{ "status": "partial", "applicable_count": 95, "completed_count": 94, "failed_count": 1, "schema_version": 3, "config_hash": "b9c71c81b67c097c", "data": { "contis": { "S1sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S1sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L01B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Among the dense winter reeds of a colonial-era field, along the fugitives' path through the vegetation.\n\nSHOT TEXT (authoritative, Korean): 과거의 조선인 육혈귀 생존자들이 공포에 질린 표정으로 한 발은 땅을 박차고 다른 발은 앞으로 내뻗은 채 갈대숲 사이를 다급하게 내달리는 찰나.\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, the camera tracks parallel to the fleeing group from a lateral position, holding a wide view that keeps terrified faces and opposing running-leg positions legible among the reeds. The survivors spread across the middle band of the frame, each caught between a planted rear foot and an outstretched leading foot, while the lateral motion preserves their forward momentum toward off-screen safety.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 겨울 갈대숲 (The fleeing survivors are moving through it); used as The reeds intermittently cross the foreground and separate individual runners without obscuring the group action.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L01B01.png" ], [ "char:과거의 조선인 육혈귀 생존자", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/606d14b7-2308-49a3-8ee5-c6470c2fb82e.png" ] ], "asset_id": "c5247545-53e2-40f4-beaa-f4d12c2ddd28" }, "S1sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S1sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S2sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S2sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L02B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Just inside the rough wooden storehouse, facing its suddenly opened entrance and daylight beyond.\n\nSHOT TEXT (authoritative, Korean): 벌컥 열린 창고 문턱에 선 일본군 병사들이 안쪽을 향해 비릿한 웃음을 짓는 찰나.\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: On the central interior axis at eye level, the dolly-in ends close enough to make the soldiers' inward-looking smiles readable while retaining the full opened doorway around them. The foremost soldier occupies one side of the middle frame in three-quarter view, with additional soldiers layered behind him at the threshold and the warehouse interior framing the image edges.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: opened warehouse doorway in the middle-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: 창고 문 (Suddenly opened) — The interior-facing side and open passage are visible from inside the warehouse; used as The opened doorway encloses the invading soldiers and creates a hard boundary between interior and exterior; 덧댄 판자와 각목 (Roughly assembled as part of the temporary warehouse) — Their interior-facing sides border the frame and lead toward the entrance; used as The rough interior structure forms an irregular frame around the doorway.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L02B01.png" ], [ "char:일본군 병사", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/76e8a9fd-b0b7-4133-964a-061707715b30.png" ] ], "asset_id": "816bdd6e-edbf-4323-b486-e523eb661a84" }, "S2sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S2sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S3sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S3sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S3sh15": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S4sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S4sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L11B04.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At a window seat inside a moving nighttime commuter bus, with city lights streaking past outside.\n\nSHOT TEXT (authoritative, Korean): 가로로 긴 궤적을 그리는 도심 불빛을 배경으로, 버스 창가 자리에 앉아 피곤한 얼굴로 창밖을 바라보고 있는 김지후(강수리영)의 모습.\n\nCARRIED STATE (persist exactly): Jihu wears her antler-bone pendant, which she has worn since her first appearance.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From seated eye level on the aisle side, the camera begins a parallel track along the window seats in a wide horizontal composition, keeping 김지후(강수리영) anchored at the window side of the frame. His seated profile and tired face remain stable in the midground while the passing city lights stretch into long horizontal trajectories beyond the bus window and other exhausted workers provide scale deeper along the aisle.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: Ji-hoo at the window seat in the middle-right of the frame, midground; passing city lights beyond the bus window in the middle-left of the frame, background.\n- KEY BACKGROUND ELEMENTS: 버스 차창 (The bus is moving) — The city lights and vehicles outside are visible through the window behind the seated figure; used as The window holds the moving city backdrop behind Ji-hoo and separates his still posture from the exterior motion; 도심 네온사인과 잡다한 불빛 (Passing rapidly outside at night); used as The lights form long horizontal trajectories that emphasize the bus's motion and urban density; 버스 좌석과 통로 (Occupied by workers who are sleeping or looking at phones) — The seat rows recede away from the camera along the aisle, with the window seats facing the direction of travel; used as The rows establish the aisle-side camera path and contain the exhausted commuters.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L11B04.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ] ], "asset_id": "9f0748c5-9c73-46f1-a565-16904ea033d2" }, "S4sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S4sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S5sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S5sh4.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: In the narrow service space behind a convenience-store drink refrigerator, over its white tiled floor.\n\nSHOT TEXT (authoritative, Korean): 김지후(강수리영)가 매료된 듯 넋이 나간 표정으로 바닥에 떨어진 검붉은 핏방울을 뚫어지게 내려다보는 모습.\n\nCARRIED STATE (persist exactly): Jihu still wears her antler-bone pendant.\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 rear refrigerator space at upper-torso height, continue a restrained dolly toward 김지후(강수리영) on a three-quarter side angle, framing her vacant face prominently while tilting just enough downward to retain the dark-red blood drop near the lower edge. Use shallow focus on her transfixed expression, allowing the drop to remain a distinct but secondary point along her downward eyeline.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 흰색 타일바닥 (A single dark-red drop of blood has fallen onto it); used as Places the blood drop at the lower edge of 지후's eyeline and provides spatial contrast with her blue vest; 진열된 캔 음료 (Packed closely in the refrigerator display) — The rows present their front sides toward the refrigerator door, seen obliquely from the rear space; used as Forms layered refrigerator context behind and beside 지후 without displacing her expression as the primary focus; 폐기 음식 바구니 (Filled with food marked for disposal) — Its open top angles toward the camera, revealing discarded food and the remaining lunch boxes; used as Remains in the rear space as evidence of her interrupted meal.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ] ], "asset_id": "eaaad110-2657-44a4-928d-65c12f5c8b69" }, "S5sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S6sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S6sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L06B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On a bench directly outside a convenience store at night, beneath the open sky.\n\nSHOT TEXT (authoritative, Korean): 한 손에 캔커피를 쥔 채 까만 밤하늘을 올려다보며 입술을 동그랗게 모으고 있는 김지후(강수리영)의 측면.\n\nCARRIED STATE (persist exactly): Jihu still wears her antler-bone pendant and holds the canned coffee Inwoo gave 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: End the dolly-in beside the bench at seated eye level, isolating 김지후(강수리영)'s right-facing side profile while leaving a small field of open night sky above her lifted eyeline. Her rounded lips and raised chin carry the focal emphasis, with the opened canned coffee retained low in frame as a compact scale reference.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 벤치 (Occupied by 지후 and 정인우) — Its seating line runs laterally beneath 지후 along the conversational axis; used as Supports 지후's seated posture along the lower boundary without competing with her profile; 캔커피 (Opened and being held by 지후) — The opened top angles slightly upward in 지후's hand while the cylindrical side remains visible; used as Held low in the composition to preserve the preceding action and identify the casual pause before the warning; 밤하늘 (Dark at night); used as Provides clear negative space in the direction of 지후's upward gaze.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L06B01.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ] ], "asset_id": "4fbe6161-68af-4ba8-8518-4d173727419f" }, "S6sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S6sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S7sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S7sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/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: In an open police-station parking lot during daylight, where the two stand face to face.\n\nSHOT TEXT (authoritative, Korean): 밝은 대낮의 경찰서 주차장에서 강민숙(홍은미)이 근심이 가득한 얼굴로 정인우의 눈을 똑바로 마주 보고 선 모습.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At eye level and a balanced wide distance, hold a static perpendicular two-person view with 강민숙(홍은미) on the left and 정인우 on the right, their opposing profiles defining the confrontation across the center. 민숙 leans subtly into the exchange while 인우's weight shifts away, allowing their unequal urgency to read through posture before the later push toward her face.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 경찰서 주차장 (Seen during daytime); used as Establishes the open public setting and leaves clear negative space around the private confrontation; 경찰서 외부 (Visible as the setting boundary) — The exterior faces toward the parking area behind the two figures; used as Locates the conversation outside the police station without distracting from the balanced figures.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L08B01.png" ], [ "char:정인우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/ecdfd0e0-1e18-4495-a3f0-fab877f83fe1.png" ] ], "asset_id": "dfb060e3-ce22-4d7b-801c-f5e3cedd0f97" }, "S7sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S8sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S8sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S9sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S9sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L08B02.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the compact living room of a two-room multiplex home, facing the sofa from the entry.\n\nSHOT TEXT (authoritative, Korean): 소파 쪽을 바라보며 얼굴이 하얗게 질린 채 경악으로 굳어버린 강민숙(홍은미)의 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 living-room side of the doorway at 강민숙(홍은미)'s eye level, finish the dolly-in at close range with her face slightly off-center and the doorway edge compressing one side of the frame. The emphasized shift is distance: her trembling stare remains aimed toward the unseen sofa as her face loses color and her breath catches.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 강민숙(홍은미) in the middle-center of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: 거실 쪽 현관 경계 (민숙이 거실로 들어서다 멈춘 위치) — The living-room-facing edge appears beside 강민숙(홍은미), with the entrance space behind her; used as Creates a hard vertical frame beside her face and preserves the entrance axis; 소파 (흰 머리 여자가 앉아 있음) — Positioned deeper inside the living room along her off-screen eyeline; used as Remains outside the tight composition as the source of her fixed attention.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L08B02.png" ] ], "asset_id": "05c063ab-bb47-4d17-ab82-45e4cd749bfb" }, "S9sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S10sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S10sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S11sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S11sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S12sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S12sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L11B02.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: In the wrecked living room of the multiplex home, amid broken furniture and visible bloodstains.\n\nSHOT TEXT (authoritative, Korean): 부서진 가구와 핏자국으로 난장판이 된 거실 한가운데에 무심하게 서 있는 고산들의 모습.\n\nCARRIED STATE (persist exactly): The living room remains wrecked, with broken furniture, a shattered light and flowerpot, and conspicuous bloodstains. Jihu still wears her antler-bone pendant.\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 entrance at eye level, complete the revealing pan in a wide view across the wrecked living room and settle on 고산들 at the center amid broken furniture, objects, and visible bloodstains. Keep his full figure comparatively still and modest in scale, with the picture frame held loosely as the final visual stop before the camera advances into the room.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 부서진 가구와 깨진 물건들 (거실 곳곳에 흩어져 있음); used as Builds the primary field of destruction around the centered figure; 깨진 등 (깨져 있음) — Its damaged body is visible among the disordered room elements; used as Adds a specifically described broken vertical element within the wreckage; 화분 (난장판 속에 놓여 있음) — Seen among the scattered interior objects; used as Provides another explicit piece of the household destruction; 핏자국 (집안 여기저기에 선명하게 남아 있음); used as Marks the room's violence without assigning it to a particular victim; 사진액자 (고산들이 보고 있던 액자) — Its content-bearing front face angles toward 고산들 and remains unreadable to the entrance camera; used as Connects 고산들 to the object he had been examining.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L11B02.png" ] ], "asset_id": "ee932bba-7dbb-44f2-8b33-7edacfef5212" }, "S12sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S13sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S13sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/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: In the driver's area of an older SUV speeding along a dark rural highway.\n\nSHOT TEXT (authoritative, Korean): 핸드폰을 귀에 댄 고산들이 고개를 살짝 돌린 채 차가운 눈빛으로 뒷좌석을 곁눈질하는 찰나.\n\nCARRIED STATE (persist exactly): Sandeul retains the framed graduation photograph taken from Minsuk’s wrecked 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 the front passenger area at 고산들's eye level, frame him in a medium three-quarter profile with the steering wheel low in the foreground and the phone held against his ear. The pan ends as his chin turns toward the rear, keeping his face on the left half of the frame and opening the right side toward the unseen back seat so that his sidelong gaze becomes the visual bridge to the next shot.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: steering wheel (held with one hand) — Its upper arc faces the camera below 고산들's driving hand; used as Provides a low foreground reference for his divided attention while driving; front seat backs and cabin gap (fixed in place) — The seat backs angle away from the camera, leaving the rearward gap visible beside 고산들; used as Creates the open visual corridor toward the next rear-seat reveal; SUV side window (closed) — The window is seen obliquely with the night road passing beyond it; used as Carries the moving night exterior at the edge of the composition.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L10B01.png" ], [ "char:고산들", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/5b67a89a-2ce6-477b-980d-2e945d4cbd8a.png" ] ], "asset_id": "d48e58a1-b5e0-46e0-af61-6aa5eac4419c" }, "S13sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S14sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S14sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L13B03.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At the open rear threshold of an ambulance parked in a multiplex-housing alley.\n\nSHOT TEXT (authoritative, Korean): 앰뷸런스 뒷문턱에 걸터앉아 부러진 한쪽 팔을 팔걸이 밴드로 고정한 채 지친 표정을 짓고 있는 정인우의 모습.\n\nCARRIED STATE (persist exactly): Inwoo’s injured arm remains immobilized in a sling.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At seated eye level beside the open rear of the ambulance, complete the dolly-in on 정인우 in a medium frame, placing him slightly off-center with the rear threshold and supported arm fully readable. Catch him perched rather than posed, shoulders sagging and his free hand stabilizing his weight as the shallow approach prepares to arc around his side.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: ambulance rear opening and threshold (open) — The open rear faces the camera, with the threshold running beneath 정인우; used as Frames 정인우's seated position and visually contains his injured posture; police vehicles (red and blue emergency lights flashing) — Their sides are visible deeper in the alley behind the ambulance; used as Supplies intermittent incident-scene color behind the subject; multi-family housing alley (police moving through the area and residents watching) — The alley recedes behind 정인우 toward the housing facade; used as Provides layered activity and the location toward which residents are watching.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L13B03.png" ] ], "asset_id": "1bcf5eac-7952-4056-ba6a-505df64347db" }, "S14sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S15sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S15sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L11B01.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: In the rear-seat area of the parked older SUV near a dawn harbor.\n\nSHOT TEXT (authoritative, Korean): 뒷좌석에 결박된 김지후(강수리영)가 두려움 가득한 눈빛으로 번쩍 눈을 뜬 채 앞쪽을 올려다보는 찰나.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): She is stretched out lengthwise across the SUV's rear seat with both wrists and ankles bound, her torso and head resting against the seat cushions.\n\nCARRIED STATE (persist exactly): Jihu remains bound hand and foot in the rear seat, still wearing her antler-bone pendant. Sandeul retains the framed photograph.\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 gap between the front seats at seat-back height, aim rearward and slightly downward in a medium frame, placing 김지후(강수리영)'s bound body diagonally across the rear bench while her suddenly opened face occupies the upper central area. Hold the front-seat edges as a narrow frame within the frame as she draws her shoulders inward and looks naturally upward toward 고산들 in the front.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: front seat backs (fixed in place) — Their rear-facing sides flank the image on left and right; used as Forms paired foreground borders that reveal 김지후(강수리영) through the center gap; rear bench seat (occupied) — Its seating surface extends laterally beneath 김지후(강수리영); used as Supports the diagonal placement of the bound figure; SUV windows (closed) — The closed windows reveal the pale brightening sky, dark sea, and moored fishing boats outside; used as Carries the explicitly described dawn waterfront beyond the cabin.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L11B01.png" ] ], "asset_id": "712a04e5-b62e-48ed-a2ae-b5bf8f03b4b5" }, "S15sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S16sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S16sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L13B04.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At a computer workstation inside a police detectives' office, illuminated by the monitor and office lights.\n\nSHOT TEXT (authoritative, Korean): 모니터 불빛에 비친 정인우가 미간을 잔뜩 찌푸린 채 적개심 가득한 표정을 하고 있는 얼굴 클로즈업.\n\nCARRIED STATE (persist exactly): Inwoo’s injured arm remains in its sling.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At 정인우's eye height and a front three-quarter angle, hold a close frame in which his furrowed brow, narrowed eyes, and tightened jaw occupy most of the image while a narrow monitor edge remains near his eyeline. His torso pitches toward the footage, with the sling only partly entering the lower frame so that the hostile expression remains primary.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 정인우 in the middle-center of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: computer monitor (on) — The active screen faces 정인우 and displays CCTV footage of 고산들 carrying the unconscious 김지후(강수리영) out of the house; only a narrow portion need remain visible to camera; used as Provides the explicitly stated illumination and the unseen object of 정인우's hostility; police-station workstation (in use) — The workstation recedes beside and behind 정인우; used as Places the close observation within the detectives' office without distracting from the face.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L13B04.png" ] ], "asset_id": "1f8e3394-b798-45c3-b72e-8260cefda4bc" }, "S16sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S17sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S17sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S18sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S18sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S19sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S19sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S19sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S20sh5": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S20sh5.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L15B02.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 island pier immediately beside the newly arrived fishing boat and surrounding welcome crowd.\n\nSHOT TEXT (authoritative, Korean): 과도한 환영 인파에 위축된 김지후(강수리영)가 어깨를 웅크린 채 당황한 눈빛으로 주변을 살피는 얼굴.\n\nCARRIED STATE (persist exactly): Jihu still wears her antler-bone pendant.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From shoulder height at the outer edge of the villagers, complete the dolly-in on a face-dominant frame of 김지후(강수리영) seen through restless bodies at both edges. Her hunched shoulders remain at the bottom of frame while her unsettled eyes search beyond the lens, and no other face intrudes into the central area.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 김지후(강수리영) isolated within the welcome crowd in the middle-center of the frame, midground.\n- KEY BACKGROUND ELEMENTS: pier walkway (Crowded by welcoming villagers) — The walkway recedes behind Jihoo toward the end of the pier; used as Supplies a narrow receding route behind Jihoo and situates the crowd's pressure; gathered crowd at frame edges (Clapping and cheering intensely); used as Appears only as fragmented peripheral motion that encloses Jihoo without displacing her face.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L15B02.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ] ], "asset_id": "ee58a65a-ed43-4b17-9699-d7ed92cb286b" }, "S20sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S20sh11": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S21sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S21sh2.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At a dining table inside a small multipurpose island restaurant and shop, lit by daytime through its windows.\n\nSHOT TEXT (authoritative, Korean): 식당 테이블에 나란히 앉은 강영란(흰 머리 여자)이 김지후(강수리영) 곁에서 낡은 사진첩을 짚어 보이는 모습.\n\nCARRIED STATE (persist exactly): Jihu still wears her antler-bone pendant.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At seated eye level beside the table, continue the gentle dolly-in but stop slightly wider than the stage endpoint so 강영란(흰 머리 여자), 김지후(강수리영), and the open album remain readable together. Youngran presses close on the left and points into the album at lower center, while Jihoo leans in from the right with the mixed restaurant-store interior held in soft depth behind them.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: open old photo album (Open on the table as Youngran points through it) — The open image-bearing pages face upward and partly toward the camera, displaying photographs of young Minsook and Jihoo as a baby; used as Shared focal evidence positioned below both women's faces; dining table (Supporting the open album) — The near edge crosses the lower frame and recedes toward the kitchen side; used as Anchors the two seated figures and guides the later arc toward the kitchen; combined restaurant and general-store interior (Includes dining, convenience goods, and fishing supplies); used as Provides the broader combined function of the location behind the intimate album viewing.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:강영란(흰 머리 여자)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/ef6b221a-22a8-48e4-a7c0-c24ae84eed10.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ] ], "asset_id": "b490755f-a3ac-4986-ab07-611b467cb6ac" }, "S21sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S21sh16": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S22sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S23sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S23sh1.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: Along a narrow path beneath dense pine trees, lit only by faint moonlight.\n\nSHOT TEXT (authoritative, Korean): 어스름한 달빛이 스며드는 빽빽한 해송 숲길, 한 발을 허공에 띄운 채 다음 걸음을 내디디려는 mid-stride 자세로 포착된 고산들의 전신.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Track backward at approximately waist height, slightly offset from the path center, keeping 고산들 full-length as he advances rapidly toward the camera. Time the wide frame to the suspended beat between steps, with one foot lifted and his body pitched forward while the dense pine path recedes behind him.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 고산들 in the middle-center of the frame, midground, moves toward forward along the forest path.\n- KEY BACKGROUND ELEMENTS: 빽빽한 해송 숲 (울창함) — The trunks flank both sides of the frame and open into the path behind 고산들; used as Forms a dense corridor around the traveler and emphasizes his uninterrupted forward pace; 숲길 (불빛 하나 없이 어두움); used as Defines the travel axis along which the camera and character move in opposite directions.\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": "a987e339-1724-4e6f-a9ad-ababe0201bcf" }, "S24sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S24sh4.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_pine_forest_route_sel.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the dark restaurant hall, facing the closed, unlit door of the adjoining bedroom; only weak moonlight enters through the windows.\n\nSHOT TEXT (authoritative, Korean): 굳게 닫힌 채 불이 꺼져 있는 강영란(흰 머리 여자)의 방문을 쳐다보는 김지후(강수리영)의 뒷모습.\n\nCARRIED STATE (persist exactly): Jihu still wears her antler-bone pendant.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Hold static at shoulder height behind 김지후(강수리영), framing her at medium distance with her back in the lower center and 강영란(흰 머리 여자)의 closed room door directly beyond. Her raised shoulders and slight forward lean create a taut line of attention toward the unresponsive door, while enough of the dark dining room remains at the sides to register the absence of others.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 김지후(강수리영) in the lower-center of the frame, midground, looks toward closed room door; closed room door in the middle-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: 강영란(흰 머리 여자)의 방문 (굳게 닫혀 있고 방의 불이 꺼져 있음) — Its closed exterior face is presented directly beyond the character; used as The fixed visual destination beyond 김지후(강수리영)'s back; 식당 창 (창으로 달빛이 스며들고 있음) — Moonlight passes through it into the otherwise dark restaurant; used as Provides the dim spatial context around the character and door.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_pine_forest_route_sel.png" ] ], "asset_id": "6252f5e3-8581-4887-a6fe-92498ea9b4ca" }, "S24sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S25sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S25sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L18B06.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Before the timber-braced mouth of a large natural cave deep in the nighttime forest.\n\nSHOT TEXT (authoritative, Korean): 고산들이 어둠 속 기괴하게 나무 기둥이 덧대어진 거대한 자연동굴 입구 앞에 멈춰 선 뒷모습.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Begin static at eye level behind 고산들, holding him at medium distance with the large cave entrance centered directly ahead on the same axis. His halted back occupies the lower middle of the frame, while the reinforced opening and the unreadable darkness beyond retain greater visual weight above him.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 고산들 in the lower-center of the frame, midground, looks toward large cave entrance; large cave entrance in the middle-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: 거대한 자연동굴 입구 (입구가 나무 기둥으로 덧대어져 있음) — The opening faces the camera and reveals only the dark interior beyond; used as Primary background anchor directly beyond 고산들, presenting the destination he cannot yet enter; 입구에 덧댄 나무 기둥 (동굴 입구를 보강하고 있음) — Their forward and side faces form a constructed border around the natural opening; used as Creates irregular vertical framing around the cave opening; 동굴 내부 (끝을 알 수 없이 깜깜함); used as Functions as an unreadable void past the entrance.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L18B06.png" ] ], "asset_id": "f4f11369-ef12-455d-887f-536cb3b30621" }, "S26sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S26sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L22B02.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: In the restaurant's rear yard, directly outside a shabby outbuilding with light leaking through its door.\n\nSHOT TEXT (authoritative, Korean): 김지후(강수리영)가 허름한 창고 문에 귀를 바짝 대고 숨을 죽인 측면.\n\nCARRIED STATE (persist exactly): Jihu still wears her antler-bone pendant.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Hold static at head height in a close side profile parallel to the warehouse door, with 김지후(강수리영)'s ear pressed to its plane and her face placed slightly off-center. Her neck cranes forward and one hand braces lightly near the door while the thin line of escaping light remains visible beside her profile.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 허름한 창고 문 (문 밖으로 불빛이 새어나오고 있음) — Its outer face is seen nearly edge-on beside 김지후(강수리영)'s profile; used as The camera runs parallel to its plane, making the contact between ear and door immediately readable; 반월 식당 뒤뜰 (밤); used as Appears only as limited context beyond the tight listening composition.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L22B02.png" ] ], "asset_id": "1233061f-8753-4056-ba6e-9812cdc53617" }, "S26sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S27sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S27sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S28sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S28sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L24B01.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 restaurant's rear yard, looking toward the unlit village path leading into the forest.\n\nSHOT TEXT (authoritative, Korean): 가로등 하나 없이 칠흑같이 어두운 숲길 입구를 바라보며 두려움에 굳은 채 마른침을 삼키며 목울대가 솟아오른 순간의 김지후(강수리영)의 얼굴 클로즈업.\n\nCARRIED STATE (persist exactly): Jihu still wears her antler-bone pendant.\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: Derived from the end of the shallow arc, the camera settles at face height just off Kim Ji-hoo's frontal axis and completes a restrained dolly-in to a close framing. Her rigid face occupies the upper frame while her throat remains visible in the lower third, catching the exact rise of the swallow without losing her fearful stare toward the forest entrance off-screen.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 숲길 입구 (가로등이 없고 매우 어두움) — The entrance recedes away from the camera behind the side of her face; used as The unseen destination of her fixed gaze, with only its near edge retained behind her as sparse spatial context.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L24B01.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ] ], "asset_id": "f47dd3af-a525-4020-9937-f09054f464f0" }, "S29sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S29sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L23B06.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 a narrow, unlit path inside the nighttime pine forest, illuminated only by a phone flashlight.\n\nSHOT TEXT (authoritative, Korean): 어두운 해송 숲길에서 김지후(강수리영)가 켜진 핸드폰 플래시 불빛을 앞으로 뻗어 비춘 채 긴장한 표정으로 서 있는 전신.\n\nCARRIED STATE (persist exactly): Jihu still wears her antler-bone pendant and carries her phone, using its flashlight.\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 on the path centerline, the static camera holds a wide full-body view of Kim Ji-hoo facing into the route. She is centered with her lit phone extended into the upper-middle foreground, while the narrow path and pine forest remain readable around her before any retreat toward cover begins.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 좁은 해송 숲길 (밤의 어두운 숲길) — The route extends from the lower foreground behind Kim Ji-hoo into the distant center; used as Carries the phone beam forward and establishes the confined route around the full figure; 핸드폰 (플래시가 켜짐) — Its flash side points away from Kim Ji-hoo and along the path, with the body seen obliquely by camera; used as Held forward as the principal visible illumination and directional cue.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L23B06.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ] ], "asset_id": "55d7a2f5-3301-443d-a7a1-6034b0ea627e" }, "S29sh3": { "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 }, "S30sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S30sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S31sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S31sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_pine_forest_route_sel.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the crowded pen of a forest goat shed, along the narrow passage through the animals.\n\nSHOT TEXT (authoritative, Korean): 꿈틀거리는 포댓자루를 메고 한 발은 딛고 다른 발은 허공에 든 채 검은 염소 떼 사이를 가로지르는 금월도 마을 청년들의 무심한 표정.\n\nCARRIED STATE (persist exactly): The carried sacks still contain struggling captives and are stained with leaking dark-red liquid. Jihu still wears her antler-bone pendant.\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 at chest height alongside the route, the camera holds a wide lateral view of the village youths threading through the herd. Their bodies cross the middle band with alternating lifted feet, while the struggling sack remains readable over a carrier's shoulder and black goats occupy the foreground and background without blocking the procession.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 검은 염소 떼 (수십 마리가 축사 안에 몰려있음) — Individual goats face varied directions on both sides of the youths' lateral route; used as Surrounds and intermittently layers across the procession, establishing the youths' route through the enclosure; 축사 내부 통로 (마을 청년들이 통과 중) — The route runs laterally across the frame between the gathered goats; used as Provides the constrained passage followed by the lateral tracking camera; 포댓자루 (안의 무언가가 사력을 다해 꿈틀거림) — Its long side is visible over a youth's shoulder and deforms outward as the contents struggle; used as Registers the violent internal movement ignored by the carriers.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_pine_forest_route_sel.png" ], [ "char:금월도 마을 청년", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/4ed54b18-c6c4-403e-9740-d2470d1c8f9f.png" ] ], "asset_id": "57df3218-af71-4d46-8947-8c0aca1cce73" }, "S32sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S32sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L25B03.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: Outside the rough wooden slaughterhouse hidden in the forest, close against its wall and broken window.\n\nSHOT TEXT (authoritative, Korean): 얼기설기 지어진 나무 가건물 밖 어둠 속에서 여상이 벽면에 얼굴을 가까이 대고 안을 들여다보는 고정된 자세.\n\nCARRIED STATE (persist exactly): Jihu still wears her antler-bone pendant and carries her phone.\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: Outside the structure, the static eye-level camera sits close to the wall and looks along it toward Kim Yeo-sang's profile. He occupies one side of the medium frame with his face pressed near the wall, while the receding exterior surface leaves searching space ahead in the direction the later track will follow.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 가건물 외벽 (나무로 얼기설기 지어진 가건물의 외벽) — The near side of the wall runs diagonally away from camera past Kim Yeo-sang; used as Acts as the dominant leading plane, guiding both his search and the next parallel camera move; 가건물 주변 숲속 (밤); used as Holds empty searching space ahead of his profile and establishes the isolated exterior location.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L25B03.png" ], [ "char:김여상", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/a787ce2f-ee5b-438f-8533-a931d5bbed9a.png" ] ], "asset_id": "a83db6b1-23d3-4a61-8277-694e787e4ee5" }, "S32sh10": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S32sh10.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L25B03.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the dark forest slaughterhouse, among hanging knives, hooks, and blood-catching equipment.\n\nSHOT TEXT (authoritative, Korean): 한 마을 청년이 허공 높이 무시무시한 도축용 칼을 치켜든 순간.\n\nCARRIED STATE (persist exactly): The captive removed from the sack remains on the slaughterhouse floor, struggling for life. Jihu still wears her antler-bone pendant.\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 structure at waist height, the camera completes its dolly-in from a medium distance on an upward angle toward the village youth's raised arm. His braced torso occupies one side of the frame and the slaughter knife reaches the upper opposite quadrant at its highest point, while only the lower edge of the struggling figure remains visible beneath the intended strike.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 도축용 칼 (허공 높이 치켜들림) — The blade is seen obliquely above the youth, with its cutting direction aimed toward the lower frame; used as Creates the upper visual apex and preserves the threat direction from raised blade to the lower-frame victim; 벽에 매달린 다양한 크기의 칼 (벽에 줄줄이 매달림) — Their sides and hanging profiles are visible in a row along the rear wall; used as Forms a ritual-like row behind the attacker without competing with the raised weapon; 걸개 갈고리와 피받이 양동이 (도축 도구로 배치됨) — The hooks hang against the rear area while the buckets remain below them; used as Retains the slaughterhouse function around the attack in the background.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L25B03.png" ], [ "char:금월도 마을 청년", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/4ed54b18-c6c4-403e-9740-d2470d1c8f9f.png" ] ], "asset_id": "8a675677-a545-416e-ab90-20b10e1eb081" }, "S32sh13": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S33sh6": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S33sh6.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L26B02.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 a small open trail where dense forest gives way at two opposing edges.\n\nSHOT TEXT (authoritative, Korean): 오솔길에 다급히 멈춰 선 수리영과, 맞은편 숲 경계에 우뚝 서서 그녀를 마주 보고 있는 산들의 전경.\n\nCARRIED STATE (persist exactly): Yeo-sang remains fallen below the slope after disappearing over the edge. Jihu’s antler-bone pendant is no longer securely accounted for after this 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 eye level beside the path, frame 김지후(강수리영) on the left and 고산들 on the right in a static wide profile composition, with the open path separating them and the opposing forest boundaries holding each figure at an edge. 김지후(강수리영) is caught just after stopping, pitched forward from her run, while 고산들 remains planted across from her; the perpendicular view makes the distance between them the dominant visual fact.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 김지후(강수리영) in the middle-left of the frame, midground, looks toward 고산들 across the path; 고산들 in the middle-right of the frame, midground, looks toward 김지후(강수리영) across the path; open path between them in the middle-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: 오솔길 (open between the opposing forest edges); used as Forms the central strip of negative space that measures the separation between the two figures; 맞은편 숲 경계 (김지후(강수리영)와 고산들이 서로 다른 쪽에서 마주한 상태); used as Frames each character from opposite sides and establishes where they have emerged.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L26B02.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ] ], "asset_id": "9a19cba3-6342-4807-b242-bda1663ad31d" }, "S33sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S33sh13": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S34sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S34sh1.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: In the driver's seat of a compact car speeding along a daytime rural highway.\n\nSHOT TEXT (authoritative, Korean): 한쪽 팔에 깁스를 한 인우가 운전석에서 미간을 잔뜩 찌푸린 채 전방을 주시하는 측면.\n\nCARRIED STATE (persist exactly): Inwoo’s previously injured arm is now immobilized in a cast.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From the front passenger area at 정인우’s eye level, hold a medium profile composition with his face in the upper-left field, the steering wheel and cast arm crossing the lower center, and the road visible through the windshield beyond. Keep the camera static and allow his narrowed brow and fixed forward gaze to carry the tension rather than altering the driving axis.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 앞유리 (차량이 지방 국도를 달리는 중) — The road ahead is visible through the windshield from the passenger-side camera position; used as Carries the forward sightline beyond 정인우’s profile and confirms that the car is traveling on the road; 운전대 (정인우가 잡고 있는 상태) — Its driver-facing side is turned toward 정인우, with the rim seen obliquely by the passenger-side camera; used as Anchors the cast arm in the lower portion of the 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": [], "asset_id": "b0e27061-878f-4ca2-9646-2caf424aecde" }, "S34sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S35sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S35sh3.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: On a dreamlike daytime woodland trail, with the daughter and mother separated along the same path.\n\nSHOT TEXT (authoritative, Korean): 수리영이 간절한 표정으로 민숙을 향해 한 팔을 뻗은 채, 한쪽 발이 허공에 떠 있는 달리기 중간 자세.\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 beside 김지후(강수리영) at eye level into a medium-full three-quarter frontal view, catching one foot suspended, her torso pitched forward, and one arm reaching toward 강민숙(홍은미) along the path. 김지후(강수리영) occupies the near left-center while 강민숙(홍은미) remains small and distant on the upper path, preserving the dream’s unchanged gap despite the running motion.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 김지후(강수리영) in the middle-left of the frame, foreground, moves toward 강민숙(홍은미) on the upper path; 강민숙(홍은미) in the upper-center of the frame, background, looks toward 김지후(강수리영) running below; unchanged stretch of path in the middle-center of the frame, midground.\n- KEY BACKGROUND ELEMENTS: 금월도 숲속 오솔길 (두 사람 사이의 거리가 좁혀지지 않는 꿈속 상태); used as Creates the visible but supernaturally unchanging distance between daughter and mother; 위쪽 길 (강민숙(홍은미)이 멀찍이 있는 상태); used as Defines the distant position where 강민숙(홍은미) remains fixed.\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": "dfdbc4d8-e360-442a-8900-5d32405de73f" }, "S35sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S36sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S36sh1.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 neatly arranged bedding in the restaurant's rear bedroom, warmed by daylight entering through the window.\n\nSHOT TEXT (authoritative, Korean): 정갈한 뒷방 이불 위에 누운 수리영이 가위에 눌려 눈만 번쩍 뜬 채 몸이 굳어있는 찰나.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): She is stretched out on the neatly made bed with her head supported by the bedding and all four limbs held rigid and motionless by sleep paralysis.\n\nCARRIED STATE (persist exactly): Jihu’s antler-bone pendant is missing, and she remains stretched out on the neatly made bed with her head supported by the bedding and all four limbs held rigid and motionless by sleep paralysis, where she was placed after losing consciousness.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At bedding height beside 김지후(강수리영), hold the opening position nearly still in a close view angled across her rigid upper body toward her suddenly opened eyes. Her face occupies the upper-right portion and her immobilized torso extends diagonally through the lower frame, with enough bedding visible to establish that she has awakened lying down.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 김지후(강수리영) in the middle-right of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: 정갈한 이불 (정돈된 뒷방에 펼쳐진 상태); used as Supports the low camera height and outlines the rigid body without distracting from the opened eyes; 창 (햇살이 스며드는 상태) — Warm sunlight enters the room through the window; the exterior beyond is not emphasized; used as Appears as limited room context and motivates the established daytime illumination.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ] ], "asset_id": "f2804adb-08bb-41e4-acfe-ddccdc984060" }, "S36sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S36sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S37sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S37sh4.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L30B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: In the restaurant's rear yard at the open doorway of an ordinary storage shed.\n\nSHOT TEXT (authoritative, Korean): 흔적도 없는 제단 터를 보며 이해할 수 없다는 듯 미간을 찌푸린 김지후(강수리영)의 측면.\n\nCARRIED STATE (persist exactly): The shrine, goat head, blood bowl, candles, and antler-tipped spear seen here at night have all been removed without a trace. Jihu’s pendant remains 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: At eye level beside 김지후(강수리영), the tracking arc settles into a close profile at the open storage doorway, with her face occupying the right half and the ordinary storage interior remaining legible behind her on the left. Her knitted brow and arrested forward lean hold the frame while the empty area where she expected the altar stays within her sightline, preparing the pivot toward the off-screen voice.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 창고 출입구 (open) — The open front of the doorway faces the camera at an oblique angle; used as The doorway frames the profile and reveals the mundane interior that contradicts her memory; 식당 물품과 낚시 용품 (piled inside the storage space); used as Visible behind her as evidence that the expected altar has vanished; 제단이 있었을 것으로 여긴 자리 (no altar or trace visible); used as A conspicuously ordinary gap held near her line of sight.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L30B01.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ] ], "asset_id": "c0c34a23-8c57-45ff-9764-408401aa2f2c" }, "S37sh5": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S37sh5.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L30B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At the restaurant's rear doorway overlooking the daylight yard and open storage shed.\n\nSHOT TEXT (authoritative, Korean): 식당 뒷문 쪽에 굳은 표정으로 서 있는 강영란(흰 머리 여자)의 전신.\n\nCARRIED STATE (persist exactly): The shed remains an ordinary storage space with restaurant and fishing supplies; the night shrine is absent. Jihu’s pendant remains 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: From eye level near the storage doorway, the pan finishes across the yard in a wide full-body reveal of 강영란(흰 머리 여자) at the restaurant rear doorway. She is held slightly off-center within the doorway while the open yard creates an uncomfortable span between her and the unseen 김지후(강수리영), leaving lateral space for the next move onto their dialogue axis.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 식당 뒷문 (occupied by Youngran) — The doorway faces across the yard toward the camera; its open or closed state is unspecified; used as Frames Youngran's full figure and fixes her position across the yard; 식당 뒤뜰 (visible between the two positions); used as Maintains the physical separation between Youngran and the storage-side camera position; 창고 출입구 (open) — Its front is seen obliquely at the edge of the composition; used as Marks the camera's originating side of the reveal.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L30B01.png" ], [ "char:강영란(흰 머리 여자)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/ef6b221a-22a8-48e4-a7c0-c24ae84eed10.png" ] ], "asset_id": "e58bfe7d-8c6b-48b6-983f-3dbb1ebc81eb" }, "S37sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S38sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S38sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L23B01.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At the bow of a fishing boat moored beside the island pier in daylight.\n\nSHOT TEXT (authoritative, Korean): 선착장에 정박된 낚시 어선 뱃머리에서 기괴한 종이 인형들이 매달린 새끼줄을 양손으로 쥔 채 고정하고 있는 황봉업(황 씨)의 모습.\n\nCARRIED STATE (persist exactly): The fishing boat remains decorated with a straw rope bearing cut-paper figures.\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 dock beside the bow, a static medium view faces inward toward 황봉업(황 씨) as he fixes the rope decoration with both hands. His working arms form a shallow diagonal across the center, while the bow and the hanging paper figures remain proportionate environmental context rather than oversized foreground objects.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 정박한 낚시 어선 뱃머리 (moored at the dock) — The bow points obliquely past the camera from the dock side; used as Supports Huang and establishes his position at the working end of the vessel; 새끼줄 장식 (being secured); used as Primary working detail held between Huang's hands and across the bow; 여러 형상의 종이 인형 (cut from paper and hanging from the rope); used as Creates the uncanny graphic rhythm beneath the rope while retaining visible surrounding context; 선착장 (beside the moored boat) — Its length recedes laterally past the boat; used as Establishes the camera-side platform and the route of the subsequent lateral track.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L23B01.png" ] ], "asset_id": "b2734578-fd5a-4a9b-96d2-fe540ee81290" }, "S38sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S39sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S39sh3.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: On a daylight lane through the island's coastal village, beside low walls and house gardens.\n\nSHOT TEXT (authoritative, Korean): 훅 끼쳐온 역겨운 냄새에 코를 움켜쥔 채 미간을 잔뜩 구기고 있는 김지후(강수리영)의 얼굴 클로즈업.\n\nCARRIED STATE (persist exactly): Jihu’s antler-bone pendant remains 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: At eye level directly ahead and slightly off-axis, the dolly-in ends on a close three-quarter view emphasizing 김지후(강수리영)'s pinched nose, tightly furrowed brow, and compressed mouth without excluding the hand causing the gesture. Her face and hand take most of the frame, with only a narrow strip of the village road retained as spatial context.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 마을 길 (partially visible); used as Soft contextual strip behind the close reaction, preserving her location and direction of travel; 마을 집들 (soft in the background) — Only partial house fronts are visible behind her; used as An indistinct background cue that anticipates the following reveal without competing with her expression.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ] ], "asset_id": "f5438b8d-9573-469e-90ca-444e5b3ea4de" }, "S39sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S39sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S40sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S40sh1.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At the entrance of a narrow forest trail above the coastal village, where daylight fades into dense shade.\n\nSHOT TEXT (authoritative, Korean): 대낮임에도 불구하고 어둠이 짙게 깔린 숲길 오솔길 입구 앞에 우두커니 선 김지후(강수리영)의 뒷모습.\n\nCARRIED STATE (persist exactly): Jihu’s antler-bone pendant remains 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: From standing height several meters behind 김지후(강수리영), the dolly-in begins on a centered wide view aligned with her back and the forest path entrance. Her full figure occupies the lower center while the path continues beyond her into the darker interior, turning her stillness into a threshold she has not yet crossed.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 김지후(강수리영) in the lower-center of the frame, midground; 숲 오솔길 입구와 이어지는 길 in the upper-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: 숲으로 통하는 오솔길 (extending into the forest); used as Central depth axis that draws the eye past Suriyoung and into the forest; 숲 입구 (darker beyond despite daytime) — The opening faces the camera along the same axis as Suriyoung's back; used as Frames the exact threshold at which Suriyoung has stopped; 숲 (light does not appear to reach the deeper area); used as Encloses the route and limits lateral escape in the 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:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ] ], "asset_id": "2163dc8a-f9c0-4223-b35c-80884fde7f97" }, "S40sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S41sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S41sh4.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 moss-covered marker stone deep along the daytime pine-forest path, with rotten meat at its base.\n\nSHOT TEXT (authoritative, Korean): 역겨운 냄새에 미간을 팍 찌푸리며 썩은 고기를 내려다보는 김지후(강수리영)의 얼굴.\n\nCARRIED STATE (persist exactly): The moss-covered marker stones remain standing with rotten meat placed before each one. Jihu’s pendant remains 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: From shoulder height just in front of and slightly beside 김지후(강수리영), the dolly-in settles into a tight three-quarter face close-up while preserving her lowered eyeline. Her face occupies the upper-center and right of frame, with a restrained sliver of the stone marker and rotten meat remaining below as the cause of her disgust.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 이끼 낀 비석 (오래되고 이끼가 잔뜩 낀 상태) — Its inscribed/front side angles away beneath her lowered face; used as A partial lower-frame reference that connects her expression to what she is examining; 썩은 육고기 (썩은 상태로 비석 앞에 놓여 있음); used as Kept small and slightly soft at the lower edge as the source of her reaction.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ] ], "asset_id": "27c23943-9082-4dbf-9538-a2a5dd89321e" }, "S41sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S42sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S42sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S43sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S43sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S44sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S44sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S44sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S45sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S45sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L27B02.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 a descending daytime forest path outside the hidden slaughterhouse.\n\nSHOT TEXT (authoritative, Korean): 우뚝 멈춰 선 채 뒤를 돌아 고산들을 뚫어지게 응시하고 있는 강영란(흰 머리 여자)의 측면.\n\nCARRIED STATE (persist exactly): The youth killed in the slaughterhouse remains there unless removed; Jihu’s pendant remains 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: From chest height on 강영란(흰 머리 여자)'s lateral side, the track settles into a tightened medium profile with her held at the left foreground and 고산들 retained farther along her sightline at the right. Her abrupt halt and turned head form a rigid horizontal gaze axis across the forest path, compressing the emotional distance without yet moving into the later face-to-face close framing.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 강영란(흰 머리 여자) in the middle-left of the frame, foreground, looks toward 고산들; 고산들 in the middle-right of the frame, background, looks toward 강영란(흰 머리 여자); forest path between them in the lower-center of the frame, midground.\n- KEY BACKGROUND ELEMENTS: 숲길 (두 인물이 내려오다 멈춘 길); used as The shared ground plane visibly separating the two figures along their locked gaze line; 숲의 나무들 (숲길 양쪽에 자리함) — Tree sides recede behind the left foreground and right background figures; used as Layered vertical framing behind both profiles without interrupting the eyeline.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L27B02.png" ], [ "char:강영란(흰 머리 여자) (육혈귀 각성 상태)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/47c12319-a8da-41c3-8ad6-b208adb2440d.png" ] ], "asset_id": "20499f54-fb95-4603-bf38-9b00a162cef2" }, "S45sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S45sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S46sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S46sh3.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: Among a cluster of name-carved marker stones along the daytime forest route.\n\nSHOT TEXT (authoritative, Korean): 자신의 이름이 새겨진 비석 앞에서 극심한 공포에 질려 눈을 크게 뜬 채 굳어 있는 김지후(강수리영)의 얼굴 클로즈업.\n\nCARRIED STATE (persist exactly): Multiple mossy stones remain inscribed “Su-ri-yeong,” each with rotten meat before it. Jihu’s pendant remains 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: The advancing camera finishes beside the grave marker in an extreme facial close-up of 김지후(강수리영), with her widened eyes and arrested breath occupying most of the right side. A narrow edge of the marker remains at the left border with the carved name legible enough to bind her terror to the place.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 김지후(강수리영) in the middle-right of the frame, foreground; 수리영 이름이 새겨진 비석 가장자리 in the middle-left of the frame, midground.\n- KEY BACKGROUND ELEMENTS: 비석 (‘수리영’이라는 이름이 새겨져 있음) — The inscribed face is angled toward camera, showing the name ‘수리영’ along the visible edge; used as Its narrow edge provides spatial context beside the extreme close-up; 숲속 (낮의 숲속); used as The surrounding forest remains only as soft peripheral context.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [], "asset_id": "801b6302-f95c-4a29-8459-76830cef77e0" }, "S46sh11": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S46sh16": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S47sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S47sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_pine_forest_route_sel.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Beside a barrel fire on a mainland coastal pier in daylight.\n\nSHOT TEXT (authoritative, Korean): 대낮의 해안가 선착장에서 드럼통 모닥불 곁에 쪼그리고 앉은 정인우가 수심이 가득한 표정으로 낚싯꾼 #1을 올려다보는 모습.\n\nCARRIED STATE (persist exactly): Inwoo’s injured arm remains in a cast.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At crouching eye height beside the group, a static wide composition places 정인우 low in the left foreground, folded beside the barrel fire, while 낚싯꾼 #1 sits across from him in the right midground. The diagonal between 정인우's lifted face and the fisherman's indifferent posture keeps the busy pier secondary but legible behind them.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 드럼통 모닥불 (불이 피워져 있음) — The barrel's side and upper opening are visible obliquely between 정인우 and the fishermen; used as The burning barrel sits between the conversational planes and provides a visual center for the group; 소주잔 (어부들이 술을 마시는 중) — Their open rims and sides are visible beside the fishermen's hands; used as Glasses remain near the seated fishermen as evidence of their unconcerned drinking; 선착장 (낮의 해안마을 선착장) — Its length recedes behind the seated group toward the far end; used as The pier extends behind the group and establishes the coastal working location.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_pine_forest_route_sel.png" ] ], "asset_id": "ac5c9172-0412-4e3c-a168-27292f6e2384" }, "S47sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S48sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S48sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_mainland_harbor_dock_sel.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At a corner table inside the island restaurant, facing its active kitchen in daylight.\n\nSHOT TEXT (authoritative, Korean): 식당 구석 테이블에 잔뜩 웅크리고 앉은 김지후(강수리영)가 주방 쪽의 고산들을 불안한 눈빛으로 곁눈질하는 측면.\n\nCARRIED STATE (persist exactly): The black goat brought from the forest is now dead and decapitated, its bloody carcass being butchered. Jihu’s pendant remains 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: At seated shoulder height beside the corner table, the lateral move settles into a medium profile of 김지후(강수리영), compressed into the left foreground with her shoulders drawn inward. The kitchen lies along her sidelong eyeline in the right background, where 고산들 remains occupied with the dead goat rather than acknowledging her stare.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 김지후(강수리영) in the middle-left of the frame, foreground, looks toward 고산들 in the kitchen; 고산들 in the middle-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: 구석 테이블 (김지후(강수리영)가 앉아 있음) — One edge runs across the lower foreground in front of 김지후(강수리영); used as The table edge encloses 김지후(강수리영)'s defensive posture in the foreground; 주방 (고산들이 염소 고기를 손질하는 중) — The working area faces the camera obliquely beyond 김지후(강수리영)'s profile; used as The kitchen provides the distant endpoint of her sidelong gaze; 죽은 검은 염소와 핏빛 육고기 (머리가 잘렸으며 고산들이 손질하는 중); used as The dead animal and its butchered meat provide disturbing evidence behind 고산들 without overwhelming the frame.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_mainland_harbor_dock_sel.png" ] ], "asset_id": "900dee4b-18c0-44b7-bb0f-ef23a7fc6c12" }, "S48sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S49sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S49sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S50sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S50sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_seaside_restaurant_terrace_sel.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the dark rear bedroom of the island restaurant, at a curtained window overlooking the village lane.\n\nSHOT TEXT (authoritative, Korean): 커튼 틈 사이로 보이는 골목길에 금월도 마을 청년들이 식당 쪽을 뚫어지게 주시하며 서 있는 전경.\n\nCARRIED STATE (persist exactly): Jihu’s antler-bone pendant remains 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: At eye level immediately beside the window, a wider lens peers through the narrow curtain opening, retaining both curtain edges as soft near-frame boundaries. The village youths appear full-bodied across the alley in the middle distance, spaced so their fixed attention toward the restaurant reads clearly without exposing the watcher inside.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: narrow curtain opening in the middle-center of the frame, foreground; village youths in the middle-center of the frame, midground, looks toward restaurant window.\n- KEY BACKGROUND ELEMENTS: 커튼 (Slightly parted) — The inner edges face the lens and leave only a narrow vertical opening; used as Forms dark near-frame boundaries on both sides and restricts the surveillance view; 창문 (Viewed through from inside) — The camera is aligned through the window toward the youths outside; no surface condition is specified; used as The lens looks through it from the back room toward the alley; 골목길 (Occupied by watching youths) — The visible stretch runs laterally beyond the window opening; used as Holds the watched figures and establishes their distance from the restaurant.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_seaside_restaurant_terrace_sel.png" ] ], "asset_id": "79f5858a-0c1c-42bd-b8a3-65d344ad4515" }, "S50sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S51sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S51sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L30B01.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Deep inside a cave prison, weakly illuminated by a low-wattage electric bulb.\n\nSHOT TEXT (authoritative, Korean): 고산들이 바닥에 묶인 강민숙(홍은미)을 안타까운 시선으로 묵묵히 내려다보는 전신.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): She is seated low on the cave floor with her weakened torso slumped and her limbs restrained by heavy chains, positioned directly beneath Sandul as he looks down at her.\n\nCARRIED STATE (persist exactly): Minsuk remains shackled in the cave, unable to leave.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From standing chest height on the prescribed oblique axis, a static wide frame includes 고산들 at full height in one side of the midground and the chained 강민숙 low on the cave floor opposite him. Their vertical separation carries the emotional imbalance, while enough open space remains between them for the later forward move along their shared eyeline.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 고산들 in the middle-left of the frame, midground, looks toward bound Minsuk; 강민숙 in the lower-right of the frame, midground.\n- KEY BACKGROUND ELEMENTS: 쇠사슬 (Binding 강민숙) — The chain runs from 강민숙’s restrained body toward its off-frame securing point; used as Physically confines 강민숙 and makes her restrained condition legible in the wide frame; 촉 낮은 전구 등 (On) — The lit bulb fixture is positioned within the cave space above the subjects; used as Visible illumination source established by the scene; 동굴 내부 (Occupied by the two characters); used as Defines the enclosed setting around the separated figures.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L30B01.png" ] ], "asset_id": "cee37974-5667-44a5-b263-c37121c22b76" }, "S51sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S52sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S52sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L35B04.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 a forest clearing before a massive blood-smeared ritual boulder at night.\n\nSHOT TEXT (authoritative, Korean): 피 묻은 거대 바위 앞에 고산들이 무릎을 꿇은 채 앉아 있는 뒷모습.\n\nCARRIED STATE (persist exactly): Dark-red animal-blood handprints and smears remain across the giant ritual rock.\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 adult eye height far behind 고산들, the static wide frame is centered precisely on the shared axis between his kneeling body and the enormous boulder. His back occupies the lower center as a small human scale reference, while the blood-marked rock rises through the central background without being cropped.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: kneeling 고산들 in the lower-center of the frame, foreground; blood-marked giant boulder in the upper-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: 거대한 바위 (Marked in places with dark-red animal blood handprints) — Its broad blood-marked face is directed toward the camera behind 고산들; used as Central ritual anchor and dominant background mass, scaled against the kneeling figure; 숲속 공터 (Open clearing within the forest); used as Frames the boulder and kneeling figure within the established outdoor ritual space; 숲 (Night setting); used as Surrounds the clearing at the frame edges without interrupting the central axis.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L35B04.png" ], [ "char:고산들", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/5b67a89a-2ce6-477b-980d-2e945d4cbd8a.png" ] ], "asset_id": "fa06a65c-7e9a-4b7f-88b7-c35ca6c04609" }, "S52sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S53sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S53sh3.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: On a mainland pier beside a moored fishing boat in daylight.\n\nSHOT TEXT (authoritative, Korean): 인상을 잔뜩 구긴 황봉업(황 씨)이 정인우를 향해 한 손을 바깥쪽으로 뻗어 거절하는 자세로 멈춰 있는 찰나.\n\nCARRIED STATE (persist exactly): Inwoo’s injured arm remains in a cast.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Tracking from the dock-facing side of the boat, the camera finishes at 황봉업’s upper-body height in a medium two-shot, with him closer to frame center and 정인우 held across the confrontation axis near the opposite edge. 황봉업’s outward palm arrests the visual line between them while 정인우’s forward-set posture keeps the refusal from reading as casual conversation.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 어선 (At the dock) — The dock-facing side of the vessel is visible behind and beneath 황봉업; used as Places 황봉업 at a different level and establishes the physical boundary of the confrontation; 선착장 (Daytime setting) — The dock extends along the camera side of the boat; used as Defines the exterior confrontation space and camera side.\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": "155d5e8e-7eb3-46d5-bb47-6074ee060d35" }, "S53sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S54sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S54sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_mainland_harbor_dock_sel.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the wheelhouse of a fishing boat moving through dense daytime fog.\n\nSHOT TEXT (authoritative, Korean): 조타실 안에서 핸들을 쥔 황봉업(황 씨)이 뱃머리의 정인우를 향해 적대감 가득한 눈빛을 쏘아보는 측면.\n\nCARRIED STATE (persist exactly): Inwoo’s injured arm remains in a cast.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From inside the wheelhouse at shoulder height, hold a static medium side view close to 황봉업(황 씨), with his clenched hands on the wheel in the near left and his hostile profile occupying the middle third. Keep 정인우 small but legible on the bow along 황봉업(황 씨)'s outward sightline, preserving the visual axis that will cut forward toward the island.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 황봉업(황 씨) in the middle-left of the frame, foreground, looks toward Jeong Inwoo on the bow; 정인우 in the middle-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: 조타실 핸들 (Held firmly by 황봉업(황 씨)) — Its gripped rim is turned partly toward the camera while the central assembly recedes into the wheelhouse; used as Held beneath 황봉업(황 씨)'s hands as the immediate evidence of control over the boat; 어선 뱃머리 (Advancing through the sea) — Its forward-pointing side recedes away from the camera toward the sea; used as Extends through the background as the endpoint of 황봉업(황 씨)'s hostile sightline; 바다의 안개 (Dense enough to obscure distant visibility); used as Reduces background clarity around the bow and prepares the following reveal.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_mainland_harbor_dock_sel.png" ], [ "char:황봉업(황 씨)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/d24430e4-4040-4468-8661-7df5275241bb.png" ] ], "asset_id": "0e14280b-bc1a-4ad8-8f74-3845c900d7bf" }, "S54sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S55sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S55sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L15B02.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On the island pier beside the newly arrived fishing boat and hostile villagers.\n\nSHOT TEXT (authoritative, Korean): 선착장에 모인 금월도 마을 주민들이 정인우를 향해 적대적이고 차가운 시선을 던지는 광경.\n\nCARRIED STATE (persist exactly): Inwoo’s injured arm remains in a cast.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At chest height just behind and slightly beside 정인우, pan across a slightly wide arrangement of several 금월도 마을 주민 while retaining his hesitant shoulder and torso at the near edge. Distribute the residents across the middle distance in staggered depth, allowing their converging hostile gazes—not a frontal lineup—to make 정인우 feel surrounded.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 정인우 in the lower-left of the frame, foreground, looks toward gathered villagers; 금월도 마을 주민 in the middle-center of the frame, midground, looks toward Jeong Inwoo.\n- KEY BACKGROUND ELEMENTS: 금월도 선착장 (Occupied by 정인우 and gathered villagers); used as Provides the open shared space between 정인우 and the gathered residents; 정박한 어선 (At the dock after arrival) — The side facing the dock is visible behind 정인우's edge position; used as Marks the direction from which 정인우 has entered the village.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L15B02.png" ] ], "asset_id": "6622e07f-e320-4411-b8e2-a2fc157634e4" }, "S55sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S55sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S56sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S56sh3.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: On a narrow island coastal path between the village and the rocky shoreline.\n\nSHOT TEXT (authoritative, Korean): 오던 길에 우뚝 선 채 어이없다는 표정으로 김지후(강수리영)를 쏘아보는 정인우의 찰나.\n\nCARRIED STATE (persist exactly): Inwoo’s injured arm remains in a cast; Jihu’s pendant remains 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: Hold static at eye level in front of 정인우 and slightly toward 김지후(강수리영)'s side of the narrow path, framing 정인우 in a medium three-quarter view as his forward movement stops. Keep 김지후(강수리영)'s shoulder and partial profile at the opposite edge so his disbelieving stare has an explicit destination without turning the moment into a symmetrical two-shot.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 좁은 해안길 (Narrow enough for the pair to walk together); used as Compresses the two characters into a confrontational shared axis; 해안과 바다 (Bordering the path); used as Remains visible beyond the path as spatial context for the coastal route.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:정인우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/ecdfd0e0-1e18-4495-a3f0-fab877f83fe1.png" ] ], "asset_id": "478adb86-aa03-4e21-8c6f-476e792234a5" }, "S56sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S56sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S57sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S57sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S57sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S58sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S58sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S59sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S59sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S59sh16": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S60sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S60sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S61sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S61sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S61sh16": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S62sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S62sh4.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 open deck of a police patrol boat stopped on the dark early-evening sea.\n\nSHOT TEXT (authoritative, Korean): 시체에서 빼낸 반지와 젖은 현금을 쥐고 탐욕스러운 미소를 짓는 구창모의 얼굴 클로즈업.\n\nCARRIED STATE (persist exactly): Yeo-sang’s corpse remains on the patrol boat while Changmo strips valuables from it.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From below 구창모's eye line beside the deck, finish the dolly-in on a close view of his greedy smile while his raised fist enters the lower third. The wet cash and ring remain clearly legible in his hand but occupy less than a quarter of the image, with enough deck and open water retained at the edges to prepare the coming pan away.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 경찰 순찰정 갑판 (시체 수색이 이루어진 갑판); used as A narrow out-of-focus strip beneath 구창모 anchors the close-up aboard the boat; 바다 (어둑해진 초저녁 바다); used as Kept at the outer edge of frame as the direction toward which the next pan will travel; 젖은 현금 (시체에서 꺼내 구창모가 쥔 상태) — 젖은 지폐의 인쇄된 앞면 일부가 카메라를 향한다; used as Held together in the lower third as evidence of the theft; 반지 (시체에서 빼내 구창모가 쥔 상태); used as Placed against the wet cash as a compact secondary 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, "no_plate": true, "ref_paths": [ [ "char:구창모", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/851dae38-2b42-4642-852f-83c39e70e078.png" ] ], "asset_id": "606b9643-28e3-4bb4-a879-f2d1b1746de7" }, "S62sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S63sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S63sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L38B02.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At the restaurant's lattice window, looking from the lit dining room toward the nighttime lane outside.\n\nSHOT TEXT (authoritative, Korean): 창문 밖 골목에 선 금월도 마을 청년들이 식당 안쪽을 향해 기괴한 웃음을 짓는 찰나.\n\nCARRIED STATE (persist exactly): Jihu’s antler-bone pendant remains missing; Inwoo’s injured arm remains cast.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Remain just inside the lattice window at standing eye level and narrow the outward medium-long view so the 금월도 마을 청년들 cluster behind the grid near frame center. Their faces appear in separate lattice openings as they lean toward the dining room and answer the interior gaze with conspicuous, unsettling smiles.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 격자무늬 나무 창 in the middle-center of the frame, foreground; 금월도 마을 청년들 in the middle-center of the frame, background, looks toward dining room interior.\n- KEY BACKGROUND ELEMENTS: 격자무늬 나무 창 (식당 안에서 바깥을 내다볼 수 있는 상태) — 창의 실내 쪽 면과 격자가 전경에 보이고, 그 너머 골목의 청년들이 보인다; used as The camera looks through its grid, dividing the watching faces into confined compartments; 식당 밖 골목 (청년들이 식당을 감시하고 있는 상태); used as Provides the exterior depth plane immediately behind the watching youths.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L38B02.png" ] ], "asset_id": "25dcb7fb-8029-4c14-8a53-ad28de3d442e" }, "S63sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S63sh14": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S64sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S64sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L18B03.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 a pitch-dark pine-forest path leading uphill from the village beneath the nearly full moon.\n\nSHOT TEXT (authoritative, Korean): 깜깜한 해송 숲길에서 한쪽 발을 높이 든 채 앞으로 힘차게 내딛는 자세의 강영란(흰 머리 여자) 전신.\n\nCARRIED STATE (persist exactly): Youngran continues to wear the red shaman’s robe prepared at the restaurant.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Track parallel from beside the uphill path at waist height, framing 강영란(흰 머리 여자) head to toe in the middle of a wide image as her lifted foot drives forward. Match her pace for this single stride so her body stays stable while the path and escorting 금월도 마을 주민 slide laterally behind and around her.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 강영란(흰 머리 여자) in the middle-center of the frame, midground, moves toward uphill forest path; 호위하는 금월도 마을 주민 in the middle-left of the frame, midground, moves toward uphill forest path; uphill forest path in the middle-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: 해송 숲길 (일행이 올라가는 길); used as Creates the lateral movement axis and visibly rises in the direction of travel; 해송 숲 (불빛 없이 어두운 상태); used as Forms the enclosing background around the moving group; 보름달 (거의 완성된 상태); used as Held above the tree line when composition permits, linking this movement to the completed lunar approach.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L18B03.png" ], [ "char:강영란(흰 머리 여자)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/ef6b221a-22a8-48e4-a7c0-c24ae84eed10.png" ] ], "asset_id": "c5c445c2-5db8-4006-a13a-1eebba0ae06a" }, "S65sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S65sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_pine_forest_route_sel.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On the nighttime village lane directly outside the island restaurant.\n\nSHOT TEXT (authoritative, Korean): 화재 경보 소리에 화들짝 놀라 식당 뒤편으로 고개를 홱 돌린 금월도 마을 청년들의 찰나.\n\nCARRIED STATE (persist exactly): The villagers’ surveillance posts around the restaurant remain in place until the fire alarm draws them away.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From the youths' front-side at eye level, whip the pan with their abrupt head turn and settle on a shared medium frame of their upper bodies. Their torsos still angle toward the restaurant while every head snaps toward the rear direction at frame right, capturing the split second before they break into a run.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 금월도 마을 청년들 in the middle-center of the frame, midground, looks toward restaurant rear where the alarm originated; direction of the restaurant rear in the middle-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: 반월 식당 (청년들이 감시하던 건물) — 식당의 골목 쪽 외벽이 카메라에 비스듬히 보이고 뒤편 방향은 화면 오른쪽으로 이어진다; used as Its side remains behind the youths, showing that their bodies have not yet followed their turned heads; 식당 밖 골목 (주민과 청년들이 요소요소 지키고 있는 상태); used as Provides the open route into which the next tracking movement will continue.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_pine_forest_route_sel.png" ], [ "char:금월도 마을 주민", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/942aee96-9dad-4c29-b801-63ab176ed9c8.png" ] ], "asset_id": "2934fc5d-6b9c-4861-a318-256bc14beea7" }, "S66sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S67sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S67sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L23B06.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On a dark uphill forest path, illuminated by a newly switched-on flashlight and moonlight.\n\nSHOT TEXT (authoritative, Korean): 갑작스러운 플래시 불빛에 눈이 부셔 미간을 찡그리며 화들짝 놀란 김지후(강수리영)의 얼굴 클로즈업.\n\nCARRIED STATE (persist exactly): Residual blood from Jihu’s raw-meat binge remains on her mouth and hands; her pendant is still missing, and Inwoo’s arm remains cast.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Finish the frontal dolly-in directly before 김지후(강수리영) at her eye level, isolating her face in a tight close frame as the sudden flashlight beam makes her flinch and squeeze her eyes nearly shut. Her shoulders remain angled by the uphill motion and a narrow strip of the path survives behind her, preventing the reaction from reading as a detached portrait.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 김지후(강수리영) in the middle-center of the frame, foreground, looks toward 정인우 holding the flashlight near the camera axis.\n- KEY BACKGROUND ELEMENTS: 숲길 (김지후(강수리영)와 정인우가 올라가는 상태); used as Retained as a narrow, soft background strip to preserve her uphill movement; 플래시 라이트 불빛 (갑자기 켜져 얼굴에 쏟아지는 상태) — 정인우 쪽에서 김지후(강수리영)의 얼굴을 향해 정면에 가깝게 비춘다; used as The beam strikes her face from near the camera axis and motivates the squinting reaction.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L23B06.png" ] ], "asset_id": "bb018548-412f-43df-84f9-bb859e18999b" }, "S67sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S67sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S68sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S68sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S69sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S69sh4.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: In the middle of a dark pine-forest path illuminated only by a handheld flashlight.\n\nSHOT TEXT (authoritative, Korean): 식인에 대한 진실을 깨닫고 경악하여 숲길 한가운데에 우뚝 멈춰 선 정인우의 전신.\n\nCARRIED STATE (persist exactly): Jihu’s missing pendant remains at Youngran’s ritual altar; Inwoo’s injured arm remains cast.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Hold static at waist height several meters in front of 정인우, isolating his full body at the center of the forest path at the instant his forward movement stops. Keep the flashlight lowered within his silhouette and leave open path space around him so his realization reads as a physical rupture in the search.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 숲길 (수색 도중 멈춰 선 길); used as Provides the central corridor in which his halted body is isolated; 해송 나무들 (숲길 사이에 늘어서 있음) — Their trunks face the camera obliquely on both sides of the path; used as Creates vertical divisions around the lone figure and retains the search environment; 플래쉬 라이트 (켜져 있으며 흔들리다 멈춤) — Its front points low and away from the camera in 정인우's hand; used as Remains visible as the only carried search light before it is aimed toward 수리영; 희뿌연 연기 (나무 사이 밤하늘을 지나감); used as Passes through the visible night sky between the trees.\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": "9ef5a060-1df8-43e4-86d7-aecec31432e4" }, "S69sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S69sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S70sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S70sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_pine_forest_route_sel.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At the timber-braced mouth of the large natural cave in the nighttime forest.\n\nSHOT TEXT (authoritative, Korean): 기괴하게 나무 기둥이 덧대어진 거대한 자연동굴 입구 앞 어둠 속에 멈춰 선 김지후(강수리영)와 정인우의 뒷모습.\n\nCARRIED STATE (persist exactly): Jihu’s pendant remains at the ritual altar; Inwoo’s injured arm remains cast.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Hold static at standing eye level several meters behind 김지후(강수리영) and 정인우, centering their backs beneath the full cave entrance. Place them apart across the lower middle of the wide frame so the supported opening and its dark interior remain the shared destination above and between them.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 김지후(강수리영) and 정인우 in the lower-center of the frame, midground, looks toward cave interior; full cave entrance in the upper-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: 거대한 자연동굴 입구 (입구가 열려 있음) — The opening faces the camera behind the two figures, revealing its dark interior; used as Primary environmental focal point enclosing the shared direction of both characters' attention; 덧대어진 나무 기둥 (동굴 입구에 기괴하게 덧대어짐) — Their supported sides and edges face the camera around the cave opening; used as Creates the entrance's strange reinforced outline and frames the darkness beyond; 동굴 내부 (짙은 어둠에 잠겨 있음); used as Provides negative space beyond the hesitant figures.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_pine_forest_route_sel.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ], [ "char:정인우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/ecdfd0e0-1e18-4495-a3f0-fab877f83fe1.png" ] ], "asset_id": "0a013a00-a770-45cc-8411-f058da71a506" }, "S70sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S71sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S71sh14": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S71sh18": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S72sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S72sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L35B06.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: In the restaurant's rear yard beside the completely burned storage shed, still releasing dark smoke.\n\nSHOT TEXT (authoritative, Korean): 다 타버린 창고를 바라보며 허탈감에 빠져 멍하니 서 있는 황봉업(황 씨)의 측면.\n\nCARRIED STATE (persist exactly): The backyard shed is now burned out and continues to emit dark smoke.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At standing eye height on 황봉업(황 씨)'s side axis, the lateral track briefly settles around a medium distance to hold his vacant profile. He occupies the middle-right of the frame with slack shoulders and planted feet, while the burned warehouse remains beyond his line of sight on the left background.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 황봉업(황 씨) in the middle-right of the frame, midground, looks toward burned warehouse; burned warehouse in the middle-left of the frame, background.\n- KEY BACKGROUND ELEMENTS: burned warehouse (completely burned and emitting dark smoke) — Its burned exterior faces the camera beyond 황봉업(황 씨)'s profile; used as Visible destination of 황봉업(황 씨)'s fixed profile gaze; restaurant backyard (surrounding the warehouse at night); used as Environmental separation between the observer and the ruined structure.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L35B06.png" ] ], "asset_id": "8a69a99b-ed47-44f5-afbc-a56714c9ab18" }, "S72sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S73sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S73sh4.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L23B04.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 firelit ritual clearing, behind the officiant and boulder altar.\n\nSHOT TEXT (authoritative, Korean): 마을 청년 #2가 고산들의 귓가에 바짝 입을 대고 긴밀하게 속삭이는 순간.\n\nCARRIED STATE (persist exactly): Jihu’s antler-bone pendant remains on the ritual altar.\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 ear height within close conversational distance, the final portion of the dolly-in compresses the gap between 금월도 마을 청년's mouth on the left and 고산들's ear on the right. Their overlapping profiles share the foreground, while 고산들's tightening brow remains readable behind the whispering mouth rather than turning the moment into a frontal portrait.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 금월도 마을 청년 in the middle-left of the frame, foreground; 고산들 in the middle-right of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: bonfire (burning strongly); used as Soft background evidence of the active ritual space behind the intimate whisper; ritual rock (being circled during the ritual) — Only part of the side facing the gathered ritual space is visible behind them; used as Partially readable ritual context beyond the two compressed profiles.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L23B04.png" ], [ "char:금월도 마을 청년", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/4ed54b18-c6c4-403e-9740-d2470d1c8f9f.png" ] ], "asset_id": "b06e1941-4613-4ffa-96a2-497411cd6b1c" }, "S73sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S74sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S74sh2.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: On a dark forest escape route leading away from the cave.\n\nSHOT TEXT (authoritative, Korean): 강민숙(홍은미)이 몸을 뒤로 반쯤 돌린 채 분노에 찬 얼굴로 입을 크게 벌리고 있는 찰나.\n\nCARRIED STATE (persist exactly): Minsuk is free of the cave chain, though the broken section and her remaining restraint hardware must match the escape. Jihu’s pendant remains at the altar.\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 on 강민숙(홍은미)'s three-quarter front side, the dolly-in eases as she stops and catches the instant before completing her turn. Her half-rotated torso occupies the center-left midground, mouth open in anger toward 김지후(강수리영)'s off-screen position, with the forest path retained behind her to preserve the group's direction of travel.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: forest route (unlit at night); used as Spatial route behind the halted confrontation and the path she will resume descending; forest growth (being pushed through by the group) — The surrounding growth recedes behind both sides of her turning body; used as Layered side boundaries framing the abrupt half-turn without obscuring her face.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [], "asset_id": "fec68ab5-33de-41da-ab94-dfb84a376116" }, "S74sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S75sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S76sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S76sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L35B03.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On the nighttime forest path beside the slaughterhouse and nearby goat pens.\n\nSHOT TEXT (authoritative, Korean): 입을 반쯤 벌린 채 숲길에 우뚝 멈춰 선 강민숙(홍은미)의 전신.\n\nCARRIED STATE (persist exactly): Jihu’s pendant remains at the ritual altar; Inwoo’s injured arm remains cast.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From chest height on the path ahead of the group, the backward track settles into a static wide frame at the exact instant 강민숙(홍은미) arrests her stride. She occupies the middle-left in full figure with her body turned three-quarters toward the unseen attraction, while 김지후(강수리영) and 정인우 remain smaller and staggered behind her along the path.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 숲길 (Visible at night); used as The path supplies the receding axis that preserves the spacing between the abruptly halted leader and her companions; 숲 (Dark); used as The surrounding forest encloses both sides of the frame and withholds the object of 강민숙(홍은미)'s attention until the coming pivot.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L35B03.png" ] ], "asset_id": "d9b6eeb9-80c9-4a69-bf76-53e5b3606257" }, "S76sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S77sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S77sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L26B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the dark forest slaughterhouse beside buckets filled with goat blood.\n\nSHOT TEXT (authoritative, Korean): 어두운 도축장 안에서 강민숙(홍은미)이 붉은 염소 피가 가득 든 양동이를 머리 위로 쏟아붓는 찰나.\n\nCARRIED STATE (persist exactly): Minsuk’s clothes, skin, and hair become thoroughly coated in goat blood to mask her scent.\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 near the entrance, a slow frontal dolly-in catches 강민숙(홍은미) at center as the raised bucket tips and goat blood begins to fall over her head and torso. The frame stays wide enough for 김지후(강수리영) and 정인우 to remain together at one side in the background, their recoiling bodies providing scale and reaction.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 강민숙(홍은미) beneath the falling blood in the middle-center of the frame, midground; 김지후(강수리영) reacting at the side in the middle-right of the frame, background; 정인우 reacting beside her in the upper-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: 도축장 내부 (Dark); used as The room provides sparse spatial context around the central action without distracting from the falling blood; 염소 피 양동이 (Being emptied) — Its open top is angled downward toward 강민숙(홍은미), with its side also visible to camera; used as The tipped container remains visible above her head and establishes the source of the blood; 붉은 염소 피 (Pouring); used as The falling blood connects the raised bucket to her head and torso as the principal action line.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L26B01.png" ], [ "char:강민숙(홍은미)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/e39fec85-e247-425b-ab08-80750a61aad8.png" ] ], "asset_id": "f9c0c13d-f664-4c38-8f14-b48fc41e89c2" }, "S77sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S77sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S78sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S78sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L27B04.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Before the blood-smeared boulder in the forest ritual clearing, lit by flickering campfires.\n\nSHOT TEXT (authoritative, Korean): 일렁이는 모닥불 불빛과 핏빛 바위 앞에서 강영란(흰 머리 여자)이 기괴하고 날 선 표정으로 서 있는 전경.\n\nCARRIED STATE (persist exactly): The ritual rock remains bloodstained, Youngran remains in her red shaman’s robe, and Jihu’s pendant remains on the altar.\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 and medium-long distance, a static frontal composition places 강영란(흰 머리 여자) at center with the fire low in the near foreground and the blood-colored rock rising behind her. 고산들 appears only as a dark over-shoulder figure at the lower edge, turning the direct view of her sharpened expression into his confronted position.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 강영란(흰 머리 여자) before the rock in the middle-center of the frame, midground; 고산들 confronting her in the lower-right of the frame, foreground; blood-colored rock in the upper-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: 모닥불 (Lit and flickering); used as The fire occupies a low foreground band and visually agitates the otherwise static confrontation; 핏빛 바위 (Visible behind 강영란(흰 머리 여자)); used as The rock forms the central background mass directly behind 강영란(흰 머리 여자).\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L27B04.png" ] ], "asset_id": "9536fecf-a083-4e12-979b-788e985800a0" }, "S78sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S78sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S79sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S79sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_forest_ritual_clearing_sel.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On the brightly lit island pier around a moored fishing boat at night.\n\nSHOT TEXT (authoritative, Korean): 밝은 조명이 켜진 선착장 어선 주변으로 금월도 마을 청년들이 빽빽하게 모여든 전경.\n\nCARRIED STATE (persist exactly): Hwang’s fishing boat remains secured at the illuminated pier while the search parties guard it. Jihu, Inwoo, and Minsuk remain coated in goat blood.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From the elevated wide position, the opening crane frame looks down across the brightly illuminated dock toward the moored fishing boat and the dense gathering around it. The boat lies across the middle of the image while clusters of 금월도 마을 청년 pack the surrounding dock, establishing both the search scale and the route the camera will later descend into.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: dense gathering of village youths in the middle-center of the frame, midground; moored fishing boat in the upper-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: 황 씨의 낚시 어선 (Moored) — Its broad side and deck are visible from the elevated camera position; used as The moored vessel forms the central organizing mass around which the youths gather; 선착장 (Brightly illuminated); used as The dock defines the gathering area and the route from which the search parties will depart; 선착장 조명 (On and bright); used as The dock lighting makes the crowd distribution and vessel clearly readable from above.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_forest_ritual_clearing_sel.png" ] ], "asset_id": "baf707fb-57fe-42fb-852c-24b0e240e642" }, "S79sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S80sh14": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S80sh14.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_island_dock_sel.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: In a cramped corner of the dark fishing-gear warehouse, concealed behind stacked old nets.\n\nSHOT TEXT (authoritative, Korean): 어두운 창고 구석의 낡은 그물 더미 틈새로 피범벅이 된 강민숙(홍은미)의 굳은 얼굴이 슬며시 드러난 순간.\n\nCARRIED STATE (persist exactly): Minsuk, Jihu, and Inwoo remain covered in goat blood while hiding among the nets; Inwoo’s injured arm remains cast and Jihu’s pendant remains at the altar.\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 final chest-height position beside the concealed group, the lens tightens through a narrow opening in the old net pile, with blurred net edges occupying only the side margins. Kang Min-sook's blood-covered face sits near center in a close, eye-level composition, her crouched body largely concealed while the aisle and closed door remain faintly legible behind her.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 강민숙(홍은미) in the middle-center of the frame, midground.\n- KEY BACKGROUND ELEMENTS: 낡은 그물 더미 (piled in the rear corner); used as The narrow opening provides a through-object frame around Min-sook's face; 어구 창고 통로와 쌓인 어구 장비 (densely stacked) — The aisle recedes from the concealed corner toward the doorway behind the camera axis; used as Maintains spatial continuity with the completed search route behind the reveal; 창고 문 (closed) — Its inner face is seen at the far end of the aisle; used as A distant background endpoint confirming that the searcher has left.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_island_dock_sel.png" ] ], "asset_id": "434bb50f-6350-4eec-9a50-1b0f2fe42681" }, "S80sh31": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S80sh31.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: In the dirt yard of a famine-era thatched home beneath a bright full moon.\n\nSHOT TEXT (authoritative, Korean): 고통에 찬 비명을 지르듯 입을 크게 벌리고, 두 눈이 새빨갛게 충혈된 경신 대기근의 아낙의 끔찍한 얼굴 클로즈업.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: The dolly-in completes at an extreme facial distance after rising from the woman's kneeling level, holding her open mouth and bloodshot eyes near the center while a trace of her contorted shoulders remains along the lower edge. The almost frontal eye-level endpoint turns the transformation into a confrontational image ready for the hard cut.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 경신 대기근의 아낙 in the middle-center of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: 초가집 마당 (visible only at the frame edges); used as A narrow peripheral indication of the location behind the transformed face; 보름달 (bright above the courtyard); used as Provides the explicitly described night illumination while remaining outside or near the upper frame boundary.\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": "99463c29-4560-41ad-8b10-37d272f2f3df" }, "S80sh56": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S80sh56.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: On a sandy island shore at the landing point, where arriving survivors face the waiting residents.\n\nSHOT TEXT (authoritative, Korean): 해변 모래사장에 한쪽 발을 내디딘 자세로 원주민들을 향해 섬뜩한 미소를 머금은 과거의 조선인 육혈귀 생존자들의 얼굴.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At the end of the backward shoreline track, the camera settles slightly below eye level in a wide composition that favors the survivors' front rank without losing their leading feet planting on the sand. Their outwardly human faces occupy the upper middle of the frame as they smile past the lens toward the waiting islanders, who remain farther inland as a welcoming counter-group.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 과거의 조선인 육혈귀 생존자 in the middle-center of the frame, midground, moves toward waiting islanders; 금월도 마을 주민 in the upper-center of the frame, background; shoreline landing area in the lower-center of the frame, midground.\n- KEY BACKGROUND ELEMENTS: 해변 모래사장 (visible beneath the arriving survivors); used as The lower-frame landing surface preserves the visual evidence of the first step onto the island; 배 (arrived at the island entrance) — The side nearest the shore is visible behind the disembarking group; used as A scale and arrival reference behind the survivors; 바다 (visible in daylight); used as Separates the boat from the island shore across the rear of the 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": [], "asset_id": "f99f8466-40c1-4bbb-a8c7-6b1415f03157" }, "S81sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S81sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S81sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S82sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S83sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S83sh4.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L41B02.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the island restaurant's dining room, near the table and open view toward the daylight waterfront.\n\nSHOT TEXT (authoritative, Korean): 고산들이 심각한 표정으로 강영란(흰 머리 여자)을 묵묵히 내려다보는 측면.\n\nCARRIED STATE (persist exactly): The shed behind the restaurant remains a burned-out ruin; Jihu’s pendant remains at the ritual altar.\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 seated-eye-level position beside Sandeul, the static medium frame views him in strict side profile as he looks down toward Yeongran at the table. Sandeul occupies one midground side with his weight held near the doorway, while Yeongran sits lower on the opposite side, keeping their vertical power relation legible without changing the established eyeline.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 고산들 in the middle-left of the frame, midground, looks toward Yeongran at the table; 강영란(흰 머리 여자) in the lower-right of the frame, midground; restaurant table in the lower-center of the frame, midground.\n- KEY BACKGROUND ELEMENTS: 테이블 (occupied by Yeongran) — One long edge angles between Yeongran and the camera; used as Anchors Yeongran's seated position and separates her from Sandeul's doorway position; 식당 문가의 바깥 시야 (unobstructed enough to see outside) — The camera can see past Sandeul toward the sea side and searching villagers; used as Provides a view toward the villagers moving outside and locates Sandeul at the threshold.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L41B02.png" ] ], "asset_id": "08f50216-04df-422b-93b3-2c4ea8e897af" }, "S83sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S84sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S84sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_island_open_sea_sel.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At the dusty window inside the pier-side fishing-gear warehouse, overlooking the daylight dock.\n\nSHOT TEXT (authoritative, Korean): 먼지가 잔뜩 낀 흐릿한 창문 틈새로 바깥을 예리하게 내다보는 강민숙(홍은미)의 뒷모습.\n\nCARRIED STATE (persist exactly): Minsuk, Jihu, and Inwoo remain stained with goat blood while hiding; Inwoo’s injured arm remains cast.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From directly behind Min-sook at shoulder height, a static medium frame aligns her back with the dusty, obscured window as she leans forward to inspect the dock. She occupies the middle-left portion while the window spans the upper center and right, allowing a limited view of the dock through the dust without revealing the two companions behind her.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 강민숙(홍은미) in the middle-left of the frame, midground, looks toward dock beyond the dusty window; dusty window and dock beyond in the upper-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: 먼지가 잔뜩 낀 흐릿한 창문 (heavily dusty and obscured) — Its dusty surface faces the camera, with the dock only indistinctly visible through it; used as The principal sightline and obscuring layer through which Min-sook monitors the exterior; 선착장 (being watched from inside) — Its visible length recedes away from the storage space beyond the window; used as The exterior surveillance target beyond the window; 쌓인 어구 장비 (densely stacked) — The stacked sides face inward toward Min-sook and the window axis; used as Frames Min-sook's silhouette from both sides while preserving the cramped hiding place.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_island_open_sea_sel.png" ] ], "asset_id": "622e4aec-55af-4f01-a0bd-424ed4f310c3" }, "S84sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S85sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S85sh4.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L18B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On the village side of the island pier, facing the nearby fishing-gear warehouse.\n\nSHOT TEXT (authoritative, Korean): 어구 창고 쪽을 향해 예리한 시선을 고정한 고산들의 굳은 얼굴 클로즈업.\n\nCARRIED STATE (persist exactly): The fugitives remain hidden in the gear shed and coated in goat blood; Inwoo retains the .38 revolver.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At 고산들's face height and just off his eyeline, hold a firm static close-up with his face weighted slightly to one side and the warehouse direction left beyond the opposite frame edge. His rigid jaw and narrowed eyes carry the entire composition, while the shallow background prevents the unseen target of his suspicion from being visually resolved.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 선착장 옆 어구 창고 (Present beside the pier) — The warehouse lies just outside the frame along 고산들's sightline; used as Off-screen eyeline anchor that motivates 고산들's fixed stare.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L18B01.png" ], [ "char:고산들", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/5b67a89a-2ce6-477b-980d-2e945d4cbd8a.png" ] ], "asset_id": "c0a8eba1-98f6-4c9b-ab31-388c6f645794" }, "S85sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S86sh7": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S86sh7.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L41B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At the patrol boat's open deck edge beside the island pier during the escape.\n\nSHOT TEXT (authoritative, Korean): 경찰 순찰정 갑판 위에 선 정인우가 갑판 아래에 있는 김지후(강수리영)와 강민숙(홍은미)의 뻗은 손을 꽉 쥐고 위로 끌어당기며 팔 근육이 팽팽하게 솟은 mid-action 찰나.\n\nCARRIED STATE (persist exactly): Jihu, Minsuk, and Inwoo remain coated in goat blood as they board; Inwoo retains the .38 revolver and still has his injured arm cast.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From just outside the patrol boat at deck height, crane with a downward angle into a tight medium view of 정인우 bracing above while both women reach up from below. His two locked grips form a tense central triangle with their outstretched arms, while the deck edge cuts horizontally behind his forearms and preserves the difference in elevation.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 순찰정 갑판 가장자리 (Being used for emergency boarding) — Its outer side faces the camera, with the deck surface visible above it; used as Horizontal elevation divider between 정인우 and the two boarding women; 순찰정 갑판 (Occupied during the hurried escape); used as Immediate destination above the women and footing beneath 정인우.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L41B01.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ], [ "char:정인우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/ecdfd0e0-1e18-4495-a3f0-fab877f83fe1.png" ] ], "asset_id": "e67f324c-a6c4-4414-9491-9a8294f859c6" }, "S86sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S87sh15": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S87sh15.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_island_village_sel.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On the exposed deck of the moving police patrol boat, between the attacker and the stern.\n\nSHOT TEXT (authoritative, Korean): 공포에 질려 울먹이는 김지후(강수리영)의 앞을 굳건한 표정의 강민숙(홍은미)이 떡하니 막아선 뒷모습.\n\nCARRIED STATE (persist exactly): Sandeul bears the gunshot wound in his shoulder; Detective Shin lies gravely wounded from the neck bite, and Inwoo has been thrown down after losing the revolver.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Directly behind 강민숙(홍은미) at shoulder height, hold her squared back across the central foreground as a human barrier, with 김지후(강수리영) visible beyond one shoulder in the stern area. The static medium frame lets 민숙's planted posture replace the preceding panic with a single immovable silhouette, while the threatening passage remains ahead and outside the frame.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 선수와 선미를 연결하는 통로 (Separates the approaching threat from the stern) — The passage recedes away from the camera beyond 강민숙; used as Depth corridor behind 민숙 that defines the direction of the threat; 순찰정 난간 (Beside the confrontation area) — Its inner side runs along the edge of the deck beside the characters; used as Lateral boundary preparing the following move toward the sacrifice; 선미 갑판 (Occupied by the terrified 수리영); used as Lower spatial plane supporting 수리영's defensive posture.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_island_village_sel.png" ] ], "asset_id": "61bf7aa7-6e66-45e3-bb14-35143a2d7b40" }, "S87sh19": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S87sh23": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S88sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S88sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_island_dock_sel.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On the island's opposite landing shore, facing the patrol boat as it returns toward land.\n\nSHOT TEXT (authoritative, Korean): 금월도 선착장에서 붉은색 무녀복을 입은 강영란(흰 머리 여자), 고산들, 금월도 마을 주민들이 배를 향해 고정된 자세로 서 있는 전경.\n\nCARRIED STATE (persist exactly): Sandeul has returned to the island after the fall into the sea and retains his injuries; Jihu’s pendant remains with Youngran’s ritual preparations.\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 patrol boat's forward section at eye level, hold a static long-distance wide composition past the bow toward the dock, where 강영란(흰 머리 여자), 고산들, and 금월도 마을 주민 form an unnaturally fixed horizontal line facing the vessel. The bow occupies only the lower edge as a scale cue, while 강영란's red shaman garment marks the central human anchor among the waiting figures.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 순찰정 선수 (Approaching 금월도) — Its forward-facing upper edge points toward the dock at the bottom of frame; used as Foreground scale cue establishing the camera aboard the approaching vessel; 금월도 선착장 (Occupied by 강영란, 고산들, and the villagers) — Its boat-facing edge is visible beyond the patrol boat's bow; used as Long-distance platform supporting the fixed group tableau; 금월도 육지 (Visible beyond the dock); used as Background confirmation that the vessel has returned to the island.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_island_dock_sel.png" ], [ "char:고산들", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/5b67a89a-2ce6-477b-980d-2e945d4cbd8a.png" ], [ "char:금월도 마을 주민", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/942aee96-9dad-4c29-b801-63ab176ed9c8.png" ] ], "asset_id": "5014b414-b0dc-4965-a548-65b31780b4b0" }, "S88sh6": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S88sh6.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_island_dock_sel.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the patrol boat's wheelhouse, steering toward the island landing while aiming through the cabin opening.\n\nSHOT TEXT (authoritative, Korean): 조타실 안의 구창모가 총구를 밖의 정인우를 향해 정확히 겨누고 위협하는 찰나.\n\nCARRIED STATE (persist exactly): Changmo controls the patrol boat and keeps his gun trained on Inwoo; Sandeul is back ashore after the immersion.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Inside the wheelhouse at shoulder height, dolly in obliquely along 구창모's extended gun arm so his three-quarter figure occupies one side and 정인우 remains visible outside in the opposing depth plane. The barrel creates an unmistakable diagonal between them, while 정인우's arrested posture and partial profile make the threat legible without centering either man frontally.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 조타실 (Occupied and controlled by 구창모) — The interior faces outward toward 정인우 on the deck; used as Interior spatial frame around 구창모 and the origin point of the threat; 조타실 키 (Under 구창모's control) — The operating side is visible near 구창모 within the wheelhouse; used as Secondary evidence identifying 구창모 as the person controlling the patrol boat; 구창모의 총 (Raised and aimed at 정인우) — Its barrel points from the wheelhouse toward 정인우 outside; used as Strong diagonal focal prop linking aggressor and hostage.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_island_dock_sel.png" ] ], "asset_id": "6fe3a12c-4fd1-4e91-b84c-8953cfcb5b4e" }, "S89sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S89sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L38B01.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On the rocky island landing directly before the approaching patrol boat.\n\nSHOT TEXT (authoritative, Korean): 물살을 일으키며 다가오는 중인 순찰정을 향해 만족스러운 미소를 머금은 채 시선을 고정하고 있는 강영란(흰 머리 여자)의 얼굴 클로즈업.\n\nCARRIED STATE (persist exactly): Sandeul remains ashore despite having fallen into the sea, and Changmo continues bringing the patrol boat back toward Geumwoldo.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At eye level, hold a close frontal three-quarter view just beyond 강영란(흰 머리 여자)'s eyeline, keeping her face slightly off-center while the direction of the unseen patrol boat remains beyond the lens. The camera stays static as her held smile and unwavering off-screen gaze occupy most of the frame, with only a narrow trace of the rocky shore behind her.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 금월도 갯바위 (Only a narrow portion is visible behind 강영란(흰 머리 여자)); used as A narrow background fragment that preserves the coastal location without distracting from the expression.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L38B01.png" ] ], "asset_id": "bb32291b-15f9-42d4-ba82-e5738ce3d573" }, "S90sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S90sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S91sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S91sh1.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: In the restaurant's rear yard at sunset, between the building and the burned storage area.\n\nSHOT TEXT (authoritative, Korean): 식당 뒤뜰에 서서 고개를 옆으로 반쯤 돌린 채 불안한 눈빛으로 주변을 응시하는 김지후(강수리영).\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 at a three-quarter frontal angle, observe 김지후(강수리영) at medium distance as her weight shifts during a cautious scan of the backyard. Hold her in one side of the frame and preserve open space in the direction of her half-turned head, preparing the straight push-in that follows the same gaze axis.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 식당 뒤뜰 (강민숙(홍은미) is not visible anywhere in the shown area); used as Surrounding negative space through which her searching gaze moves.\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": "2a1a4d1c-8dbf-4632-a037-6b2090bd486e" }, "S92sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S92sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L18B02.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Directly outside the restaurant's front entrance at sunset, looking toward the island pier.\n\nSHOT TEXT (authoritative, Korean): 노을 지는 선착장 끝 돌바닥에 앉아 바다를 향해 있는 강민숙(홍은미)의 뚜렷한 뒷모습.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Centered behind 강민숙(홍은미) at the supplied low seated-axis height, continue the dolly-in until her clearly defined back and seated body anchor the lower middle of a wide frame. The stone dock leads past her toward the sea, while her unmoving orientation keeps her face completely withheld.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: sea beyond the dock in the upper-center of the frame, background; end of the stone dock in the middle-center of the frame, midground.\n- KEY BACKGROUND ELEMENTS: 선착장 돌바닥 (강민숙(홍은미) is seated at its far end); used as Leading surface carrying the eye from the camera to the seated figure; 바다 (Visible beyond the end of the dock at sunset); used as The distant field directly ahead of the seated figure.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L18B02.png" ] ], "asset_id": "2385d556-f2ad-4fd4-981d-8edab32ad2ae" }, "S93sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S93sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S93sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S94sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S94sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L53B01.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the cave prison in daylight, at the opposite wall where a battered captive is chained.\n\nSHOT TEXT (authoritative, Korean): 맞은편 동굴 벽에 쇠사슬로 묶인 채 얼굴이 상처투성이가 된 정인우의 전신.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): He is restrained upright against the opposite cave wall by heavy chains, with his back held close to the rock and his arms and legs prevented from carrying him away.\n\nCARRIED STATE (persist exactly): Inwoo remains restrained upright against the opposite cave wall by heavy chains, with his back held close to the rock and his arms and legs prevented from carrying him away, his face scratched and split; Jihu is likewise securely chained.\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 mid-height near 김지후(강수리영)'s side of the cave, finish the pan on a wide full-body view of 정인우 against the opposite wall. Hold him slightly off-center with his chained limbs and damaged face visible in one continuous silhouette, preserving the empty distance across the cave as the axis back toward 김지후(강수리영).\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 맞은편 동굴 벽 (정인우 is restrained against it); used as The backing plane that fixes 정인우's restrained full-body position; 쇠사슬 (Fastened tightly around 정인우 and securing him to the wall); used as Visible restraint connecting his body to the wall; 동굴 내부 공간 (Separates the two restrained characters on opposite sides); used as Open spatial interval that establishes separation from 김지후(강수리영)'s side.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L53B01.png" ] ], "asset_id": "f9ebc7be-ddef-4f89-b7b1-e70d630eaf2f" }, "S94sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S95sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S95sh1.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At the exposed edge of a high island sea cliff under a bright sky.\n\nSHOT TEXT (authoritative, Korean): 눈부신 하늘과 바다를 배경으로 절벽 끝에 선 강영란(흰 머리 여자)의 옷자락이 바람에 흩날리는 전경.\n\nCARRIED STATE (persist exactly): Youngran remains dressed in the red shaman’s robe; Sandeul retains the wounds from the patrol-boat 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: From the inland side, hold a static eye-level wide frame facing out toward the sea, with 강영란(흰 머리 여자) appearing as a small full figure near the cliff edge and the sky and sea occupying most of the image. Her back and wind-lifted red skirt create the only strong vertical and moving accents within the broad horizontal landscape.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: cliff edge (강영란(흰 머리 여자) is positioned at its end) — The inland top and abrupt seaward edge are visible in profile across the lower frame; used as Forms the narrow ground line beneath the isolated figure; daytime sky (Bright and blue); used as Occupies a large portion of the background behind the figure; sea (Blue and visibly rolling); used as Creates the outward vista and distant visual destination of her gaze.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:강영란(흰 머리 여자)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/ef6b221a-22a8-48e4-a7c0-c24ae84eed10.png" ] ], "asset_id": "6a40399a-8f33-4d83-8dfb-8c3feea8ebd9" }, "S95sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S95sh18": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S96sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S96sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L35B02.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 dark cave floor at the chained prison area during daylight.\n\nSHOT TEXT (authoritative, Korean): 어두운 동굴 바닥에 쇠사슬로 묶인 채 고개를 푹 숙인 김지후(강수리영)의 절망적인 전신.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): She is seated in a defeated slump on the cave floor with her body and limbs secured by heavy chains, her head bowed and her gaze lowered toward the ground.\n\nCARRIED STATE (persist exactly): Jihu remains seated in a defeated slump on the cave floor with her body and limbs secured by heavy chains, her head bowed and her gaze lowered toward the ground; Inwoo remains chained to the opposite cave wall; Inwoo’s face remains battered and Jihu’s pendant remains in Youngran’s possession.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Place the static camera at floor height directly in front of 김지후(강수리영), far enough back to contain her full seated body and the visible run of chain. She occupies the lower middle of the wide frame with her bowed head and collapsed posture compressed against the surrounding cave space.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: cave floor (김지후(강수리영) is seated on it); used as Creates the low foreground plane and emphasizes her inability to rise; chain (Fastened around and restraining her) — Its links extend from 김지후(강수리영)'s restraints across the cave floor; used as Traces the restraint outward from her body and supplies a leading line at floor level; cave interior (Dark); used as Encloses the figure and limits background depth.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L35B02.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ] ], "asset_id": "b5a000e8-7899-4a48-b053-da46af51a7ce" }, "S96sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S97sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S97sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S97sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S98sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S98sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L35B02.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 cave prison, facing the lamp-lit visitor from the chained holding area.\n\nSHOT TEXT (authoritative, Korean): 눈물이 고인 눈으로 강영란(흰 머리 여자)을 매섭게 노려보며 분노에 차 입을 크게 벌려 소리치는 김지후(강수리영)의 얼굴.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): She remains seated on the cave floor with her limbs secured by heavy chains, but raises her head and leans forward to glare and shout at Youngran.\n\nCARRIED STATE (persist exactly): Jihu and Inwoo remain chained in the cave; Jihu’s pendant remains under Youngran’s control.\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 laterally into an eye-level frontal close position on 김지후(강수리영), stopping with her tear-filled face occupying most of the frame while retaining a narrow trace of chains and cave context below. Her head thrusts toward 강영란(흰 머리 여자)'s off-screen position, mouth open mid-shout and eyes locked just past the lens rather than into it.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: chain (Still restraining her) — A partial run of links leads downward from 김지후(강수리영)'s body; used as Provides a small lower-frame reminder that the shouting figure remains restrained; cave interior (Visible only as limited background context); used as Falls out of focus behind the close face.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L35B02.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ] ], "asset_id": "318eb9e6-dc40-4566-a147-1a01a59549fb" }, "S98sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S98sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S99sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S99sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L03B02.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside a brightly lit mainland police substation, at a desk and chair.\n\nSHOT TEXT (authoritative, Korean): 밝은 지구대 안에서 구창모가 의자에 느긋하게 기대앉아 핸드폰 화면을 들여다보는 모습.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: A static wide view from seated eye level places 구창모 reclining with his chair and immediate workspace clearly legible around him. He occupies one side of the midground, his raised phone kept at a natural scale while open room space anticipates the coming pan toward the nearby officer.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 의자 (occupied) — Its back faces diagonally toward the camera while supporting 구창모; used as Supports 구창모's relaxed posture and establishes his position within the workspace; 업무 책상 (in use) — The near edge and top plane are visible from the seated-height camera position; used as Anchors the immediate police-station workspace beside the seated figure; 핸드폰 화면 (on, displaying a game) — The active game screen faces 구창모 and is seen obliquely by the camera; used as Held within 구창모's hands as the initial point of attention without overwhelming the wider composition.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L03B02.png" ] ], "asset_id": "dff9730e-f2a2-454d-a541-e1275378a6de" }, "S99sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S100sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S100sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L35B01.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On a mainland pier beside a parked van and the women who have just disembarked.\n\nSHOT TEXT (authoritative, Korean): 구창모가 거들먹거리는 표정으로 턱을 치켜들고 한 손을 허리에 얹은 채, 짙은 화장을 한 여자들 앞에 꼿꼿이 서 있는 모습.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At chest height from directly before the group, a static medium-wide composition places 구창모 in the foreground with his chin lifted and one hand planted at his waist, while the women form an uneven cluster beyond and beside him. The parked black van remains readable at the frame edge as evidence of their arrival, without competing with the human grouping.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 까만색 그랜드카니발 (parked) — A side and partial front or rear plane are visible from the frontal group axis; used as Provides the arrival context along one side of the ensemble frame; 해안마을 선착장 (daytime); used as Defines the outdoor working space around the assembled group.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L35B01.png" ] ], "asset_id": "fc238a76-36a9-4e85-8fe5-0733a929de2f" }, "S100sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S101sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S101sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L55B01.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On the crowded open deck of a moored fishing boat in daylight.\n\nSHOT TEXT (authoritative, Korean): 밝은 대낮의 낚시 어선 갑판 위로 화려한 옷차림의 술집 여자들과 후반부 낚싯꾼들이 발 디딜 틈 없이 빼곡하게 모여 서 있는 전경.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: A static eye-level wide shot from the dock looks across the full side of the fishing boat, keeping the crowded deck layout legible from end to end. The women and fishermen overlap in dense rows across foreground and midground, with small variations in posture and head direction preventing the crowd from reading as a formal lineup.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 낚시 어선 갑판 (full of passengers) — The dock-facing side and the occupied top deck are visible across the frame; used as Contains the dense passenger arrangement and displays the full-deck crowding; 선착장 (daytime); used as Provides the stable camera platform and a narrow lower-frame boundary.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L55B01.png" ] ], "asset_id": "32fc71ed-0d3e-4f53-b074-45f50e6f318c" }, "S101sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S101sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S102sh6": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S102sh6.png", "plate_path": null, "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At the chained holding area inside the dark cave chamber during daylight.\n\nSHOT TEXT (authoritative, Korean): 양손으로 굵은 쇠사슬을 꽉 움켜쥔 채 온몸을 뒤로 젖히며 팽팽하게 당기고 있는 김지후(강수리영)의 긴장된 자세.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): She is upright with both hands locked around the heavy chain, her arms pulled taut and her whole torso arched backward while the fixed chain prevents her from moving away.\n\nCARRIED STATE (persist exactly): Jihu and Inwoo remain chained in the cave; Inwoo’s face remains injured and Jihu’s pendant remains with the ritual objects.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: The lateral track from 정인우's side settles at waist height into a medium-full profile of 김지후(강수리영), preserving her backward lean and the chain's taut line within one readable plane. Her braced body occupies one side of the frame while both hands and a visible length of chain pull toward the opposite edge, making resistance physically clear without enlarging the prop unnaturally.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 굵은 쇠사슬 (taut and unmoving) — Its visible length runs taut from her hands toward the opposite frame edge; used as Creates the diagonal tension line from 김지후(강수리영)'s clenched hands toward its unseen restraint point; 동굴 내부 (daytime cave setting); used as Frames the pulling action and maintains continuity with the preceding cave exchange.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [], "asset_id": "aef66cc9-fe18-495e-9efe-3f4dd20e9857" }, "S102sh12": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S102sh12.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_mainland_harbor_dock_sel.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the open fish hold beneath a fishing boat's deck, where bound captives are packed together.\n\nSHOT TEXT (authoritative, Korean): 열린 어창 바닥에 손발이 묶이고 입이 천으로 틀어막힌 어창에 감금된 여성 제물들이 공포에 질려 잔뜩 웅크린 상태.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): The women are packed tightly on the floor of the open fish holds with their wrists and ankles bound and their mouths gagged, their torsos hunched and their knees drawn inward in fear.\n\nCARRIED STATE (persist exactly): The women hidden in the fish holds remain bound hand and foot and gagged, unable to move freely.\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 above the opened boat hold, a steep high angle advances into a tight wide composition that keeps several captive bodies, their bound limbs, and covered mouths simultaneously legible. The women cluster across the lower and middle frame in overlapping curled poses, while the rectangular hold opening remains visible around them as the scale reference and enclosure.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: open boat hold rim in the middle-center of the frame, foreground; clustered captive women in the lower-center of the frame, midground.\n- KEY BACKGROUND ELEMENTS: 어창 입구 (open) — The opening faces upward toward the camera, exposing the hold interior below; used as Forms a visible enclosure around the clustered captives and guides the steep downward composition; 어창 뚜껑 (opened) — The raised lids expose their inner-facing sides around the open compartments; used as Visible around the opening as evidence that the compartment has been uncovered; 손발의 결박과 입을 막은 천 (fastened in place); used as Makes the women's captivity immediately readable within the group framing.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_mainland_harbor_dock_sel.png" ] ], "asset_id": "78cd6e19-b6a4-4a7a-ae1a-f7897784aaac" }, "S102sh17": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S102sh17.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_mainland_harbor_dock_sel.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Before the boulder altar in the evening ritual clearing, lit by red campfires.\n\nSHOT TEXT (authoritative, Korean): 순백의 무녀복을 입은 강영란(흰 머리 여자)이 제단 앞 붉은 모닥불 불빛을 받으며 꼿꼿하고 위엄 있게 선 전신.\n\nCARRIED STATE (persist exactly): Youngran has changed from the red robe into a pure white shaman’s robe; Jihu’s pendant remains among her ritual objects.\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 four meters in front of the altar, the camera completes its central-axis dolly and stops with 강영란(흰 머리 여자) framed head to toe in the middle third. A slight low-angle tilt preserves her rigid ceremonial authority, while the altar and worshippers remain layered behind her and the fire stays below the foreground-object occupancy limit.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: altar before the rock (Set for the Full Moon Festival ritual) — Its front side faces the camera on the same central axis as 강영란(흰 머리 여자); used as Forms the symmetrical background anchor directly behind the ritual figure; bonfire (Burning strongly); used as Provides the documented red illumination and a low foreground counterweight; circle of black-clad residents (Gathered around the altar in prayer); used as Creates a dark peripheral enclosure around the centered white-clad figure.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_mainland_harbor_dock_sel.png" ] ], "asset_id": "2c3e612b-c736-490c-a424-3eede267f32e" }, "S103sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S103sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L15B03.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On wave-washed coastal rocks at evening, immediately above the sea.\n\nSHOT TEXT (authoritative, Korean): 바닷물에 흠뻑 젖은 고산들이 갯바위 위에 대자로 벌러덩 드러누워 있는 전신.\n\nCARRIED STATE (persist exactly): Sandeul remains soaked from the sea and bears the deep back-and-chest stab wounds and earlier shoulder wound.\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 high above and slightly beyond 고산들's feet, the camera begins its diagonal advance along his body axis, holding his entire spread-eagle figure against the 갯바위. His body occupies the central vertical corridor, with the wave-struck edge beyond his feet providing scale and danger without obscuring him.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 갯바위 (Waves strike its edge) — The upper plane faces the high camera, with its sea-facing edge visible beyond 고산들's feet; used as Supports the full-body silhouette and defines the elevated camera geometry; sea (Moving in waves against the rock); used as Borders the rock and reinforces 고산들's recent emergence from the sea.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L15B03.png" ] ], "asset_id": "b0372a1b-e2eb-4f10-9476-7f3027282984" }, "S103sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S104sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S104sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L35B05.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At the island restaurant threshold at night, stepping from the interior toward the front lane.\n\nSHOT TEXT (authoritative, Korean): 식당 문턱을 넘는 자세로 양손에 짐꾸러미를 든 채, 경악하여 두 눈이 휘둥그레진 황봉업(황 씨)의 얼굴 클로즈업.\n\nCARRIED STATE (persist exactly): Sandeul approaches with his wet clothing and accumulated stab and gunshot wounds unchanged.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: The static camera waits outside the doorway at 황봉업(황 씨)'s eye level, compressing his face and shoulders into roughly the central two-thirds as he freezes halfway across the threshold. His head turns into a three-quarter angle toward the unseen road, while the two bundles enter only at the lower corners and the open doorway brackets the shock.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 황봉업(황 씨) in the middle-center of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: restaurant doorway (Open) — The camera faces the exterior side across the threshold, with the open passage directly behind 황봉업(황 씨); used as Frames the face on both sides and marks the interrupted exit; 짐꾸러미 (Held one in each hand); used as Appears partially at the lower corners as evidence that he was leaving.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L35B05.png" ] ], "asset_id": "8f934608-b721-456b-a147-daae6d369588" }, "S104sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S104sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S105sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S105sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S106sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S106sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_island_rocky_shore_sel.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Immediately outside the island restaurant at night, at the top of the village lane.\n\nSHOT TEXT (authoritative, Korean): 피칠갑을 한 고산들이 손에 쥔 하얀 사슴뿔 창을 바닥을 향해 늘어뜨린 채 서 있는 전신.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): His battered corpse is sprawled motionless on the restaurant hall floor in a blood-soaked heap, with his torso and slack limbs collapsed against the boards.\n\nCARRIED STATE (persist exactly): Hwang’s mutilated corpse is sprawled motionless on the restaurant hall floor in a blood-soaked heap, with his torso and slack limbs collapsed against the boards. Sandeul is blood-covered, still bears his wounds, and carries the long white-antler-tipped spear taken from the shed shrine.\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: Outside the open doorway at chest height, the forward dolly settles at a full-body distance directly before 고산들 as he completes a step out of the restaurant. His blood-covered figure occupies the central vertical band, while the lowered white antler spear runs beside his leg into the lower third and the open doorway remains visible behind him for the coming lateral reveal.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: restaurant doorway (Open) — The exterior side faces the camera, with the open passage revealing part of the hall behind 고산들; used as Frames 고산들's emergence and leaves a visible path into the hall for the next camera move; white antler spear (Carried in one lowered hand) — Its branching upper section is held at 고산들's side while the pointed end hangs toward the ground; used as Creates a pale downward line beside the blood-covered figure; restaurant hall floor (Partially visible) — Seen obliquely through the doorway behind 고산들; used as Provides restrained interior context through the open doorway.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_island_rocky_shore_sel.png" ], [ "char:고산들", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/5b67a89a-2ce6-477b-980d-2e945d4cbd8a.png" ] ], "asset_id": "3dea0135-b566-47d2-b24c-71469c2e3be0" }, "S107sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S107sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L53B03.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 a pitch-dark forest trail crowded by branches and undergrowth.\n\nSHOT TEXT (authoritative, Korean): 극심한 공포에 질려 눈물이 맺힌 채, 머리카락이 뒤로 휘날리며 숲길을 앞으로 내달리는 도중의 구창모 얼굴 클로즈업.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Track backward at face height directly ahead of 구창모, tightening into a close frame while preserving the vertical jolt of his sprint and the backward stream of his hair. His tear-filled face occupies the center-left, with fragments of the dark path, approaching branches, and brush slipping past the frame edges to sustain forward momentum.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 구창모 in the middle-center of the frame, midground, moves toward forest path ahead.\n- KEY BACKGROUND ELEMENTS: 숲길 (깜깜해 방향을 분간하기 어려운 상태); used as Narrow moving backdrop behind the runner, retaining spatial evidence of his route; 나무 잔가지와 수풀 (구창모의 눈앞을 덮쳐오는 상태) — Their projecting ends angle into 구창모's running line and pass close to either side of his face; used as Branches and brush graze the frame edges as moving foreground obstructions.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L53B03.png" ], [ "char:구창모", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/851dae38-2b42-4642-852f-83c39e70e078.png" ] ], "asset_id": "2fbd3fac-1d01-4888-901c-1c7e4fbb4af8" }, "S108sh6": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S108sh6.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_forest_ritual_clearing_sel.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the cramped storage compartment of the slaughterhouse, beneath its dark ceiling.\n\nSHOT TEXT (authoritative, Korean): 어두운 천장에서 떨어져 내린 끈적한 검붉은 핏방울이 구창모의 손등에 막 닿아 맺혀 있는 정지된 찰나의 클로즈업.\n\nCARRIED STATE (persist exactly): Hwang’s corpse remains in the restaurant; Sandeul remains blood-covered and carries the antler-tipped spear while pursuing Changmo.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Hold static at hand height in an isolated insert, aimed slightly upward beneath the drop so the exact point of contact sits near the center of the frame. The back of 구창모's trembling hand and part of his grip on the side-door handle provide scale, while the dark ceiling remains as a narrow upper background that motivates the coming upward tilt.\n- FRAMING SCALE: insert close-up on a detail\n- KEY BACKGROUND ELEMENTS: 어두운 천장 (위쪽이 어두운 상태); used as Upper-frame source direction for the falling liquid and the next tilt; 창고 쪽문 손잡이 (구창모가 꼭 붙들고 있는 상태) — The graspable side faces the camera at an oblique angle beneath 구창모's fingers; used as Scale reference beside the isolated hand and evidence of 구창모's attempted concealment; 검붉은 핏방울 (끈적한 방울이 손등에 막 닿아 맺히는 상태); used as Central focal detail at the instant of contact.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_forest_ritual_clearing_sel.png" ] ], "asset_id": "b151ea00-26a0-4d00-96a8-68e5a1f733c9" }, "S108sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S109sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S110sh21": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S110sh21.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: On the central sacrifice platform before the giant boulder in the moonlit ritual clearing.\n\nSHOT TEXT (authoritative, Korean): 얼굴에 문자가 새겨진 김지후(강수리영)가 섬뜩한 황금빛 눈동자를 번뜩이며 두 눈을 크게 부릅뜨고 있는 얼굴 클로즈업.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): She is stretched out on the central altar in front of the rock with both wrists and both ankles immobilized by thick leather straps, her body aligned along the altar.\n\nCARRIED STATE (persist exactly): Jihu is stretched out on the central altar in front of the rock with both wrists and both ankles immobilized by thick leather straps, her body aligned along the altar. Her body and face are covered in black script-like markings and her eyes are transformed to golden rectangular pupils. Her antler-bone pendant remains at the altar.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: End the frontal dolly-in at an extreme close distance at 김지후(강수리영)'s face height, using the direct axis as an occult confrontation rather than a neutral portrait. Her widened golden eyes sit across the upper center while the spreading characters remain legible over her cheeks and forehead, with only a thin trace of the ritual space at the frame boundary.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 김지후(강수리영) in the middle-center of the frame, midground.\n- KEY BACKGROUND ELEMENTS: 얼굴에 퍼진 문자 문양 (얼굴 전체를 뒤덮기 시작한 상태) — The marked skin faces the camera directly, showing black ink-like Hebrew characters spreading across the forehead, cheeks, and facial contours; used as Visible transformation detail distributed across the subject's face; 중앙 제단과 거대한 바위 (김지후(강수리영)가 제단에 포박된 상태) — The altar-facing side and the rock behind it fall outside sharp focus at the frame margin; used as Minimal out-of-focus contextual edge behind the bound subject.\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": "a0c76d83-4137-466d-8d4d-80ca8ee646a8" }, "S110sh25": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S111sh11": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S111sh11.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L27B03.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Among piled bodies and blood pools in the forest ritual clearing after the massacre.\n\nSHOT TEXT (authoritative, Korean): 정인우가 쥔 사슴뿔 목걸이가 김지후(강수리영)의 가슴팍에 깊숙이 꽂혀 힘이 가해지는 순간의 클로즈업.\n\nCARRIED STATE (persist exactly): The ritual ground remains covered with corpses, flowing blood, and pools; Youngran and Sandeul remain dead. Jihu remains marked and golden-eyed as Inwoo drives her recovered antler-bone pendant into her chest.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Begin the dolly-out at chest height in a tight close frame, centering the point where 정인우's hand drives the sharp antler necklace into 김지후(강수리영)'s chest. His forearm enters diagonally from the lower-left as her torso recoils toward the upper-right, leaving enough of both bodies visible to make the force and ownership of the strike unambiguous.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 날카로운 흰색 사슴뿔 목걸이 (가슴팍에 깊숙이 꽂혀 힘이 가해지는 상태) — Its pointed end is directed from the lower-left into the front of 김지후(강수리영)'s chest; used as Central impact object linking 정인우's hand to 김지후(강수리영)'s torso; 시체 더미와 흐르는 피 (시체가 쌓이고 피가 좁은 내와 웅덩이를 이룬 상태); used as Blurred rear-plane evidence of the massacre beyond the impact.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L27B03.png" ] ], "asset_id": "fd6456a4-1940-4005-bcda-6311c4541b29" }, "S111sh14": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S111sh19": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S112sh6": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S112sh6.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L25B02.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At the edge between the island pier and the deck of a moored fishing boat in daylight.\n\nSHOT TEXT (authoritative, Korean): 낚시 어선 갑판에 먼저 올라탄 정인우가 선착장에 선 김지후(강수리영)를 향해 손을 뻗어 내민 모습.\n\nCARRIED STATE (persist exactly): Jihu’s antler-bone pendant is permanently gone after turning to ash; both survivors retain the aftermath of the ritual ordeal.\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 beside the gap, hold a static, slightly wide view with 정인우 on the deck at frame left and 김지후(강수리영) on the pier at frame right. Their extended arms form a diagonal toward the center without touching, while the visible separation beneath their hands preserves the physical choice still between them.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: gap between the deck and pier beneath the offered hands in the middle-center of the frame, midground.\n- KEY BACKGROUND ELEMENTS: fishing boat deck (정인우 is aboard) — The deck side carrying 정인우 faces diagonally toward the camera; used as Supports 정인우 on the left and establishes that he has already boarded; pier (김지후(강수리영) remains on it) — The pier surface carrying 김지후(강수리영) is visible across the central gap; used as Supports 김지후(강수리영) on the right and establishes her remaining position ashore; sea (dazzling and sparkling) — The visible water surface catches daylight in bright glints between the boat and pier; used as Appears below and beyond the offered hands, visually maintaining their separation; blue sky (clear and sunny); used as Provides the open upper background above 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, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L25B02.png" ] ], "asset_id": "4f27bc1f-bea7-47ff-8122-7e696327e1c7" }, "S112sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S112sh16": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S113sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S113sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S113sh4.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 open deck of the fishing boat after it has left the island, facing toward the mainland.\n\nSHOT TEXT (authoritative, Korean): 바닷바람에 머리카락이 흩날리는 가운데 육지 쪽을 향해 시선을 고정하고 눈가에 맑은 눈물이 맺혀 있는 정인우의 얼굴 클로즈업.\n\nCARRIED STATE (persist exactly): Inwoo remains aboard the departing fishing boat while Jihu stays behind on Geumwoldo.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: On 정인우's landward side at eye level, dolly from close distance into an intimate facial close-up, ending with his face occupying roughly the central two-thirds of the frame. Keep him in a three-quarter turn rather than frontal portraiture, with his tear-bright eyes fixed beyond the frame and his wind-moved hair crossing the clean outline of his face.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: sea (sparkling in daylight) — The defocused water surface catches daylight behind his landward profile; used as Forms the soft background beyond 정인우 and preserves the boat's coastal setting during the facial push-in; fishing boat deck (moving toward the mainland) — Only the landward-facing portion behind 정인우 remains visible at the lower edge; used as Provides a minimal lower-frame reference that keeps the close-up physically anchored aboard the vessel.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:정인우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/ecdfd0e0-1e18-4495-a3f0-fab877f83fe1.png" ] ], "asset_id": "182068a3-22e7-4041-abf3-ea94efc83aeb" } }, "map_conti": {}, "conti_pack": "5.202607222353", "lane_conti": { "S1sh7": { "lane": "structure_plate", "group_id": "bg_reed_field_warehouse", "segment_id": "SEG_WAREHOUSE_FRONTAGE", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_reed_field_warehouse_sel.png", "seed_asset_id": "5ef5ad5c-d37f-47fa-9336-c90ab87da3ec", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L01B01.png", "bg_reason": "", "bypass_reason": "prev" }, "S4sh1": { "lane": "structure_plate", "group_id": "bg_multifamily_residence", "segment_id": "seg_bus_cabin", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_multifamily_residence_sel.png", "seed_asset_id": "d74f097c-288e-4fa6-ac33-f9284505f0ba", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L11B04.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S4sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L11B04.png" }, "S4sh8": { "lane": "structure_plate", "group_id": "bg_multifamily_residence", "segment_id": "seg_bus_cabin", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_multifamily_residence_sel.png", "seed_asset_id": "d74f097c-288e-4fa6-ac33-f9284505f0ba", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L11B04.png", "bg_reason": "", "bypass_reason": "prev" }, "S7sh8": { "lane": "map_marker", "group_id": "bg_convenience_store", "segment_id": "SEG_1", "status": "ok", "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/lane_sketch_S7sh8.png", "base_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/canon_bg_convenience_store_map.png", "base_map_asset_id": "d9e43bca-df9b-47b0-a0ff-67b9c6acafd7", "marker_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/lane_marker_map_S7sh8.png", "marker_check": { "markers_ok": true, "details_ko": "정상" }, "marker_prompt": "Edit the attached TOP-DOWN SITE PLAN image: draw STAGING MARKERS on it\nat the positions described below. This is a planning aid for a film\ncrew, drawn over the plan.\n\nPLACEMENT AUTHORITY: each marker line below places its marker relative\nto a fixed feature, zone or boundary VISIBLE on the attached plan —\nthat landmark-relative description is the placement authority. The\nnormalized fractions in parentheses are coarse estimates of the same\nspot (x runs left→right 0..1, y runs top→bottom 0..1 of the full\ncanvas) — use them only to confirm the rough region; when in doubt,\nthe landmark description wins. Do NOT relocate a marker onto a\ndifferent salient line or feature than the one its description names.\n\nNEVER move a marker to make the drawing fit. The camera circle and\nevery subject circle go exactly where their descriptions place them,\neven when that leaves the view wedge or an arrow running off the edge\nof the image — in that case just let the wedge or arrow continue to\nthe image border and stop there. Shifting the camera outward, pulling\na subject aside, or shrinking the wedge to keep it inside the canvas\nall break the plan this map exists to record.\n\nDraw EXACTLY these markers, flat and high-contrast, small enough not\nto hide the plan under them:\n- CAMERA: one filled circle at the camera position, labelled CAM, and\n out of that circle a FIELD-OF-VIEW WEDGE showing what this shot\n sees — two straight thin lines, one running toward each of the two\n frame-edge positions given below, and a third thinner line to the\n look-target position between them. Fill the area between the two\n edge lines with a light translucent tint so the wedge reads as the\n camera's view; the plan underneath must stay fully readable through\n the tint. Every subject listed below stands inside this wedge —\n if your drawing leaves one outside it, the wedge is drawn wrong,\n not the subject.\n- SUBJECTS: one filled circle per subject at its position, labelled\n with its slot code (E1, E2, ...) followed by its short description\n in parentheses, and one short ARROW leaving that circle toward the\n spot the subject faces, so the direction each subject is turned is\n readable at a glance.\n\nChange NOTHING else: keep every zone, landmark, line, label and color\nof the plan exactly as attached — do not redraw, recolor, move or\nremove anything, do not add scenery, shadows or any other symbols or\ntext beyond the markers, wedge, arrows and labels specified above. The\noutput is the SAME plan image with only these staging markers added.\n\nMARKERS TO DRAW:\n- CAM (camera): circle Near the lower-right edge of the police station parking area. (coarse estimate x=0.82, y=0.74); its sight line ends at LOOK TARGET: In the left-central portion of the police station parking area. (coarse estimate x=0.58, y=0.51); the frame's LEFT edge cuts through Along the lower-left boundary of the police station parking area. (coarse estimate x=0.40, y=0.70) and its RIGHT edge through By the upper-right parking bays inside the police station parking area. (coarse estimate x=0.79, y=0.34)\n- E1 (slumped middle-aged woman walking away): circle In the upper-left portion of the police station parking area near the vehicular approach. (coarse estimate x=0.48, y=0.44), facing Near the upper-left edge of the police station parking area beside the vehicular approach junction. (coarse estimate x=0.41, y=0.38)\n- E2 (motionless young man watching): circle In the lower-right portion of the police station parking area. (coarse estimate x=0.71, y=0.65), facing In the left-central portion of the police station parking area. (coarse estimate x=0.52, y=0.47)\n\n[REGENERATE — the previous attempt failed the marker check: 카메라의 시야각 선이 직선이 아닌 꺾인 선으로 잘못 그려졌으며, 마커 E1이 그 시야각 범위를 완전히 벗어나 있습니다.. Draw exactly the specified markers and change nothing else on the plan.]", "marker_attempts": 3, "geometry": { "camera": { "look_target": { "x": 0.58, "y": 0.51 }, "look_target_anchor_en": "In the left-central portion of the police station parking area.", "origin": { "x": 0.82, "y": 0.74 }, "origin_anchor_en": "Near the lower-right edge of the police station parking area.", "view_left": { "x": 0.4, "y": 0.7 }, "view_left_anchor_en": "Along the lower-left boundary of the police station parking area.", "view_right": { "x": 0.79, "y": 0.34 }, "view_right_anchor_en": "By the upper-right parking bays inside the police station parking area." }, "entity_placements": [ { "anchor_en": "In the upper-left portion of the police station parking area near the vehicular approach.", "camera_facing_evidence": "뒷모습", "camera_facing_relation": "away_from_camera", "facing": { "x": 0.41, "y": 0.38 }, "facing_anchor_en": "Near the upper-left edge of the police station parking area beside the vehicular approach junction.", "slot": "E1", "subject_en": "slumped middle-aged woman walking away", "x": 0.48, "y": 0.44 }, { "anchor_en": "In the lower-right portion of the police station parking area.", "camera_facing_evidence": "behind and slightly beside 정인우", "camera_facing_relation": "away_from_camera", "facing": { "x": 0.52, "y": 0.47 }, "facing_anchor_en": "In the left-central portion of the police station parking area.", "slot": "E2", "subject_en": "motionless young man watching", "x": 0.71, "y": 0.65 } ], "rationale_ko": "카메라를 인우의 뒤쪽이자 약간 오른편에 두고 북서쪽으로 촬영해, 오른쪽 전경의 인우와 왼쪽 배경으로 멀어지는 민숙 사이의 깊이를 강조했다. 두 사람 모두 카메라 시선 방향 안쪽을 향하며, 민숙은 차량 진입로 쪽으로 걸어 나가는 중간 동작으로 배치했다." }, "leakage": { "has_marker_leakage": false, "details_ko": "다이어그램 기호나 텍스트 좌표가 노출되지 않은 정상적인 3D 투시도입니다." }, "prompt": "Draw a single CAMERA-VIEW storyboard frame (16:9) of the scene staged\non the attached MARKER-ANNOTATED TOP-DOWN SITE PLAN, seen from the\ncamera position marked on it.\n\nThe attached plan carries STAGING MARKERS drawn over it: a\ncamera-position marker with a field-of-view wedge (where the camera\nstands, which way it looks and how wide it sees) and one labelled\ncircle per subject with an arrow (where each subject stands and which\nway that subject is turned). Jurisdiction of sources — follow all three, they do not\nconflict:\n- The SITE PLAN under the markers is the SOT for what exists on the\n site and how its zones and landmarks are arranged relative to each\n other. The markers themselves are staging aids, NOT site content.\n- The markers on the plan are the SOT for XY POSITIONS, horizontal\n heading and body facing ONLY: where each subject stands on that\n plan, which way each one is turned, where the camera stands, which\n way it looks and how wide its wedge opens. Distances, directions\n and relative depths between subjects come from the marked\n positions; what the wedge covers is what this frame contains, and\n subjects outside the wedge are out of frame. The STAGING GEOMETRY\n text below restates the same staging with coarse normalized\n estimates — it never overrides the marked plan.\n- The CAMERA DIRECTION text below (when present) is the SOT for the\n VERTICAL angle, elevation, tilt and framing (eye-level, high angle,\n overhead crane, low angle, ...). If it asks for a high or overhead\n angle, draw that angle — the site plan being top-down does NOT mean\n the frame must be eye-level. It does NOT govern horizontal\n placement: which side of the frame a subject occupies and which way\n that subject is turned come from the marked plan and the staging\n text, even when that memo also mentions left, right, foreground or\n background.\n\nSTYLE — MANNEQUIN BLOCKING SKETCH: thin uniform dark outlines on plain\npaper, nothing else. Draw every person as a PLAIN ARTIST'S MANNEQUIN:\na featureless oval head with NO face, NO hair, NO clothing and no\ncostume detail — simple tapered limbs and torso, like a wooden posing\nfigure. Because the head has no face and no hair, the ONLY thing that\nshows which way a figure is turned is the BODY ITSELF: the direction\nthe chest, hips and feet point, and the way the head-oval sits on the\nshoulders. Aim each mannequin's chest and feet at the spot the staging\ntext says that person faces, and let the arms carry the action. A\nmannequin turned to the wrong side is the single worst error in this\ndrawing. Environment is reduced to a few placement lines (ground line,\nkey landmark silhouettes) — just enough to read positions and depth.\n\nSTAGING GEOMETRY — PLANNING DATA ONLY, NEVER RENDER IT: the lines\nbelow restate, marker by marker, the staging already marked on the\nattached plan: each landmark-relative description restates the\nmarker-map authority in words, and the normalized fractions in\nparentheses (x left→right 0..1, y top→bottom 0..1) are coarse audit\nestimates only — neither ever overrides the marked plan.\n\nThose fractions are TOP-DOWN bookkeeping. Never read them as left and\nright of your frame: on a plan seen from above, a subject \"to the\nright\" can sit on either side of a camera that looks any direction.\nEach subject line therefore ends with the SAME staging expressed from\nTHIS camera — which part of the frame the subject occupies, and which\nway that subject faces in screen terms (toward the left or right of\nthe frame, toward or away from the camera or side-on to it in\nprofile, and whom they are looking at). Those screen-space statements\nare what your drawing must match:\na figure said to face the right of the frame is turned to the right in\nyour drawing, never mirrored.\n\nDo NOT draw any of this data in the image — no numbers, no\ncoordinates, no labels, no arrows, no cones, no dots, no diagram\nsymbols of any kind.\n\nWhere the CAMERA DIRECTION text below also describes horizontal\nplacement (which side of the frame someone occupies, foreground left,\nbackground right), treat that as background reading only: for anything\nabout left, right and where a subject sits in this frame, the staging\nabove wins. CAMERA DIRECTION governs the vertical angle, elevation,\ntilt and framing.\n\nFor whether a subject faces the camera or is turned away from it, each\nsubject line above already states it in screen terms and the SHOT TEXT\nis the source it was derived from — draw exactly what the subject line\nsays, and never mirror it.\n- the camera stands Near the lower-right edge of the police station parking area. (coarse estimate x=0.82, y=0.74); its sight line ends at LOOK TARGET: In the left-central portion of the police station parking area. (coarse estimate x=0.58, y=0.51); the frame's LEFT edge cuts through Along the lower-left boundary of the police station parking area. (coarse estimate x=0.40, y=0.70) and its RIGHT edge through By the upper-right parking bays inside the police station parking area. (coarse estimate x=0.79, y=0.34) — everything between those two edges is in frame, anything outside them is out of frame\n- slumped middle-aged woman walking away stands In the upper-left portion of the police station parking area near the vehicular approach. (coarse estimate x=0.48, y=0.44), facing Near the upper-left edge of the police station parking area beside the vehicular approach junction. (coarse estimate x=0.41, y=0.38) — from this camera the subject is near the CENTER of the frame and faces away from the camera, into the depth of the shot, so the camera sees this subject from behind\n- motionless young man watching stands In the lower-right portion of the police station parking area. (coarse estimate x=0.71, y=0.65), facing In the left-central portion of the police station parking area. (coarse estimate x=0.52, y=0.47) — from this camera the subject is near the CENTER of the frame and faces away from the camera, into the depth of the shot, so the camera sees this subject from behind; this subject is turned toward the slumped middle-aged woman walking away\n\nCAMERA DIRECTION (vertical angle / elevation / framing SOT): Complete the dolly-out at eye level behind and slightly beside 정인우, placing his arrested over-shoulder figure in the right foreground while 강민숙(홍은미) recedes mid-stride toward the left background. Hold wide once the depth between them becomes unmistakable, using their separation along the parking-lot path as the final emotional image of the memory.\n\nTHE LOCATION: 편의점 앞\n\nSHOT TEXT (authoritative, Korean): 어깨가 축 처진 채 주차장을 걷는 mid-stride 자세로 고정된 강민숙(홍은미)의 뒷모습과, 그 자리에 우두커니 서서 그를 바라보는 정인우.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, head-oval and chest turned toward the target the\nSHOT TEXT implies; avoid a stiff attention stance (feet together, arms\nhanging straight down) and a head-oval squared flat to the lens. If the\nSHOT TEXT or any POSE contract above stages stillness, death, sleep,\nunconsciousness, restraint, drill or an explicit direct-to-camera look,\ndraw THAT exactly — this clause never overrides it.\n\nCRITICAL — THE SITE PLAN IS A STAGING REFERENCE, NOT CONTENT: do NOT\ndraw the plan itself, and do NOT draw any diagram elements in the\nframe — no circles, dots, wedges, cones, arrows, callouts, codes or\nany other overlay symbols. The output is a clean storyboard drawing\nof the scene as seen by the camera only.\n\nNo text, no letters, no numbers, no captions anywhere in the image.", "reused": true, "lane_sketch_pack": "14.202607270344", "lane_geometry_pack": "4.202607270248", "mannequin_chain_contract": "1", "asset_id": "7ac61eff-4098-41f7-8ed3-1eaa33464942" }, "S8sh1": { "lane": "structure_plate", "group_id": "bg_police_station", "segment_id": "SEG_01", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_police_station_sel.png", "seed_asset_id": "0cf5b5bc-e330-492e-bdd2-adcd8d9b4e59", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L09B01.png", "bg_reason": "", "bypass_reason": "prev" }, "S9sh6": { "lane": "structure_plate", "group_id": "bg_convenience_store", "segment_id": "SEG_2", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_convenience_store_sel.png", "seed_asset_id": "6b316d57-eb86-4867-a900-28574258e76a", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L08B02.png", "bg_reason": "", "bypass_reason": "prev" }, "S12sh2": { "lane": "structure_plate", "group_id": "bg_multifamily_residence", "segment_id": "seg_residence_interior", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_multifamily_residence_sel.png", "seed_asset_id": "d74f097c-288e-4fa6-ac33-f9284505f0ba", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L11B02.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S12sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L11B02.png" }, "S15sh3": { "lane": "structure_plate", "group_id": "bg_multifamily_residence", "segment_id": "seg_suv_cabin", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_multifamily_residence_sel.png", "seed_asset_id": "d74f097c-288e-4fa6-ac33-f9284505f0ba", "seed_status": "ok", "bg_source": "plate", "bg_path": 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"/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_restaurant_property_sel.png", "seed_asset_id": "42e89fec-1bac-413f-a9c4-449f887fe56d", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L53B02.png", "bg_reason": "", "bypass_reason": "bg_only" }, "S68sh1": { "lane": "map_marker", "group_id": "bg_pine_forest_route", "segment_id": "SEG_10", "status": "ok", "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/lane_sketch_S68sh1.png", "base_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/canon_bg_pine_forest_route_map.png", "base_map_asset_id": "b8f89e4a-8c50-45ed-ac2d-eb9355d86820", "marker_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/lane_marker_map_S68sh1.png", "marker_check": { "markers_ok": true, "details_ko": "정상" }, "marker_prompt": "Edit the attached TOP-DOWN SITE PLAN image: draw STAGING MARKERS on it\nat the positions described below. This is a planning aid for a film\ncrew, drawn over the plan.\n\nPLACEMENT AUTHORITY: each marker line below places its marker relative\nto a fixed feature, zone or boundary VISIBLE on the attached plan —\nthat landmark-relative description is the placement authority. The\nnormalized fractions in parentheses are coarse estimates of the same\nspot (x runs left→right 0..1, y runs top→bottom 0..1 of the full\ncanvas) — use them only to confirm the rough region; when in doubt,\nthe landmark description wins. Do NOT relocate a marker onto a\ndifferent salient line or feature than the one its description names.\n\nNEVER move a marker to make the drawing fit. The camera circle and\nevery subject circle go exactly where their descriptions place them,\neven when that leaves the view wedge or an arrow running off the edge\nof the image — in that case just let the wedge or arrow continue to\nthe image border and stop there. Shifting the camera outward, pulling\na subject aside, or shrinking the wedge to keep it inside the canvas\nall break the plan this map exists to record.\n\nDraw EXACTLY these markers, flat and high-contrast, small enough not\nto hide the plan under them:\n- CAMERA: one filled circle at the camera position, labelled CAM, and\n out of that circle a FIELD-OF-VIEW WEDGE showing what this shot\n sees — two straight thin lines, one running toward each of the two\n frame-edge positions given below, and a third thinner line to the\n look-target position between them. Fill the area between the two\n edge lines with a light translucent tint so the wedge reads as the\n camera's view; the plan underneath must stay fully readable through\n the tint. Every subject listed below stands inside this wedge —\n if your drawing leaves one outside it, the wedge is drawn wrong,\n not the subject.\n- SUBJECTS: one filled circle per subject at its position, labelled\n with its slot code (E1, E2, ...) followed by its short description\n in parentheses, and one short ARROW leaving that circle toward the\n spot the subject faces, so the direction each subject is turned is\n readable at a glance.\n\nChange NOTHING else: keep every zone, landmark, line, label and color\nof the plan exactly as attached — do not redraw, recolor, move or\nremove anything, do not add scenery, shadows or any other symbols or\ntext beyond the markers, wedge, arrows and labels specified above. The\noutput is the SAME plan image with only these staging markers added.\n\nMARKERS TO DRAW:\n- CAM (camera): circle On the lower bend of the deep marker route just beyond the forest path disappearance point. (coarse estimate x=0.39, y=0.45); its sight line ends at LOOK TARGET: In the pine understory beside the northern end of the deep marker route. (coarse estimate x=0.50, y=0.11); the frame's LEFT edge cuts through In the pine understory west of the northern end of the deep marker route. (coarse estimate x=0.25, y=0.10) and its RIGHT edge through In the pine understory east of the northern end of the deep marker route. (coarse estimate x=0.72, y=0.11)\n- E1 (kneeling white-haired woman): circle On the northern stretch of the deep marker route between the separated stone markers. (coarse estimate x=0.47, y=0.22), facing In the pine understory beside the northern end of the deep marker route. (coarse estimate x=0.50, y=0.11)\n\n[REGENERATE — the previous attempt failed the marker check: 카메라(CAM) 마커가 숲길이 끝나는 지점을 지난 깊은 비석 경로 구역이 아닌 완전히 다른 위치(외부 숲길 우측)에 잘못 배치되었습니다.. Draw exactly the specified markers and change nothing else on the plan.]", "marker_attempts": 2, "geometry": { "camera": { "look_target": { "x": 0.5, "y": 0.11 }, "look_target_anchor_en": "In the pine understory beside the northern end of the deep marker route.", "origin": { "x": 0.39, "y": 0.45 }, "origin_anchor_en": "On the lower bend of the deep marker route just beyond the forest path disappearance point.", "view_left": { "x": 0.25, "y": 0.1 }, "view_left_anchor_en": "In the pine understory west of the northern end of the deep marker route.", "view_right": { "x": 0.72, "y": 0.11 }, "view_right_anchor_en": "In the pine understory east of the northern end of the deep marker route." }, "entity_placements": [ { "anchor_en": "On the northern stretch of the deep marker route between the separated stone markers.", "camera_facing_evidence": "뒷모습", "camera_facing_relation": "away_from_camera", "facing": { "x": 0.5, "y": 0.11 }, "facing_anchor_en": "In the pine understory beside the northern end of the deep marker route.", "slot": "E1", "subject_en": "kneeling white-haired woman", "x": 0.47, "y": 0.22 } ], "rationale_ko": "흰 머리 여성을 깊은 표식 길의 북쪽 구간에 무릎 꿇린 뒤, 카메라를 수 미터 남쪽의 길 굽이에 두어 뒷모습과 그 앞쪽 의식 공간을 같은 축으로 바라보게 했다. 넓은 프레임 쐐기는 여성의 전신과 북쪽의 원형 제단 배치를 함께 읽을 수 있도록 주변 소나무 하층 식생까지 포함한다." }, "leakage": { "has_marker_leakage": false, "details_ko": "도면 기호나 텍스트 마커가 보이지 않습니다." }, "prompt": "Draw a single CAMERA-VIEW storyboard frame (16:9) of the scene staged\non the attached MARKER-ANNOTATED TOP-DOWN SITE PLAN, seen from the\ncamera position marked on it.\n\nThe attached plan carries STAGING MARKERS drawn over it: a\ncamera-position marker with a field-of-view wedge (where the camera\nstands, which way it looks and how wide it sees) and one labelled\ncircle per subject with an arrow (where each subject stands and which\nway that subject is turned). Jurisdiction of sources — follow all three, they do not\nconflict:\n- The SITE PLAN under the markers is the SOT for what exists on the\n site and how its zones and landmarks are arranged relative to each\n other. The markers themselves are staging aids, NOT site content.\n- The markers on the plan are the SOT for XY POSITIONS, horizontal\n heading and body facing ONLY: where each subject stands on that\n plan, which way each one is turned, where the camera stands, which\n way it looks and how wide its wedge opens. Distances, directions\n and relative depths between subjects come from the marked\n positions; what the wedge covers is what this frame contains, and\n subjects outside the wedge are out of frame. The STAGING GEOMETRY\n text below restates the same staging with coarse normalized\n estimates — it never overrides the marked plan.\n- The CAMERA DIRECTION text below (when present) is the SOT for the\n VERTICAL angle, elevation, tilt and framing (eye-level, high angle,\n overhead crane, low angle, ...). If it asks for a high or overhead\n angle, draw that angle — the site plan being top-down does NOT mean\n the frame must be eye-level. It does NOT govern horizontal\n placement: which side of the frame a subject occupies and which way\n that subject is turned come from the marked plan and the staging\n text, even when that memo also mentions left, right, foreground or\n background.\n\nSTYLE — MANNEQUIN BLOCKING SKETCH: thin uniform dark outlines on plain\npaper, nothing else. Draw every person as a PLAIN ARTIST'S MANNEQUIN:\na featureless oval head with NO face, NO hair, NO clothing and no\ncostume detail — simple tapered limbs and torso, like a wooden posing\nfigure. Because the head has no face and no hair, the ONLY thing that\nshows which way a figure is turned is the BODY ITSELF: the direction\nthe chest, hips and feet point, and the way the head-oval sits on the\nshoulders. Aim each mannequin's chest and feet at the spot the staging\ntext says that person faces, and let the arms carry the action. A\nmannequin turned to the wrong side is the single worst error in this\ndrawing. Environment is reduced to a few placement lines (ground line,\nkey landmark silhouettes) — just enough to read positions and depth.\n\nSTAGING GEOMETRY — PLANNING DATA ONLY, NEVER RENDER IT: the lines\nbelow restate, marker by marker, the staging already marked on the\nattached plan: each landmark-relative description restates the\nmarker-map authority in words, and the normalized fractions in\nparentheses (x left→right 0..1, y top→bottom 0..1) are coarse audit\nestimates only — neither ever overrides the marked plan.\n\nThose fractions are TOP-DOWN bookkeeping. Never read them as left and\nright of your frame: on a plan seen from above, a subject \"to the\nright\" can sit on either side of a camera that looks any direction.\nEach subject line therefore ends with the SAME staging expressed from\nTHIS camera — which part of the frame the subject occupies, and which\nway that subject faces in screen terms (toward the left or right of\nthe frame, toward or away from the camera or side-on to it in\nprofile, and whom they are looking at). Those screen-space statements\nare what your drawing must match:\na figure said to face the right of the frame is turned to the right in\nyour drawing, never mirrored.\n\nDo NOT draw any of this data in the image — no numbers, no\ncoordinates, no labels, no arrows, no cones, no dots, no diagram\nsymbols of any kind.\n\nWhere the CAMERA DIRECTION text below also describes horizontal\nplacement (which side of the frame someone occupies, foreground left,\nbackground right), treat that as background reading only: for anything\nabout left, right and where a subject sits in this frame, the staging\nabove wins. CAMERA DIRECTION governs the vertical angle, elevation,\ntilt and framing.\n\nFor whether a subject faces the camera or is turned away from it, each\nsubject line above already states it in screen terms and the SHOT TEXT\nis the source it was derived from — draw exactly what the subject line\nsays, and never mirror it.\n- the camera stands On the lower bend of the deep marker route just beyond the forest path disappearance point. (coarse estimate x=0.39, y=0.45); its sight line ends at LOOK TARGET: In the pine understory beside the northern end of the deep marker route. (coarse estimate x=0.50, y=0.11); the frame's LEFT edge cuts through In the pine understory west of the northern end of the deep marker route. (coarse estimate x=0.25, y=0.10) and its RIGHT edge through In the pine understory east of the northern end of the deep marker route. (coarse estimate x=0.72, y=0.11) — everything between those two edges is in frame, anything outside them is out of frame\n- kneeling white-haired woman stands On the northern stretch of the deep marker route between the separated stone markers. (coarse estimate x=0.47, y=0.22), facing In the pine understory beside the northern end of the deep marker route. (coarse estimate x=0.50, y=0.11) — from this camera the subject is near the CENTER of the frame and faces away from the camera, into the depth of the shot, so the camera sees this subject from behind\n\nCAMERA DIRECTION (vertical angle / elevation / framing SOT): Begin at standing eye level several meters behind 강영란(흰 머리 여자), centered on the axis connecting her kneeling back to the enormous rock, and start a restrained dolly forward from outside the ring of fires. Keep her full kneeling figure low in the central frame while the rock and circular ritual layout remain clearly readable beyond her.\n\nTHE LOCATION: 금월도 해송 숲길 및 숲속\n\nSHOT TEXT (authoritative, Korean): 모닥불이 둥글게 타오르는 숲속 제단의 거대한 바위 앞에 강영란(흰 머리 여자)이 무릎을 꿇고 앉은 뒷모습.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, head-oval and chest turned toward the target the\nSHOT TEXT implies; avoid a stiff attention stance (feet together, arms\nhanging straight down) and a head-oval squared flat to the lens. If the\nSHOT TEXT or any POSE contract above stages stillness, death, sleep,\nunconsciousness, restraint, drill or an explicit direct-to-camera look,\ndraw THAT exactly — this clause never overrides it.\n\nCRITICAL — THE SITE PLAN IS A STAGING REFERENCE, NOT CONTENT: do NOT\ndraw the plan itself, and do NOT draw any diagram elements in the\nframe — no circles, dots, wedges, cones, arrows, callouts, codes or\nany other overlay symbols. The output is a clean storyboard drawing\nof the scene as seen by the camera only.\n\nNo text, no letters, no numbers, no captions anywhere in the image.", "reused": true, "lane_sketch_pack": "14.202607270344", "lane_geometry_pack": "4.202607270248", "mannequin_chain_contract": "1", "asset_id": "a2d138d1-57cd-468c-bc5e-47398e100879" }, "S70sh1": { "lane": "structure_plate", "group_id": "bg_pine_forest_route", "segment_id": "SEG_11", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_pine_forest_route_sel.png", "seed_asset_id": "803cc956-9eff-49c4-b977-3e62ad55fc55", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_pine_forest_route_sel.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S70sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_pine_forest_route_sel.png" }, "S70sh3": { "lane": "structure_plate", "group_id": "bg_pine_forest_route", "segment_id": "SEG_11", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_pine_forest_route_sel.png", "seed_asset_id": "803cc956-9eff-49c4-b977-3e62ad55fc55", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_pine_forest_route_sel.png", "bg_reason": "", "bypass_reason": "prev" }, "S79sh1": { "lane": "structure_plate", "group_id": "bg_forest_ritual_clearing", "segment_id": "seg_dock_vessel", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_forest_ritual_clearing_sel.png", "seed_asset_id": "dda47e7c-bf17-4f91-8e97-7bf6000f938b", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_forest_ritual_clearing_sel.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S79sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_forest_ritual_clearing_sel.png" }, "S80sh14": { "lane": "structure_plate", "group_id": "bg_island_dock", "segment_id": "seg_warehouse_aisle", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_island_dock_sel.png", "seed_asset_id": "5920c8a3-9754-40bd-96db-d86a0391e5df", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_island_dock_sel.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S80sh14.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_island_dock_sel.png" }, "S84sh1": { "lane": "structure_plate", "group_id": "bg_island_open_sea", "segment_id": "SEG_1", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_island_open_sea_sel.png", "seed_asset_id": "ea2145e9-3148-47b4-b459-c45c8c0b49cc", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_island_open_sea_sel.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S84sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_island_open_sea_sel.png" }, "S87sh15": { "lane": "structure_plate", "group_id": "bg_island_village", "segment_id": "SEG_03", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_island_village_sel.png", "seed_asset_id": "06b17b12-bc26-4394-94b6-7ce08d1a5bdc", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_island_village_sel.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S87sh15.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_island_village_sel.png" }, "S87sh19": { "lane": "structure_plate", "group_id": "bg_island_village", "segment_id": "SEG_03", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_island_village_sel.png", "seed_asset_id": "06b17b12-bc26-4394-94b6-7ce08d1a5bdc", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_island_village_sel.png", "bg_reason": "", "bypass_reason": "prev" }, "S88sh3": { "lane": "structure_plate", "group_id": "bg_island_dock", "segment_id": "seg_dock_frontage", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_island_dock_sel.png", "seed_asset_id": "5920c8a3-9754-40bd-96db-d86a0391e5df", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_island_dock_sel.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S88sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_island_dock_sel.png" }, "S88sh6": { "lane": "structure_plate", "group_id": "bg_island_dock", "segment_id": "seg_wheelhouse", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_island_dock_sel.png", "seed_asset_id": "5920c8a3-9754-40bd-96db-d86a0391e5df", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_island_dock_sel.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S88sh6.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_island_dock_sel.png" }, "S90sh1": { "lane": "structure_plate", "group_id": "bg_police_patrol_boat", "segment_id": "SEG_04", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_police_patrol_boat_sel.png", "seed_asset_id": "62dfe2a8-f903-49b8-ab08-895e969c8bdf", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L38B02.png", "bg_reason": "", "bypass_reason": "bg_only" }, "S90sh4": { "lane": "structure_plate", "group_id": "bg_police_patrol_boat", "segment_id": "SEG_04", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_police_patrol_boat_sel.png", "seed_asset_id": "62dfe2a8-f903-49b8-ab08-895e969c8bdf", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L38B02.png", "bg_reason": "", "bypass_reason": "prev" }, "S97sh6": { "lane": "structure_plate", "group_id": "bg_island_sea_cliff", "segment_id": "SEG_01", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_island_sea_cliff_sel.png", "seed_asset_id": "9073d822-9fc7-4005-a659-6d0abcf88078", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_island_sea_cliff_sel.png", "bg_reason": "", "bypass_reason": "prev" }, "S102sh12": { "lane": "structure_plate", "group_id": "bg_mainland_harbor_dock", "segment_id": "seg_vessel_structure", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_mainland_harbor_dock_sel.png", "seed_asset_id": "81ef185c-4c25-41b8-ad18-10745e6f506f", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_mainland_harbor_dock_sel.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S102sh12.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_mainland_harbor_dock_sel.png" }, "S102sh17": { "lane": "structure_plate", "group_id": "bg_mainland_harbor_dock", "segment_id": "seg_ritual_altar", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_mainland_harbor_dock_sel.png", "seed_asset_id": "81ef185c-4c25-41b8-ad18-10745e6f506f", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_mainland_harbor_dock_sel.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S102sh17.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_mainland_harbor_dock_sel.png" }, "S105sh1": { "lane": "map_marker", "group_id": "bg_forest_ritual_clearing", "segment_id": "seg_ritual_clearing", "status": "ok", "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/lane_sketch_S105sh1.png", "base_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/canon_bg_forest_ritual_clearing_map.png", "base_map_asset_id": "a002a4dd-6c78-46ca-86bd-d3850a122302", "marker_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/lane_marker_map_S105sh1.png", "marker_check": { "markers_ok": true, "details_ko": "정상" }, "marker_prompt": "Edit the attached TOP-DOWN SITE PLAN image: draw STAGING MARKERS on it\nat the positions described below. This is a planning aid for a film\ncrew, drawn over the plan.\n\nPLACEMENT AUTHORITY: each marker line below places its marker relative\nto a fixed feature, zone or boundary VISIBLE on the attached plan —\nthat landmark-relative description is the placement authority. The\nnormalized fractions in parentheses are coarse estimates of the same\nspot (x runs left→right 0..1, y runs top→bottom 0..1 of the full\ncanvas) — use them only to confirm the rough region; when in doubt,\nthe landmark description wins. Do NOT relocate a marker onto a\ndifferent salient line or feature than the one its description names.\n\nNEVER move a marker to make the drawing fit. The camera circle and\nevery subject circle go exactly where their descriptions place them,\neven when that leaves the view wedge or an arrow running off the edge\nof the image — in that case just let the wedge or arrow continue to\nthe image border and stop there. Shifting the camera outward, pulling\na subject aside, or shrinking the wedge to keep it inside the canvas\nall break the plan this map exists to record.\n\nDraw EXACTLY these markers, flat and high-contrast, small enough not\nto hide the plan under them:\n- CAMERA: one filled circle at the camera position, labelled CAM, and\n out of that circle a FIELD-OF-VIEW WEDGE showing what this shot\n sees — two straight thin lines, one running toward each of the two\n frame-edge positions given below, and a third thinner line to the\n look-target position between them. Fill the area between the two\n edge lines with a light translucent tint so the wedge reads as the\n camera's view; the plan underneath must stay fully readable through\n the tint. Every subject listed below stands inside this wedge —\n if your drawing leaves one outside it, the wedge is drawn wrong,\n not the subject.\n- SUBJECTS: one filled circle per subject at its position, labelled\n with its slot code (E1, E2, ...) followed by its short description\n in parentheses, and one short ARROW leaving that circle toward the\n spot the subject faces, so the direction each subject is turned is\n readable at a glance.\n\nChange NOTHING else: keep every zone, landmark, line, label and color\nof the plan exactly as attached — do not redraw, recolor, move or\nremove anything, do not add scenery, shadows or any other symbols or\ntext beyond the markers, wedge, arrows and labels specified above. The\noutput is the SAME plan image with only these staging markers added.\n\nMARKERS TO DRAW:\n- CAM (camera): circle On the western outer edge of the open ritual clearing where the forest approach path ends. (coarse estimate x=0.57, y=0.49); its sight line ends at LOOK TARGET: On the ritual rock in the eastern half of the open clearing. (coarse estimate x=0.85, y=0.46); the frame's LEFT edge cuts through At the northern boundary of the open ritual clearing beside the surrounding pine woodland. (coarse estimate x=0.80, y=0.25) and its RIGHT edge through At the southern boundary of the open ritual clearing beside the surrounding pine woodland. (coarse estimate x=0.75, y=0.68)\n- E1 (towering bonfire): circle Near the center of the open ritual clearing just left of the ritual rock. (coarse estimate x=0.70, y=0.50), facing On the ritual rock in the eastern half of the open clearing. (coarse estimate x=0.85, y=0.46)\n- E2 (cluster of black-clad worshippers): circle On the western side of the open ritual clearing near the end of the approach path. (coarse estimate x=0.62, y=0.48), facing Near the center of the open ritual clearing just left of the ritual rock. (coarse estimate x=0.70, y=0.50)\n- E3 (cluster of black-clad worshippers): circle In the northern part of the open ritual clearing below the pine woodland boundary. (coarse estimate x=0.67, y=0.39), facing Near the center of the open ritual clearing just left of the ritual rock. (coarse estimate x=0.70, y=0.50)\n- E4 (cluster of black-clad worshippers): circle In the northeastern part of the open ritual clearing just left of the ritual rock. (coarse estimate x=0.76, y=0.40), facing Near the center of the open ritual clearing just left of the ritual rock. (coarse estimate x=0.70, y=0.50)\n- E5 (cluster of black-clad worshippers): circle In the southeastern part of the open ritual clearing below the ritual rock. (coarse estimate x=0.78, y=0.55), facing Near the center of the open ritual clearing just left of the ritual rock. (coarse estimate x=0.70, y=0.50)\n- E6 (cluster of black-clad worshippers): circle In the southern part of the open ritual clearing above the pine woodland boundary. (coarse estimate x=0.67, y=0.58), facing Near the center of the open ritual clearing just left of the ritual rock. (coarse estimate x=0.70, y=0.50)", "marker_attempts": 1, "geometry": { "camera": { "look_target": { "x": 0.85, "y": 0.46 }, "look_target_anchor_en": "On the ritual rock in the eastern half of the open clearing.", "origin": { "x": 0.57, "y": 0.49 }, "origin_anchor_en": "On the western outer edge of the open ritual clearing where the forest approach path ends.", "view_left": { "x": 0.8, "y": 0.25 }, "view_left_anchor_en": "At the northern boundary of the open ritual clearing beside the surrounding pine woodland.", "view_right": { "x": 0.75, "y": 0.68 }, "view_right_anchor_en": "At the southern boundary of the open ritual clearing beside the surrounding pine woodland." }, "entity_placements": [ { "anchor_en": "Near the center of the open ritual clearing just left of the ritual rock.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.85, "y": 0.46 }, "facing_anchor_en": "On the ritual rock in the eastern half of the open clearing.", "slot": "E1", "subject_en": "towering bonfire", "x": 0.7, "y": 0.5 }, { "anchor_en": "On the western side of the open ritual clearing near the end of the approach path.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.7, "y": 0.5 }, "facing_anchor_en": "Near the center of the open ritual clearing just left of the ritual rock.", "slot": "E2", "subject_en": "cluster of black-clad worshippers", "x": 0.62, "y": 0.48 }, { "anchor_en": "In the northern part of the open ritual clearing below the pine woodland boundary.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.7, "y": 0.5 }, "facing_anchor_en": "Near the center of the open ritual clearing just left of the ritual rock.", "slot": "E3", "subject_en": "cluster of black-clad worshippers", "x": 0.67, "y": 0.39 }, { "anchor_en": "In the northeastern part of the open ritual clearing just left of the ritual rock.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.7, "y": 0.5 }, "facing_anchor_en": "Near the center of the open ritual clearing just left of the ritual rock.", "slot": "E4", "subject_en": "cluster of black-clad worshippers", "x": 0.76, "y": 0.4 }, { "anchor_en": "In the southeastern part of the open ritual clearing below the ritual rock.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.7, "y": 0.5 }, "facing_anchor_en": "Near the center of the open ritual clearing just left of the ritual rock.", "slot": "E5", "subject_en": "cluster of black-clad worshippers", "x": 0.78, "y": 0.55 }, { "anchor_en": "In the southern part of the open ritual clearing above the pine woodland boundary.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.7, "y": 0.5 }, "facing_anchor_en": "Near the center of the open ritual clearing just left of the ritual rock.", "slot": "E6", "subject_en": "cluster of black-clad worshippers", "x": 0.67, "y": 0.58 } ], "rationale_ko": "카메라는 진입로가 끝나는 공터 서쪽 외곽에서 바위 제단을 향해 넓게 바라본다. 모닥불은 시선축보다 약간 아래인 공터 중앙에 두고, 신도 무리는 그 둘레에 넓은 원을 이루도록 분산했다. 바위 제단은 신도들 너머에 남아 전체 의식 배치가 하나의 와이드 프레임에 들어온다." }, "leakage": { "has_marker_leakage": false, "details_ko": "기호나 마커 없이 자연스럽게 그려졌습니다." }, "prompt": "Draw a single CAMERA-VIEW storyboard frame (16:9) of the scene staged\non the attached MARKER-ANNOTATED TOP-DOWN SITE PLAN, seen from the\ncamera position marked on it.\n\nThe attached plan carries STAGING MARKERS drawn over it: a\ncamera-position marker with a field-of-view wedge (where the camera\nstands, which way it looks and how wide it sees) and one labelled\ncircle per subject with an arrow (where each subject stands and which\nway that subject is turned). Jurisdiction of sources — follow all three, they do not\nconflict:\n- The SITE PLAN under the markers is the SOT for what exists on the\n site and how its zones and landmarks are arranged relative to each\n other. The markers themselves are staging aids, NOT site content.\n- The markers on the plan are the SOT for XY POSITIONS, horizontal\n heading and body facing ONLY: where each subject stands on that\n plan, which way each one is turned, where the camera stands, which\n way it looks and how wide its wedge opens. Distances, directions\n and relative depths between subjects come from the marked\n positions; what the wedge covers is what this frame contains, and\n subjects outside the wedge are out of frame. The STAGING GEOMETRY\n text below restates the same staging with coarse normalized\n estimates — it never overrides the marked plan.\n- The CAMERA DIRECTION text below (when present) is the SOT for the\n VERTICAL angle, elevation, tilt and framing (eye-level, high angle,\n overhead crane, low angle, ...). If it asks for a high or overhead\n angle, draw that angle — the site plan being top-down does NOT mean\n the frame must be eye-level. It does NOT govern horizontal\n placement: which side of the frame a subject occupies and which way\n that subject is turned come from the marked plan and the staging\n text, even when that memo also mentions left, right, foreground or\n background.\n\nSTYLE — MANNEQUIN BLOCKING SKETCH: thin uniform dark outlines on plain\npaper, nothing else. Draw every person as a PLAIN ARTIST'S MANNEQUIN:\na featureless oval head with NO face, NO hair, NO clothing and no\ncostume detail — simple tapered limbs and torso, like a wooden posing\nfigure. Because the head has no face and no hair, the ONLY thing that\nshows which way a figure is turned is the BODY ITSELF: the direction\nthe chest, hips and feet point, and the way the head-oval sits on the\nshoulders. Aim each mannequin's chest and feet at the spot the staging\ntext says that person faces, and let the arms carry the action. A\nmannequin turned to the wrong side is the single worst error in this\ndrawing. Environment is reduced to a few placement lines (ground line,\nkey landmark silhouettes) — just enough to read positions and depth.\n\nSTAGING GEOMETRY — PLANNING DATA ONLY, NEVER RENDER IT: the lines\nbelow restate, marker by marker, the staging already marked on the\nattached plan: each landmark-relative description restates the\nmarker-map authority in words, and the normalized fractions in\nparentheses (x left→right 0..1, y top→bottom 0..1) are coarse audit\nestimates only — neither ever overrides the marked plan.\n\nThose fractions are TOP-DOWN bookkeeping. Never read them as left and\nright of your frame: on a plan seen from above, a subject \"to the\nright\" can sit on either side of a camera that looks any direction.\nEach subject line therefore ends with the SAME staging expressed from\nTHIS camera — which part of the frame the subject occupies, and which\nway that subject faces in screen terms (toward the left or right of\nthe frame, toward or away from the camera or side-on to it in\nprofile, and whom they are looking at). Those screen-space statements\nare what your drawing must match:\na figure said to face the right of the frame is turned to the right in\nyour drawing, never mirrored.\n\nDo NOT draw any of this data in the image — no numbers, no\ncoordinates, no labels, no arrows, no cones, no dots, no diagram\nsymbols of any kind.\n\nWhere the CAMERA DIRECTION text below also describes horizontal\nplacement (which side of the frame someone occupies, foreground left,\nbackground right), treat that as background reading only: for anything\nabout left, right and where a subject sits in this frame, the staging\nabove wins. CAMERA DIRECTION governs the vertical angle, elevation,\ntilt and framing.\n\nFor whether a subject faces the camera or is turned away from it, each\nsubject line above already states it in screen terms and the SHOT TEXT\nis the source it was derived from — draw exactly what the subject line\nsays, and never mirror it.\n- the camera stands On the western outer edge of the open ritual clearing where the forest approach path ends. (coarse estimate x=0.57, y=0.49); its sight line ends at LOOK TARGET: On the ritual rock in the eastern half of the open clearing. (coarse estimate x=0.85, y=0.46); the frame's LEFT edge cuts through At the northern boundary of the open ritual clearing beside the surrounding pine woodland. (coarse estimate x=0.80, y=0.25) and its RIGHT edge through At the southern boundary of the open ritual clearing beside the surrounding pine woodland. (coarse estimate x=0.75, y=0.68) — everything between those two edges is in frame, anything outside them is out of frame\n- towering bonfire stands Near the center of the open ritual clearing just left of the ritual rock. (coarse estimate x=0.70, y=0.50), facing On the ritual rock in the eastern half of the open clearing. (coarse estimate x=0.85, y=0.46) — from this camera the subject is in the RIGHT part of the frame and faces away from the camera, into the depth of the shot, so the camera sees this subject from behind\n- cluster of black-clad worshippers stands On the western side of the open ritual clearing near the end of the approach path. (coarse estimate x=0.62, y=0.48), facing Near the center of the open ritual clearing just left of the ritual rock. (coarse estimate x=0.70, y=0.50) — from this camera the subject is near the CENTER of the frame and faces toward the RIGHT of the frame and away from the camera, into the depth of the shot, so the camera sees this subject from behind; this subject is turned toward the towering bonfire\n- cluster of black-clad worshippers stands In the northern part of the open ritual clearing below the pine woodland boundary. (coarse estimate x=0.67, y=0.39), facing Near the center of the open ritual clearing just left of the ritual rock. (coarse estimate x=0.70, y=0.50) — from this camera the subject is in the LEFT part of the frame and faces toward the RIGHT of the frame; this subject is turned toward the towering bonfire\n- cluster of black-clad worshippers stands In the northeastern part of the open ritual clearing just left of the ritual rock. (coarse estimate x=0.76, y=0.40), facing Near the center of the open ritual clearing just left of the ritual rock. (coarse estimate x=0.70, y=0.50) — from this camera the subject is in the LEFT part of the frame and faces toward the RIGHT of the frame and toward the camera, so the camera sees this subject from the front; this subject is turned toward the towering bonfire\n- cluster of black-clad worshippers stands In the southeastern part of the open ritual clearing below the ritual rock. (coarse estimate x=0.78, y=0.55), facing Near the center of the open ritual clearing just left of the ritual rock. (coarse estimate x=0.70, y=0.50) — from this camera the subject is in the RIGHT part of the frame and faces toward the LEFT of the frame and toward the camera, so the camera sees this subject from the front; this subject is turned toward the towering bonfire\n- cluster of black-clad worshippers stands In the southern part of the open ritual clearing above the pine woodland boundary. (coarse estimate x=0.67, y=0.58), facing Near the center of the open ritual clearing just left of the ritual rock. (coarse estimate x=0.70, y=0.50) — from this camera the subject is in the RIGHT part of the frame and faces toward the LEFT of the frame and away from the camera, into the depth of the shot, so the camera sees this subject from behind; this subject is turned toward the towering bonfire\n\nCAMERA DIRECTION (vertical angle / elevation / framing SOT): At eye level from the outer edge of the clearing, the camera begins a slow forward dolly in a wide composition that retains the entire ritual layout. The bonfire occupies less than the lower central quarter, the worshippers form a broad ring around it, and the altar sits beyond them beneath the full moon.\n\nTHE LOCATION: 금월도 숲속 만월제 도당\n\nSHOT TEXT (authoritative, Korean): 둥근 보름달 빛이 스며드는 어두운 숲속 제단 한가운데에서 거대한 모닥불이 맹렬하게 불타오르는 전경.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, head-oval and chest turned toward the target the\nSHOT TEXT implies; avoid a stiff attention stance (feet together, arms\nhanging straight down) and a head-oval squared flat to the lens. If the\nSHOT TEXT or any POSE contract above stages stillness, death, sleep,\nunconsciousness, restraint, drill or an explicit direct-to-camera look,\ndraw THAT exactly — this clause never overrides it.\n\nCRITICAL — THE SITE PLAN IS A STAGING REFERENCE, NOT CONTENT: do NOT\ndraw the plan itself, and do NOT draw any diagram elements in the\nframe — no circles, dots, wedges, cones, arrows, callouts, codes or\nany other overlay symbols. The output is a clean storyboard drawing\nof the scene as seen by the camera only.\n\nNo text, no letters, no numbers, no captions anywhere in the image.", "reused": true, "lane_sketch_pack": "14.202607270344", "lane_geometry_pack": "4.202607270248", "mannequin_chain_contract": "1", "asset_id": "370122a0-af90-4e60-a17f-ef4b24e7602d" }, "S106sh2": { "lane": "structure_plate", "group_id": "bg_island_rocky_shore", "segment_id": "seg_front_threshold", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_island_rocky_shore_sel.png", "seed_asset_id": "b756929e-cc3c-4e67-9df3-0cabc92e4864", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_island_rocky_shore_sel.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S106sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_island_rocky_shore_sel.png" }, "S108sh6": { "lane": "structure_plate", "group_id": "bg_forest_ritual_clearing", "segment_id": "seg_storage_interior", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_forest_ritual_clearing_sel.png", "seed_asset_id": "dda47e7c-bf17-4f91-8e97-7bf6000f938b", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_forest_ritual_clearing_sel.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S108sh6.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_forest_ritual_clearing_sel.png" }, "S108sh9": { "lane": "structure_plate", "group_id": "bg_forest_ritual_clearing", "segment_id": "seg_storage_interior", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_forest_ritual_clearing_sel.png", "seed_asset_id": "dda47e7c-bf17-4f91-8e97-7bf6000f938b", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_forest_ritual_clearing_sel.png", "bg_reason": "", "bypass_reason": "prev" }, "S110sh41": { "lane": "map_marker", "group_id": "bg_pine_forest_route", "segment_id": "SEG_10", "marker_attempts": 1, "sketch_attempts": 1, "status": "ok", "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/lane_sketch_S110sh41.png", "base_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/canon_bg_pine_forest_route_map.png", "base_map_asset_id": "b8f89e4a-8c50-45ed-ac2d-eb9355d86820", "marker_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/lane_marker_map_S110sh41.png", "marker_check": { "markers_ok": true, "details_ko": "정상" }, "marker_prompt": "Edit the attached TOP-DOWN SITE PLAN image: draw STAGING MARKERS on it\nat the positions described below. This is a planning aid for a film\ncrew, drawn over the plan.\n\nPLACEMENT AUTHORITY: each marker line below places its marker relative\nto a fixed feature, zone or boundary VISIBLE on the attached plan —\nthat landmark-relative description is the placement authority. The\nnormalized fractions in parentheses are coarse estimates of the same\nspot (x runs left→right 0..1, y runs top→bottom 0..1 of the full\ncanvas) — use them only to confirm the rough region; when in doubt,\nthe landmark description wins. Do NOT relocate a marker onto a\ndifferent salient line or feature than the one its description names.\n\nNEVER move a marker to make the drawing fit. The camera circle and\nevery subject circle go exactly where their descriptions place them,\neven when that leaves the view wedge or an arrow running off the edge\nof the image — in that case just let the wedge or arrow continue to\nthe image border and stop there. Shifting the camera outward, pulling\na subject aside, or shrinking the wedge to keep it inside the canvas\nall break the plan this map exists to record.\n\nDraw EXACTLY these markers, flat and high-contrast, small enough not\nto hide the plan under them:\n- CAMERA: one filled circle at the camera position, labelled CAM, and\n out of that circle a FIELD-OF-VIEW WEDGE showing what this shot\n sees — two straight thin lines, one running toward each of the two\n frame-edge positions given below, and a third thinner line to the\n look-target position between them. Fill the area between the two\n edge lines with a light translucent tint so the wedge reads as the\n camera's view; the plan underneath must stay fully readable through\n the tint. Every subject listed below stands inside this wedge —\n if your drawing leaves one outside it, the wedge is drawn wrong,\n not the subject.\n- SUBJECTS: one filled circle per subject at its position, labelled\n with its slot code (E1, E2, ...) followed by its short description\n in parentheses, and one short ARROW leaving that circle toward the\n spot the subject faces, so the direction each subject is turned is\n readable at a glance.\n\nChange NOTHING else: keep every zone, landmark, line, label and color\nof the plan exactly as attached — do not redraw, recolor, move or\nremove anything, do not add scenery, shadows or any other symbols or\ntext beyond the markers, wedge, arrows and labels specified above. The\noutput is the SAME plan image with only these staging markers added.\n\nMARKERS TO DRAW:\n- CAM (camera): circle On the outer forest path below its narrowing inner section. (coarse estimate x=0.42, y=0.76); its sight line ends at LOOK TARGET: On the deep marker route beside a stone marker near the upper route bend. (coarse estimate x=0.47, y=0.33); the frame's LEFT edge cuts through In the pine understory left of the deep marker route. (coarse estimate x=0.20, y=0.25) and its RIGHT edge through In the pine understory well right of the deep marker route. (coarse estimate x=0.72, y=0.25)\n- E1 (blood-covered young woman): circle On the deep marker route beside a stone marker near the upper route bend. (coarse estimate x=0.47, y=0.33), facing On the lower bend of the deep marker route near the forest path disappearance point. (coarse estimate x=0.45, y=0.43)\n- E2 (fighting blood-drinkers cluster): circle In the undergrowth just left of the lower deep marker route and above the forest path disappearance point. (coarse estimate x=0.38, y=0.46), facing On the deep marker route immediately above the forest path disappearance point. (coarse estimate x=0.47, y=0.41)\n- E3 (mauling blood-drinkers cluster): circle In the undergrowth just right of the lower deep marker route and above the forest path disappearance point. (coarse estimate x=0.52, y=0.46), facing On the inside edge of the deep marker route above the forest path disappearance point. (coarse estimate x=0.43, y=0.41)\n- E4 (grappling blood-drinkers cluster): circle In the pine understory left of the central stone markers along the deep route. (coarse estimate x=0.35, y=0.35), facing On the deep marker route beside its central curve. (coarse estimate x=0.43, y=0.35)\n- E5 (biting blood-drinkers cluster): circle In the pine understory right of the central stone markers along the deep route. (coarse estimate x=0.59, y=0.35), facing Beside a stone marker on the right edge of the deep marker route. (coarse estimate x=0.50, y=0.35)\n- E6 (attacking blood-drinkers cluster): circle On the upper deep marker route between its separated stone markers. (coarse estimate x=0.49, y=0.23), facing On the central deep marker route below the upper stone markers. (coarse estimate x=0.45, y=0.30)", "geometry": { "camera": { "look_target": { "x": 0.47, "y": 0.33 }, "look_target_anchor_en": "On the deep marker route beside a stone marker near the upper route bend.", "origin": { "x": 0.42, "y": 0.76 }, "origin_anchor_en": "On the outer forest path below its narrowing inner section.", "view_left": { "x": 0.2, "y": 0.25 }, "view_left_anchor_en": "In the pine understory left of the deep marker route.", "view_right": { "x": 0.72, "y": 0.25 }, "view_right_anchor_en": "In the pine understory well right of the deep marker route." }, "entity_placements": [ { "anchor_en": "On the deep marker route beside a stone marker near the upper route bend.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.45, "y": 0.43 }, "facing_anchor_en": "On the lower bend of the deep marker route near the forest path disappearance point.", "slot": "E1", "subject_en": "blood-covered young woman", "x": 0.47, "y": 0.33 }, { "anchor_en": "In the undergrowth just left of the lower deep marker route and above the forest path disappearance point.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.47, "y": 0.41 }, "facing_anchor_en": "On the deep marker route immediately above the forest path disappearance point.", "slot": "E2", "subject_en": "fighting blood-drinkers cluster", "x": 0.38, "y": 0.46 }, { "anchor_en": "In the undergrowth just right of the lower deep marker route and above the forest path disappearance point.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.43, "y": 0.41 }, "facing_anchor_en": "On the inside edge of the deep marker route above the forest path disappearance point.", "slot": "E3", "subject_en": "mauling blood-drinkers cluster", "x": 0.52, "y": 0.46 }, { "anchor_en": "In the pine understory left of the central stone markers along the deep route.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.43, "y": 0.35 }, "facing_anchor_en": "On the deep marker route beside its central curve.", "slot": "E4", "subject_en": "grappling blood-drinkers cluster", "x": 0.35, "y": 0.35 }, { "anchor_en": "In the pine understory right of the central stone markers along the deep route.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.5, "y": 0.35 }, "facing_anchor_en": "Beside a stone marker on the right edge of the deep marker route.", "slot": "E5", "subject_en": "biting blood-drinkers cluster", "x": 0.59, "y": 0.35 }, { "anchor_en": "On the upper deep marker route between its separated stone markers.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.45, "y": 0.3 }, "facing_anchor_en": "On the central deep marker route below the upper stone markers.", "slot": "E6", "subject_en": "attacking blood-drinkers cluster", "x": 0.49, "y": 0.23 } ], "rationale_ko": "카메라는 외곽 숲길의 후방에서 깊은 표식 경로를 향하는 넓은 구도로 두어, 피범벅 여성이 화면 중심에 전신으로 서고 난투 집단들이 하단 전경과 좌우를 에워싸게 했다. 여성은 아래쪽 참상을 내려다보며, 각 육혈귀 무리는 경로 안쪽을 향해 서로 얽히는 방향으로 배치했다." }, "geometry_attempts": 1, "leakage": { "has_marker_leakage": false, "details_ko": "도형이나 텍스트 등 기획용 마커 없이 3D 원근감으로 정상 묘사됨." }, "prompt": "Draw a single CAMERA-VIEW storyboard frame (16:9) of the scene staged\non the attached MARKER-ANNOTATED TOP-DOWN SITE PLAN, seen from the\ncamera position marked on it.\n\nThe attached plan carries STAGING MARKERS drawn over it: a\ncamera-position marker with a field-of-view wedge (where the camera\nstands, which way it looks and how wide it sees) and one labelled\ncircle per subject with an arrow (where each subject stands and which\nway that subject is turned). Jurisdiction of sources — follow all three, they do not\nconflict:\n- The SITE PLAN under the markers is the SOT for what exists on the\n site and how its zones and landmarks are arranged relative to each\n other. The markers themselves are staging aids, NOT site content.\n- The markers on the plan are the SOT for XY POSITIONS, horizontal\n heading and body facing ONLY: where each subject stands on that\n plan, which way each one is turned, where the camera stands, which\n way it looks and how wide its wedge opens. Distances, directions\n and relative depths between subjects come from the marked\n positions; what the wedge covers is what this frame contains, and\n subjects outside the wedge are out of frame. The STAGING GEOMETRY\n text below restates the same staging with coarse normalized\n estimates — it never overrides the marked plan.\n- The CAMERA DIRECTION text below (when present) is the SOT for the\n VERTICAL angle, elevation, tilt and framing (eye-level, high angle,\n overhead crane, low angle, ...). If it asks for a high or overhead\n angle, draw that angle — the site plan being top-down does NOT mean\n the frame must be eye-level. It does NOT govern horizontal\n placement: which side of the frame a subject occupies and which way\n that subject is turned come from the marked plan and the staging\n text, even when that memo also mentions left, right, foreground or\n background.\n\nSTYLE — MANNEQUIN BLOCKING SKETCH: thin uniform dark outlines on plain\npaper, nothing else. Draw every person as a PLAIN ARTIST'S MANNEQUIN:\na featureless oval head with NO face, NO hair, NO clothing and no\ncostume detail — simple tapered limbs and torso, like a wooden posing\nfigure. Because the head has no face and no hair, the ONLY thing that\nshows which way a figure is turned is the BODY ITSELF: the direction\nthe chest, hips and feet point, and the way the head-oval sits on the\nshoulders. Aim each mannequin's chest and feet at the spot the staging\ntext says that person faces, and let the arms carry the action. A\nmannequin turned to the wrong side is the single worst error in this\ndrawing. Environment is reduced to a few placement lines (ground line,\nkey landmark silhouettes) — just enough to read positions and depth.\n\nSTAGING GEOMETRY — PLANNING DATA ONLY, NEVER RENDER IT: the lines\nbelow restate, marker by marker, the staging already marked on the\nattached plan: each landmark-relative description restates the\nmarker-map authority in words, and the normalized fractions in\nparentheses (x left→right 0..1, y top→bottom 0..1) are coarse audit\nestimates only — neither ever overrides the marked plan.\n\nThose fractions are TOP-DOWN bookkeeping. Never read them as left and\nright of your frame: on a plan seen from above, a subject \"to the\nright\" can sit on either side of a camera that looks any direction.\nEach subject line therefore ends with the SAME staging expressed from\nTHIS camera — which part of the frame the subject occupies, and which\nway that subject faces in screen terms (toward the left or right of\nthe frame, toward or away from the camera or side-on to it in\nprofile, and whom they are looking at). Those screen-space statements\nare what your drawing must match:\na figure said to face the right of the frame is turned to the right in\nyour drawing, never mirrored.\n\nDo NOT draw any of this data in the image — no numbers, no\ncoordinates, no labels, no arrows, no cones, no dots, no diagram\nsymbols of any kind.\n\nWhere the CAMERA DIRECTION text below also describes horizontal\nplacement (which side of the frame someone occupies, foreground left,\nbackground right), treat that as background reading only: for anything\nabout left, right and where a subject sits in this frame, the staging\nabove wins. CAMERA DIRECTION governs the vertical angle, elevation,\ntilt and framing.\n\nFor whether a subject faces the camera or is turned away from it, each\nsubject line above already states it in screen terms and the SHOT TEXT\nis the source it was derived from — draw exactly what the subject line\nsays, and never mirror it.\n- the camera stands On the outer forest path below its narrowing inner section. (coarse estimate x=0.42, y=0.76); its sight line ends at LOOK TARGET: On the deep marker route beside a stone marker near the upper route bend. (coarse estimate x=0.47, y=0.33); the frame's LEFT edge cuts through In the pine understory left of the deep marker route. (coarse estimate x=0.20, y=0.25) and its RIGHT edge through In the pine understory well right of the deep marker route. (coarse estimate x=0.72, y=0.25) — everything between those two edges is in frame, anything outside them is out of frame\n- blood-covered young woman stands On the deep marker route beside a stone marker near the upper route bend. (coarse estimate x=0.47, y=0.33), facing On the lower bend of the deep marker route near the forest path disappearance point. (coarse estimate x=0.45, y=0.43) — from this camera the subject is near the CENTER of the frame and faces toward the camera, so the camera sees this subject from the front\n- fighting blood-drinkers cluster stands In the undergrowth just left of the lower deep marker route and above the forest path disappearance point. (coarse estimate x=0.38, y=0.46), facing On the deep marker route immediately above the forest path disappearance point. (coarse estimate x=0.47, y=0.41) — from this camera the subject is in the LEFT part of the frame and faces toward the RIGHT of the frame and away from the camera, into the depth of the shot, so the camera sees this subject from behind\n- mauling blood-drinkers cluster stands In the undergrowth just right of the lower deep marker route and above the forest path disappearance point. (coarse estimate x=0.52, y=0.46), facing On the inside edge of the deep marker route above the forest path disappearance point. (coarse estimate x=0.43, y=0.41) — from this camera the subject is in the RIGHT part of the frame and faces toward the LEFT of the frame and away from the camera, into the depth of the shot, so the camera sees this subject from behind\n- grappling blood-drinkers cluster stands In the pine understory left of the central stone markers along the deep route. (coarse estimate x=0.35, y=0.35), facing On the deep marker route beside its central curve. (coarse estimate x=0.43, y=0.35) — from this camera the subject is in the LEFT part of the frame and faces toward the RIGHT of the frame; this subject is turned toward the blood-covered young woman\n- biting blood-drinkers cluster stands In the pine understory right of the central stone markers along the deep route. (coarse estimate x=0.59, y=0.35), facing Beside a stone marker on the right edge of the deep marker route. (coarse estimate x=0.50, y=0.35) — from this camera the subject is in the RIGHT part of the frame and faces toward the LEFT of the frame; this subject is turned toward the blood-covered young woman\n- attacking blood-drinkers cluster stands On the upper deep marker route between its separated stone markers. (coarse estimate x=0.49, y=0.23), facing On the central deep marker route below the upper stone markers. (coarse estimate x=0.45, y=0.30) — from this camera the subject is near the CENTER of the frame and faces toward the LEFT of the frame and toward the camera, so the camera sees this subject from the front; this subject is turned toward the blood-covered young woman\n\nCAMERA DIRECTION (vertical angle / elevation / framing SOT): Settle the backward crane at a slightly elevated wide position, preserving 김지후(강수리영)'s full body at the visual center while violent clusters occupy the lower foreground and both sides. She remains vertically composed and still amid circling diagonals of bodies, with the altar and red moon anchoring the deeper ritual space rather than replacing the carnage as the focus.\n\nTHE LOCATION: 금월도 해송 숲길 및 숲속\n\nSHOT TEXT (authoritative, Korean): 붉은 달빛 아래 육혈귀들이 서로를 뜯어먹는 핏빛 지옥도 한가운데서, 온몸이 피범벅이 된 김지후(강수리영)가 차분한 표정으로 참상을 내려다보는 꼿꼿한 전신.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, head-oval and chest turned toward the target the\nSHOT TEXT implies; avoid a stiff attention stance (feet together, arms\nhanging straight down) and a head-oval squared flat to the lens. If the\nSHOT TEXT or any POSE contract above stages stillness, death, sleep,\nunconsciousness, restraint, drill or an explicit direct-to-camera look,\ndraw THAT exactly — this clause never overrides it.\n\nCRITICAL — THE SITE PLAN IS A STAGING REFERENCE, NOT CONTENT: do NOT\ndraw the plan itself, and do NOT draw any diagram elements in the\nframe — no circles, dots, wedges, cones, arrows, callouts, codes or\nany other overlay symbols. The output is a clean storyboard drawing\nof the scene as seen by the camera only.\n\nNo text, no letters, no numbers, no captions anywhere in the image.", "lane_sketch_pack": "14.202607270344", "lane_geometry_pack": "4.202607270248", "mannequin_chain_contract": "1", "asset_id": "5958c505-c07a-48c0-b981-01c1c624543d" }, "S112sh6": { "lane": "structure_plate", "group_id": "bg_forest_slaughter_complex", "segment_id": "SEG_06", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_forest_slaughter_complex_sel.png", "seed_asset_id": "6434b544-0a16-42ea-a909-412c18868a98", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L25B02.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S112sh6.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L25B02.png" }, "S113sh3": { "lane": "structure_plate", "group_id": "bg_forest_ritual_clearing", "segment_id": "seg_dock_vessel", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_forest_ritual_clearing_sel.png", "seed_asset_id": "dda47e7c-bf17-4f91-8e97-7bf6000f938b", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_forest_ritual_clearing_sel.png", "bg_reason": "", "bypass_reason": "prev" } } }, "step_id": "shot_conti_light", "run_id": "d9ac32c6-5d23-4ac4-b25c-9015a316052d", "resolved_model": "gpt-image-2", "updated_at": "2026-08-05T11:43:22.212474+00:00", "project_config_snapshot": {} }