, centered on the now-clean table under the home's nighttime lighting.\n\nSHOT TEXT (authoritative, Korean): 식탁 위로 두 손을 뻗은 채 허공을 가리키고 있는 수리영의 절박한 표정.\n\nCARRIED STATE (persist exactly): The dining table is now completely clean, with both tea cups—including the overturned one—missing.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Tracking around the near side of the dining table settles at chest height into a close-medium, nearly frontal view justified by Suriyeong’s desperate attempt to prove what she saw. Her face holds the upper center while both extended hands enter the lower foreground above the clean tabletop, indicating two separate empty places before the camera continues laterally.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: empty dining tabletop beneath Suriyeong's hands in the lower-center of the frame, foreground; 수리영 in the middle-center of the frame, midground, points to two empty places on the table.\n- KEY BACKGROUND ELEMENTS: 식탁 (Clean; two claimed teacups absent) — The top plane angles toward the camera beneath her hands; used as Supports Suriyeong’s extended hands and exposes the two places where she says cups had been.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.",
        "skipped_reason": null,
        "error": null,
        "ref_paths": [
          [
            "plate",
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L04B07.png"
          ],
          [
            "char:수리영",
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/reference/141440ff-dbb3-4f0c-b0ae-cfd84dcac74f.png"
          ]
        ],
        "asset_id": "308761ec-8143-4d37-b07f-4046d79cd4f2"
      },
      "S14sh11": {
        "image_path": null,
        "plate_path": null,
        "prompt": null,
        "skipped_reason": "prev",
        "error": null
      },
      "S15sh1": {
        "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/conti/conti_S15sh1.png",
        "plate_path": null,
        "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: An outdoor bench at a coastal bus stop, facing the dark sea at night.\n\nSHOT TEXT (authoritative, Korean): 밤바다를 배경으로 버스정류장 벤치에 웅크리고 앉아 있는 수리영의 측면.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At Suriyeong’s seated eye level and roughly two and a half meters from the side of the bus-stop bench, the static camera looks across the bench toward the night sea. Suriyeong’s curled profile sits off-center with surrounding bench space and the sea left visible, emphasizing her isolation before the later approach.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 버스정류장 벤치 (Occupied by Suriyeong) — Its long side crosses the frame toward the sea; used as Supports Suriyeong and extends empty space around her body; 밤바다 (Visible at night); used as Forms the distant background along Suriyeong’s outward gaze; 버스정류장 구조 (Visible) — A partial side faces the camera beside the bench; used as Locates the bench within the coastal bus-stop area.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.",
        "skipped_reason": null,
        "error": null,
        "no_plate": true,
        "ref_paths": [
          [
            "char:수리영",
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/reference/141440ff-dbb3-4f0c-b0ae-cfd84dcac74f.png"
          ]
        ],
        "asset_id": "fb143afb-7c01-43bb-95f6-a873985ac297"
      },
      "S16sh1": {
        "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/conti/conti_S16sh1.png",
        "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L13B03.png",
        "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: In the dark police-station corridor at the threshold of a brightly lit duty office at night.\n\nSHOT TEXT (authoritative, Korean): 불 꺼진 경찰서 복도에서 환한 사무실 문을 반쯤 열고 한 발을 안으로 내디딘 채 귀에 휴대폰을 대고 있는 혜수의 전신.\n\nCARRIED STATE (persist exactly): Hye-soo continues carrying and using her phone to call Min-sook as she enters the office.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From eye level several steps down the unlit corridor, the static camera faces the half-open office door and frames Hyesu’s full body as she crosses the threshold. She is positioned just off-center with one foot already inside, the phone pressed to her ear, and the brighter office visible beyond her as the destination of the next dolly move.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 혜수 in the middle-center of the frame, midground, moves toward police office interior; police office interior in the upper-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: 경찰서 복도 (Lights off) — The corridor recedes directly toward the office doorway; used as Provides the dark foreground approach and outlines Hyesu’s entrance path; 사무실 문 (Half-open) — The corridor-facing side and partial opening are visible; used as Frames Hyesu at the instant she steps into the office; 경찰서 사무실 (Brightly lit) — The interior is visible through the half-open doorway; used as Creates the brighter destination behind Hyesu.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.",
        "skipped_reason": null,
        "error": null,
        "ref_paths": [
          [
            "plate",
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L13B03.png"
          ],
          [
            "char:혜수",
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/reference/b704dd7b-e20f-4abf-a619-8aa90018e1a2.png"
          ]
        ],
        "asset_id": "deb80e81-d0f2-4c2b-b470-8645061cefbf"
      },
      "S16sh3": {
        "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/conti/conti_S16sh3.png",
        "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L13B04.png",
        "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the lit police duty office, beside the detective's workstation at night.\n\nSHOT TEXT (authoritative, Korean): 휴대폰 화면을 켠 채 김 형사 눈앞으로 들이민 혜수의 굳은 손 클로즈업.\n\nCARRIED STATE (persist exactly): Hye-soo’s phone remains in her hand with Min-sook’s saved number displayed for Detective Kim.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At the near edge of the desk and hand height, the dolly-in ends on Hyesu’s rigid hand extending the active phone toward Kim’s off-frame position. The phone is angled so its displayed saved number is readable but occupies less than a third of the frame, while Hyesu’s hand and forearm provide scale and her face remains excluded.\n- FRAMING SCALE: insert close-up on a detail\n- KEY BACKGROUND ELEMENTS: 혜수의 휴대폰 화면 (On) — The active front screen faces both the camera and Kim’s position, displaying 민숙의 저장된 번호; used as Primary focal object held in front of Kim’s off-frame position; 책상 (In use) — The near edge crosses beneath the hand, with the top plane partially visible; used as Provides a grounded lower edge beneath Hyesu’s extended forearm.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.",
        "skipped_reason": null,
        "error": null,
        "ref_paths": [
          [
            "plate",
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L13B04.png"
          ],
          [
            "char:혜수",
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/reference/b704dd7b-e20f-4abf-a619-8aa90018e1a2.png"
          ]
        ],
        "asset_id": "2102be36-643d-4639-a97b-9f0a63467b95"
      },
      "S17sh2": {
        "image_path": null,
        "plate_path": null,
        "prompt": null,
        "skipped_reason": "bgonly",
        "error": null
      },
      "S18sh1": {
        "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/conti/conti_S18sh1.png",
        "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L04B05.png",
        "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At the edge of the bed in the main bedroom inside the rooftop home, with early morning daylight entering the room.\n\nSHOT TEXT (authoritative, Korean): 아침 햇살이 비치는 침대 모서리에 이마를 댄 채 웅크리고 앉아 있는 수리영의 측면.\n\nCARRIED STATE (persist exactly): Min-sook remains missing, and the rooftop room is still free of the corpse and blood that vanished during the night.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From mattress height at the prescribed lateral bedside position, hold a static wide profile of 수리영 folded beside the bed, her head and shoulders low against the right half of the frame while the bed corner anchors the left foreground. Keep the composition still and weighted downward so her eventual awakening can register as a sudden break in the frame rather than a camera reaction.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 침대 (수리영 has her forehead resting against its corner) — The mattress edge and corner face the camera in profile beside 수리영; used as The bed corner provides the physical anchor for her exhausted posture and divides the foreground from the room behind.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.",
        "skipped_reason": null,
        "error": null,
        "ref_paths": [
          [
            "plate",
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L04B05.png"
          ],
          [
            "char:수리영",
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/reference/141440ff-dbb3-4f0c-b0ae-cfd84dcac74f.png"
          ]
        ],
        "asset_id": "cf5bd3a0-94fa-4d9c-aef0-83403634051b"
      },
      "S18sh10": {
        "image_path": null,
        "plate_path": null,
        "prompt": null,
        "skipped_reason": "bgonly",
        "error": null
      },
      "S18sh13": {
        "image_path": null,
        "plate_path": null,
        "prompt": null,
        "skipped_reason": "bgonly",
        "error": null
      },
      "S19sh1": {
        "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/conti/conti_S19sh1.png",
        "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L09B01.png",
        "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Directly outside the large supermarket's entrance on a quiet morning, beside the bicycle parking spot.\n\nSHOT TEXT (authoritative, Korean): 한산한 아침의 마트 입구, 세워진 자전거 곁에서 마트 안쪽 한 지점을 바라보는 수리영의 전신.\n\nCARRIED STATE (persist exactly): Su-ri-young’s bicycle remains parked at the mart entrance, and she continues carrying the doll-adorned backpack taken from home.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At eye level several meters before the market entrance, begin with a full-body view of 수리영 beside the parked bicycle, her back and turning shoulder leading toward the store interior behind her. Leave open depth beyond her so the frame is ready to track backward through the entrance when she advances.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 마트 입구 (수리영 is about to move inside) — The entrance faces the camera, with the interior receding behind 수리영; used as The entrance creates the deep background route that her body orientation points into; 자전거 (Parked beside the entrance) — Its side is visible next to 수리영's full figure; used as The bicycle remains beside her as a grounded scale reference before she enters.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.",
        "skipped_reason": null,
        "error": null,
        "ref_paths": [
          [
            "plate",
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L09B01.png"
          ],
          [
            "char:수리영",
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/reference/141440ff-dbb3-4f0c-b0ae-cfd84dcac74f.png"
          ]
        ],
        "asset_id": "0e690936-d9ba-4651-8977-cd180ccb7163"
      },
      "S19sh3": {
        "image_path": null,
        "plate_path": null,
        "prompt": null,
        "skipped_reason": "prev",
        "error": null
      },
      "S20sh1": {
        "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/conti/conti_S20sh1.png",
        "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L10B01.png",
        "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the supermarket's administrative security office, directly in front of the CCTV monitor under office lighting.\n\nSHOT TEXT (authoritative, Korean): 마트 총무과 모니터 앞, 어두운 화면을 뚫어지게 주시하는 수리영의 초조한 얼굴 클로즈업.\n\nCARRIED STATE (persist exactly): Su-ri-young continues carrying her doll-adorned backpack while she watches the obscured CCTV footage.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At seated eye level directly across from 수리영, hold a close three-quarter view that isolates her face while a thin, oblique edge of the monitor remains just outside the central axis. Her eyes track the unseen dark footage past the camera, and the static frame lets anxiety accumulate without a push-in.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 수리영 in the middle-center of the frame, midground.\n- KEY BACKGROUND ELEMENTS: CCTV 모니터 (Replaying the section that is too dark to identify) — The display face is turned toward 수리영 and is only partly visible to camera at an oblique edge, showing the unusually dark footage; used as An oblique sliver at the frame edge identifies the source of her fixed attention without displacing her face as the focal point.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.",
        "skipped_reason": null,
        "error": null,
        "ref_paths": [
          [
            "plate",
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L10B01.png"
          ],
          [
            "char:수리영",
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/reference/141440ff-dbb3-4f0c-b0ae-cfd84dcac74f.png"
          ]
        ],
        "asset_id": "6c7d5191-3df7-4880-8cdb-2cee3ebd614a"
      },
      "S20sh4": {
        "image_path": null,
        "plate_path": null,
        "prompt": null,
        "skipped_reason": "prev",
        "error": null
      },
      "S21sh6": {
        "image_path": null,
        "plate_path": null,
        "prompt": null,
        "skipped_reason": "bgonly",
        "error": null
      },
      "S21sh9": {
        "image_path": null,
        "plate_path": null,
        "prompt": null,
        "skipped_reason": "prev",
        "error": null
      },
      "S22sh1": {
        "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/conti/conti_S22sh1.png",
        "plate_path": null,
        "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: On the road immediately outside the police station, where the parked bicycle pulls away in daylight.\n\nSHOT TEXT (authoritative, Korean): 경찰서 밖 도로, 상체를 웅크린 채 자전거 페달에 체중을 싣는 수리영의 측면 전신.\n\nCARRIED STATE (persist exactly): Su-ri-young rides away on her bicycle with the folded coordinate note in her pocket and her backpack still with her.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Maintain the prescribed waist-height parallel track at full-body side distance, placing 수리영 and the bicycle across the middle of the frame as they accelerate toward screen right. Hold the profile axis while she folds over the handlebars and transfers her weight into the pedals, leaving forward space in the direction of travel.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 수리영 in the middle-center of the frame, midground, moves toward screen right along the road.\n- KEY BACKGROUND ELEMENTS: 자전거 (In motion under hard pedaling) — Its full side profile faces the tracking camera as it travels toward screen right; used as The bicycle remains fully readable with 수리영 as a single moving silhouette and provides the mechanical line of acceleration; 경찰서 밖 도로 (수리영 rides away along it); used as The road supplies the lateral travel axis beneath the parallel tracking move.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.",
        "skipped_reason": null,
        "error": null,
        "no_plate": true,
        "ref_paths": [
          [
            "char:수리영",
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/reference/141440ff-dbb3-4f0c-b0ae-cfd84dcac74f.png"
          ]
        ],
        "asset_id": "a85aaaf6-b5db-4f6a-a729-c049d42014a7"
      },
      "S23sh1": {
        "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/conti/conti_S23sh1.png",
        "plate_path": null,
        "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At a computer booth inside a dark internet café, illuminated mainly by the monitor screen.\n\nSHOT TEXT (authoritative, Korean): 어두운 PC방 안, 모니터 불빛을 받으며 화면을 뚫어지게 응시하는 수리영의 굳은 얼굴.\n\nCARRIED STATE (persist exactly): The coordinate note remains available for Su-ri-young to enter the location. She folds the newly printed maps and places them inside her doll-adorned backpack.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From seated eye level just beyond and slightly beside the monitor, the camera completes a slow push toward 수리영 until her rigid face occupies most of the frame. The monitor edge remains soft in the lower foreground while her tense eyes and set jaw hold the upper-center focus, preserving the imminent downward transition toward her hands.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: PC monitor (On) — The active screen faces 수리영 and away from the camera; only its near edge and partial rear silhouette are visible; used as Soft foreground obstruction separating the camera from 수리영 and motivating the light on her face; PC stations (Dark and inactive-looking beyond the occupied station) — Their monitor edges and seating lines recede behind 수리영; used as Receding background context kept indistinct behind the close facial composition.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.",
        "skipped_reason": null,
        "error": null,
        "no_plate": true,
        "ref_paths": [
          [
            "char:수리영",
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/reference/141440ff-dbb3-4f0c-b0ae-cfd84dcac74f.png"
          ]
        ],
        "asset_id": "4e718f9c-b2ae-442e-b8e0-982796b470af"
      },
      "S24sh2": {
        "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/conti/conti_S24sh2.png",
        "plate_path": null,
        "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: An exposed coastal roadway in a heavy thunderstorm, with driving rain and dark clouds overhead.\n\nSHOT TEXT (authoritative, Korean): 비에 흠뻑 젖은 채 앞을 직시하는 수리영의 결연한 눈빛 클로즈업.\n\nCARRIED STATE (persist exactly): Su-ri-young continues on her bicycle with the printed maps secured inside her backpack, which remains with her in the rain.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At 수리영’s eye level directly ahead of the bicycle, the camera tracks backward at matching speed, holding her rain-soaked face tightly while the moving surroundings register only at the frame edges. Her forward gaze runs just past the lens, making the near-frontal angle read as determination rather than direct address.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Coastal route (Under heavy rain); used as Peripheral motion context behind and beside the tightly framed rider; Heavy rainfall (Falling forcefully); used as Visible streaks and impacts across 수리영 and the surrounding frame; Clouded sky (Heavily overcast with thunder and lightning); used as Storm background establishing the severe weather around the rider.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.",
        "skipped_reason": null,
        "error": null,
        "no_plate": true,
        "ref_paths": [
          [
            "char:수리영",
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/reference/141440ff-dbb3-4f0c-b0ae-cfd84dcac74f.png"
          ]
        ],
        "asset_id": "dd017c5e-bed4-4fae-82ef-1cbeb6502602"
      },
      "S25sh1": {
        "image_path": null,
        "plate_path": null,
        "prompt": null,
        "skipped_reason": "bgonly",
        "error": null
      },
      "S25sh3": {
        "image_path": null,
        "plate_path": null,
        "prompt": null,
        "skipped_reason": "bgonly",
        "error": null
      },
      "S25sh7": {
        "image_path": null,
        "plate_path": null,
        "prompt": null,
        "skipped_reason": "prev",
        "error": null
      },
      "S26sh1": {
        "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/conti/conti_S26sh1.png",
        "plate_path": null,
        "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: On shoreline rocks at the edge of an empty harbor, surrounded by dense sea fog at dusk.\n\nSHOT TEXT (authoritative, Korean): 짙은 안개가 깔린 포구의 갯바위 위, 무릎을 감싸 안은 채 바다를 주시하는 수리영의 전신.\n\nCARRIED STATE (persist exactly): Su-ri-young still has her phone, the bloodied old photograph, and her backpack containing the printed maps while she waits at the harbor.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From waist height behind and slightly to one side, a static wide frame places 수리영’s full seated figure off-center against the fog-covered sea. Her compact posture anchors the foreground rocks while the empty port and obscured water create open negative space along her fixed line of sight.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: Sea (Covered by dense fog); used as Broad negative space receiving 수리영’s distant gaze; Fog (Dense and moving in from the sea); used as Atmospheric layer obscuring vessels and reducing spatial depth; Shore rocks (Occupied by 수리영); used as Foreground support and scale reference beneath 수리영; Port (Empty; the rain has stopped); used as Environmental context emphasizing isolation.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.",
        "skipped_reason": null,
        "error": null,
        "no_plate": true,
        "ref_paths": [
          [
            "char:수리영",
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/reference/141440ff-dbb3-4f0c-b0ae-cfd84dcac74f.png"
          ]
        ],
        "asset_id": "12031eae-9c14-4aac-8bc1-708a76886871"
      },
      "S26sh3": {
        "image_path": null,
        "plate_path": null,
        "prompt": null,
        "skipped_reason": "prev",
        "error": null
      },
      "S27sh1": {
        "image_path": null,
        "plate_path": null,
        "prompt": null,
        "skipped_reason": "prev",
        "error": null
      },
      "S28sh3": {
        "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/conti/conti_S28sh3.png",
        "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L17B02.png",
        "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On the exposed deck of a small fishing boat underway at sea in the fading dusk light.\n\nSHOT TEXT (authoritative, Korean): 수리영의 손이 구겨지고 피 묻은 낡은 사진을 인우의 눈앞으로 바짝 들이민 순간의 클로즈업.\n\nCARRIED STATE (persist exactly): Su-ri-young still has the crumpled, bloodied old photograph and holds it up to In-woo; her backpack retains the remaining printed maps.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At hand height between the two characters, the camera completes its push toward 수리영’s extended hand, keeping the crumpled photograph in the central foreground and 인우’s alarmed eyes sharply readable beyond it. The photograph occupies roughly a third of the frame, while a sliver of 수리영’s shoulder and 인우’s recoiling upper body preserve the confrontation’s scale and axis.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Old photograph (Crumpled, worn, and bloodstained) — Its worn image-bearing front faces both 인우 and the camera, with the rural restaurant image and small 금월 writing visible; used as Central foreground evidence linking 수리영’s accusation to 인우’s reaction; Boat deck (At sea) — The deck lines recede behind 인우 at an oblique angle; used as Soft background context retaining the confrontation’s location; Sea (Surrounding the small fishing boat); used as Distant environmental layer beyond the deck.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.",
        "skipped_reason": null,
        "error": null,
        "ref_paths": [
          [
            "plate",
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L17B02.png"
          ],
          [
            "char:수리영",
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/reference/141440ff-dbb3-4f0c-b0ae-cfd84dcac74f.png"
          ],
          [
            "char:인우",
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/reference/fab683ba-b7b1-4fdb-a9de-656f1f6c76fc.png"
          ]
        ],
        "asset_id": "61fb473d-683e-4576-8fc5-e143b3c17928"
      },
      "S28sh9": {
        "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/conti/conti_S28sh9.png",
        "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L17B01.png",
        "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Just inside the small fishing boat's wheelhouse, at the helm where the two struggle over control at dusk.\n\nSHOT TEXT (authoritative, Korean): 조타실 안, 방향타를 쥔 인우의 팔목을 수리영이 양손으로 강하게 꽉 쥐어 제어하며 두 사람의 힘이 팽팽하게 부딪히는 찰나.\n\nCARRIED STATE (persist exactly): The wheelhouse already contains numerous circular markings, including the red circle that will shortly become visible to Su-ri-young. Her backpack and the old photograph remain with her during the struggle.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Inside the wheelhouse beside the helm at waist height, the camera completes a forceful push to within close range of the joined arms, using a restrained Dutch tilt to sharpen the imbalance. 수리영’s two hands clamp around 인우’s wrist in the center while his other arm and both torsos pull in opposing diagonals around the helm, preserving the physical cause of the struggle.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Helm (Held by 인우 during the struggle) — Its gripping side faces 인우, with its rim angled toward the waist-height camera; used as Central mechanical anchor around which both characters exert opposing force; Wheelhouse interior (Occupied by both struggling characters) — Its enclosing sides converge behind the two torsos and helm; used as Tight architectural context enclosing the physical clash.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.",
        "skipped_reason": null,
        "error": null,
        "ref_paths": [
          [
            "plate",
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L17B01.png"
          ],
          [
            "char:수리영",
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/reference/141440ff-dbb3-4f0c-b0ae-cfd84dcac74f.png"
          ],
          [
            "char:인우",
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/reference/fab683ba-b7b1-4fdb-a9de-656f1f6c76fc.png"
          ]
        ],
        "asset_id": "5940ee4c-6eca-4cf4-99ca-ea7d57b53dfd"
      },
      "S29sh1": {
        "image_path": null,
        "plate_path": null,
        "prompt": null,
        "skipped_reason": "prev",
        "error": null
      },
      "S29sh5": {
        "image_path": null,
        "plate_path": null,
        "prompt": null,
        "skipped_reason": "prev",
        "error": null
      },
      "S29sh12": {
        "image_path": null,
        "plate_path": null,
        "prompt": null,
        "skipped_reason": "prev",
        "error": null
      },
      "S30sh3": {
        "image_path": null,
        "plate_path": null,
        "prompt": null,
        "skipped_reason": "bgonly",
        "error": null
      }
    },
    "map_conti": {},
    "conti_pack": "5.202607222353",
    "lane_conti": {
      "S4sh1": {
        "lane": "structure_plate",
        "group_id": "bg_rooftop_residence",
        "segment_id": "SEG_01",
        "status": "ab_select_bypass",
        "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/background_chain/seed_bg_rooftop_residence_sel.png",
        "seed_asset_id": "605fee83-c4e3-45fc-8b9a-bd7d7a504772",
        "seed_status": "ok",
        "bg_source": "plate",
        "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L11B01.png",
        "bg_reason": "",
        "bypass_reason": "bg_only"
      },
      "S10sh2": {
        "lane": "structure_plate",
        "group_id": "bg_rooftop_residence",
        "segment_id": "SEG_02",
        "status": "ab_select_ready",
        "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/background_chain/seed_bg_rooftop_residence_sel.png",
        "seed_asset_id": "605fee83-c4e3-45fc-8b9a-bd7d7a504772",
        "seed_status": "ok",
        "bg_source": "plate",
        "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L03B02.png",
        "bg_reason": "",
        "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/conti/conti_S10sh2.png",
        "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L03B02.png"
      },
      "S10sh4": {
        "lane": "structure_plate",
        "group_id": "bg_rooftop_residence",
        "segment_id": "SEG_02",
        "status": "ab_select_bypass",
        "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/background_chain/seed_bg_rooftop_residence_sel.png",
        "seed_asset_id": "605fee83-c4e3-45fc-8b9a-bd7d7a504772",
        "seed_status": "ok",
        "bg_source": "plate",
        "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L03B02.png",
        "bg_reason": "",
        "bypass_reason": "bg_only"
      },
      "S11sh3": {
        "lane": "structure_plate",
        "group_id": "bg_rooftop_residence",
        "segment_id": "SEG_02",
        "status": "ab_select_bypass",
        "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/background_chain/seed_bg_rooftop_residence_sel.png",
        "seed_asset_id": "605fee83-c4e3-45fc-8b9a-bd7d7a504772",
        "seed_status": "ok",
        "bg_source": "plate",
        "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L11B04.png",
        "bg_reason": "",
        "bypass_reason": "bg_only"
      },
      "S13sh1": {
        "lane": "structure_plate",
        "group_id": "bg_rooftop_residence",
        "segment_id": "SEG_02",
        "status": "ab_select_bypass",
        "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/background_chain/seed_bg_rooftop_residence_sel.png",
        "seed_asset_id": "605fee83-c4e3-45fc-8b9a-bd7d7a504772",
        "seed_status": "ok",
        "bg_source": "plate",
        "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L11B03.png",
        "bg_reason": "",
        "bypass_reason": "prev"
      },
      "S15sh5": {
        "lane": "map_marker",
        "group_id": "bg_coastal_bus_stop",
        "segment_id": "SEG_01",
        "sketch_attempts": 1,
        "status": "ok",
        "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/conti/lane_sketch_S15sh5.png",
        "base_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/background_chain/canon_bg_coastal_bus_stop_map.png",
        "base_map_asset_id": "057319f7-b88e-4e06-aa75-99bc9420d299",
        "geometry": {
          "camera": {
            "look_target": {
              "x": 0.53,
              "y": 0.61
            },
            "origin": {
              "x": 0.44,
              "y": 0.65
            }
          },
          "entity_placements": [
            {
              "slot": "E1",
              "subject_en": "shouting adult woman",
              "x": 0.45,
              "y": 0.58
            },
            {
              "slot": "E2",
              "subject_en": "running young woman",
              "x": 0.66,
              "y": 0.67
            }
          ],
          "rationale_ko": "혜수는 B1 해안 버스정류장 앞에 두고, 수리영은 도로 쪽 출발 경로를 따라 오른쪽 아래로 멀어진 위치에 배치했다. 카메라는 혜수의 진행 방향 앞쪽이자 한쪽 측면에 가깝게 두어 혜수가 전경 왼쪽의 상반신으로 크게 보이고, 한 발을 든 채 달아나는 수리영은 배경 오른쪽에 작게 남도록 했다."
        },
        "geometry_attempts": 1,
        "leakage": {
          "has_marker_leakage": false,
          "details_ko": "다이어그램 기호나 마커 없이 정상적으로 렌더링됨."
        },
        "prompt": "Draw a single CAMERA-VIEW storyboard frame (16:9) of the scene staged\non the attached TOP-DOWN SITE PLAN, seen from the camera position\ngiven in the STAGING GEOMETRY data below.\n\nJurisdiction of sources — follow all three, they do not conflict:\n- The attached SITE PLAN is the SOT for what exists on the site and\n  how its zones and landmarks are arranged relative to each other.\n- The STAGING GEOMETRY data below is the SOT for XY POSITIONS and\n  horizontal heading ONLY: where each subject stands on that plan,\n  where the camera stands, and which way it looks. Distances,\n  directions and relative depths between subjects come from these\n  coordinates. Subjects outside the camera's horizontal field of\n  view are out of frame.\n- The CAMERA DIRECTION text below (when present) is the SOT for the\n  VERTICAL angle, elevation, tilt and framing (eye-level, high angle,\n  overhead crane, low angle, ...). If it asks for a high or overhead\n  angle, draw that angle — the site plan being top-down does NOT mean\n  the frame must be eye-level.\n\nSTYLE — LIGHT STORYBOARD FRAME: thin uniform dark outlines on plain\npaper. No shading, no hatching, no texture, no facial features beyond\na minimal head shape, no costume detail. Human figures are correctly\nproportioned full-body outlines in their canonical poses. Environment\nis reduced to a few placement lines (ground line, key landmark\nsilhouettes) — just enough to read positions and depth.\n\nSTAGING GEOMETRY — PLANNING DATA ONLY, NEVER RENDER IT: the lines\nbelow are normalized map coordinates on the attached site plan\n(x runs left→right 0..1, y runs top→bottom 0..1). Use them solely to\nplace the camera and subjects. Do NOT draw any of this data in the\nimage — no numbers, no coordinates, no labels, no arrows, no cones,\nno dots, no diagram symbols of any kind.\n- the camera stands at (x=0.44, y=0.65) and looks toward (x=0.53, y=0.61); subjects outside the camera's horizontal field of view are out of frame\n- shouting adult woman stands at (x=0.45, y=0.58)\n- running young woman stands at (x=0.66, y=0.67)\n\nCAMERA DIRECTION (vertical angle / elevation / framing SOT): The pan settles at Hyesu’s chest height from slightly in front and to one side, tightening on her upper body as she cups both hands around her open mouth. Hyesu occupies the foreground left while Suriyeong remains smaller in the background right, caught with one foot airborne as she runs away along the departure path.\n\nTHE LOCATION: 해안가 버스정류장\n\nSHOT TEXT (authoritative, Korean): 한쪽 발이 공중에 뜬 달리기 자세인 수리영의 뒷모습을 배경으로, 두 손을 입가에 모으고 입을 크게 벌린 혜수의 상반신.\n\nCRITICAL — THE SITE PLAN IS A STAGING REFERENCE, NOT CONTENT: do NOT\ndraw the plan itself, and do NOT draw any diagram elements in the\nframe — no circles, dots, wedges, cones, arrows, callouts, codes or\nany other overlay symbols. The output is a clean storyboard drawing\nof the scene as seen by the camera only.\n\nNo text, no letters, no numbers, no captions anywhere in the image.",
        "asset_id": "381d2090-1155-4a36-ae88-8c21891a71d9"
      },
      "S17sh2": {
        "lane": "structure_plate",
        "group_id": "bg_rooftop_residence",
        "segment_id": "SEG_02",
        "status": "ab_select_bypass",
        "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/background_chain/seed_bg_rooftop_residence_sel.png",
        "seed_asset_id": "605fee83-c4e3-45fc-8b9a-bd7d7a504772",
        "seed_status": "ok",
        "bg_source": "plate",
        "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L03B01.png",
        "bg_reason": "",
        "bypass_reason": "bg_only"
      },
      "S19sh1": {
        "lane": "structure_plate",
        "group_id": "bg_retail_store",
        "segment_id": "SEG_01",
        "status": "ab_select_ready",
        "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/background_chain/seed_bg_retail_store_sel.png",
        "seed_asset_id": "40c8635a-28fd-4d3f-b913-166aac4c1a19",
        "seed_status": "ok",
        "bg_source": "plate",
        "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L09B01.png",
        "bg_reason": "",
        "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/conti/conti_S19sh1.png",
        "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L09B01.png"
      },
      "S19sh3": {
        "lane": "structure_plate",
        "group_id": "bg_retail_store",
        "segment_id": "SEG_01",
        "status": "ab_select_bypass",
        "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/background_chain/seed_bg_retail_store_sel.png",
        "seed_asset_id": "40c8635a-28fd-4d3f-b913-166aac4c1a19",
        "seed_status": "ok",
        "bg_source": "plate",
        "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L09B02.png",
        "bg_reason": "",
        "bypass_reason": "prev"
      },
      "S28sh9": {
        "lane": "structure_plate",
        "group_id": "bg_fishing_vessel",
        "segment_id": "SEG_B",
        "status": "ab_select_ready",
        "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/background_chain/seed_bg_fishing_vessel_sel.png",
        "seed_asset_id": "f2bc4368-d3d7-477f-b65c-0f576ca7be06",
        "seed_status": "ok",
        "bg_source": "plate",
        "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L17B01.png",
        "bg_reason": "",
        "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/images/026b24c0-3e76-4953-ab00-129645f4e903/conti/conti_S28sh9.png",
        "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L17B01.png"
      }
    },
    "plate_authority": {
      "S5sh2": {
        "assigned": "L04B01",
        "chosen": "L04B01",
        "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L04B01.png",
        "record": {
          "candidates": {
            "A": "L04B01",
            "B": "L04B02",
            "C": "L04B03",
            "D": "L04B04",
            "E": "L04B05",
            "F": "L04B06",
            "G": "L04B07"
          },
          "assigned": "L04B01",
          "choice": "Candidate A",
          "confident": true,
          "reason_ko": "지문에 'TV 화면'을 응시한다고 명시되어 있으므로, 거실에 TV가 배치된 공간이 필요합니다. 현재 배정된 이미지가 이를 잘 보여주므로 유지합니다.",
          "kept": "L04B01"
        },
        "fingerprint": "a856969f868300a4"
      },
      "S8sh2": {
        "assigned": "L08B01",
        "chosen": "L08B01",
        "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L08B01.png",
        "record": {
          "candidates": {
            "A": "L08B01",
            "B": "L08B02"
          },
          "assigned": "L08B01",
          "choice": "Candidate A",
          "confident": true,
          "reason_ko": "\"진열대가 늘어선 마트 내부\"라는 설명과 일치하는 실내 컷이 필요하므로 현재 설정된 후보가 적합합니다.",
          "kept": "L08B01"
        },
        "fingerprint": "0f3ae0a55b05d70c"
      },
      "S8sh4": {
        "assigned": "L08B02",
        "chosen": "L08B02",
        "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L08B02.png",
        "record": {
          "candidates": {
            "A": "L08B01",
            "B": "L08B02"
          },
          "assigned": "L08B02",
          "choice": "Candidate B",
          "confident": true,
          "reason_ko": "지문에서 '마트 밖으로 나온', '어두워진 길거리'를 명시하므로 마트 외부의 어두운 길거리가 보이는 Candidate B가 적합합니다.",
          "kept": "L08B02"
        },
        "fingerprint": "d9a10fa3c0154fa5"
      },
      "S10sh2": {
        "assigned": "L03B02",
        "chosen": "L03B02",
        "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L03B02.png",
        "record": {
          "candidates": {
            "A": "L03B01",
            "B": "L03B02"
          },
          "assigned": "L03B02",
          "choice": "Candidate B",
          "confident": true,
          "reason_ko": "지문에서 '현관 철문 틈새'를 언급하고 있으므로 금속 재질의 출입문이 있는 공간이 필요합니다. 두 후보 모두 철문을 포함하고 있으나, 현재 할당된 후보 B가 해당 공간을 명확히 보여주므로 이를 유지합니다.",
          "kept": "L03B02"
        },
        "fingerprint": "0bbc79ed5119041b"
      },
      "S12sh8": {
        "assigned": "L04B06",
        "chosen": "L04B06",
        "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L04B02.png",
        "record": {
          "candidates": {
            "A": "L04B01",
            "B": "L04B02",
            "C": "L04B03",
            "D": "L04B04",
            "E": "L04B05",
            "F": "L04B06",
            "G": "L04B07"
          },
          "assigned": "L04B06",
          "choice": "Candidate F",
          "confident": true,
          "reason_ko": "지문에서 '젖혀진 커튼 뒤'라고만 명시되어 있어 특정 방을 구분하기 어려우므로, 커튼이 있는 방을 보여주는 현재 배정된 이미지를 유지합니다.",
          "kept": "L04B06"
        },
        "fingerprint": "8baf15dc3176e764"
      },
      "S13sh5": {
        "assigned": "L11B02",
        "chosen": "L11B02",
        "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L11B02.png",
        "record": {
          "candidates": {
            "A": "L11B01",
            "B": "L11B02",
            "C": "L11B03",
            "D": "L11B04"
          },
          "assigned": "L11B02",
          "choice": "Candidate B",
          "confident": false,
          "reason_ko": "지문이 인물의 감정과 얼굴 클로즈업만을 묘사하고 있어 건물 주변, 계단, 옥상 중 특정 하위 공간을 구분할 단서가 없으므로 기존 할당을 유지함.",
          "kept": "L11B02"
        },
        "fingerprint": "a54e21198745ab87"
      },
      "S14sh8": {
        "assigned": "L04B07",
        "chosen": "L04B07",
        "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L04B07.png",
        "record": {
          "candidates": {
            "A": "L04B01",
            "B": "L04B02",
            "C": "L04B03",
            "D": "L04B04",
            "E": "L04B05",
            "F": "L04B06",
            "G": "L04B07"
          },
          "assigned": "L04B07",
          "choice": "Candidate G",
          "confident": true,
          "reason_ko": "\"식탁 위로\"라는 지문과 함께 식탁이 있는 공간을 요구하며, 지정된 후보가 해당 위치를 포함하고 있으므로 현재 할당을 유지합니다.",
          "kept": "L04B07"
        },
        "fingerprint": "e65e1f8d8c837f12"
      },
      "S16sh1": {
        "assigned": "L13B03",
        "chosen": "L13B03",
        "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L13B03.png",
        "record": {
          "candidates": {
            "A": "L13B01",
            "B": "L13B02",
            "C": "L13B03",
            "D": "L13B04"
          },
          "assigned": "L13B03",
          "choice": "Candidate C",
          "confident": true,
          "reason_ko": "\"불 꺼진 경찰서 복도에서 환한 사무실 문을 반쯤 열고\"라는 묘사에 정확히 부합하게, 어두운 복도 시점에서 밝게 불이 켜진 사무실 내부가 열린 문을 통해 보이는 구도를 담고 있습니다.",
          "kept": "L13B03"
        },
        "fingerprint": "a56788899faba141"
      },
      "S16sh3": {
        "assigned": "L13B04",
        "chosen": "L13B04",
        "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L13B04.png",
        "record": {
          "candidates": {
            "A": "L13B01",
            "B": "L13B02",
            "C": "L13B03",
            "D": "L13B04"
          },
          "assigned": "L13B04",
          "choice": "Candidate A",
          "confident": true,
          "reason_ko": "휴대폰을 '김 형사 눈앞으로 들이민... 클로즈업' 샷이므로, 책상 앞에 앉은 형사의 1인칭 시점(POV)이나 인물에 근접한 배경을 제공하는 Candidate A가 적합합니다.",
          "kept": "L13B04"
        },
        "fingerprint": "ef8b9ec3eef0b9b5"
      },
      "S18sh1": {
        "assigned": "L04B05",
        "chosen": "L04B05",
        "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L04B05.png",
        "record": {
          "candidates": {
            "A": "L04B01",
            "B": "L04B02",
            "C": "L04B03",
            "D": "L04B04",
            "E": "L04B05",
            "F": "L04B06",
            "G": "L04B07"
          },
          "assigned": "L04B05",
          "choice": "Candidate E",
          "confident": true,
          "reason_ko": "\"아침 햇살이 비치는 침대 모서리에\"",
          "kept": "L04B05"
        },
        "fingerprint": "0e0ed13f765be037"
      },
      "S19sh1": {
        "assigned": "L09B01",
        "chosen": "L09B01",
        "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L09B01.png",
        "record": {
          "candidates": {
            "A": "L09B01",
            "B": "L09B02"
          },
          "assigned": "L09B01",
          "choice": "Candidate A",
          "confident": true,
          "reason_ko": "지문에서 '마트 입구, 세워진 자전거 곁'을 명시하고 있으며, 두 후보 모두 해당 동일한 공간을 보여주고 있으므로 명확한 변경 근거가 없어 현재 할당된 이미지를 유지합니다.",
          "kept": "L09B01"
        },
        "fingerprint": "538bc3144dca0ec7"
      },
      "S28sh3": {
        "assigned": "L17B02",
        "chosen": "L17B02",
        "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L17B02.png",
        "record": {
          "candidates": {
            "A": "L17B01",
            "B": "L17B02"
          },
          "assigned": "L17B02",
          "choice": "Candidate B",
          "confident": false,
          "reason_ko": "지문은 수리영이 인우의 눈앞에 사진을 들이미는 클로즈업 숏으로, 갑판(B)인지 조타실(A)인지 구분할 수 있는 배경 단서가 없으므로 기존 할당을 유지함.",
          "kept": "L17B02"
        },
        "fingerprint": "8e38f918163cf674"
      },
      "S28sh9": {
        "assigned": "L17B01",
        "chosen": "L17B01",
        "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/79670d0c-2096-4d40-88cf-30b407411548/episodes/026b24c0-3e76-4953-ab00-129645f4e903/images/background_chain/L17B01.png",
        "record": {
          "candidates": {
            "A": "L17B01",
            "B": "L17B02"
          },
          "assigned": "L17B01",
          "choice": "Candidate A",
          "confident": true,
          "reason_ko": "지문에서 '조타실 안'과 '방향타를 쥔'이라고 명시되어 있으므로, 조타실 내부와 조타핸들이 직접적으로 보이는 Candidate A가 적합합니다.",
          "kept": "L17B01"
        },
        "fingerprint": "9267b2a32a2f350d"
      }
    }
  },
  "step_id": "shot_conti_light",
  "run_id": "61aff812-3daa-4a29-95f7-7188e8bf580b",
  "resolved_model": "gpt-image-2",
  "updated_at": "2026-07-23T17:56:53.977574+00:00",
  "project_config_snapshot": {}
}