{
  "status": "completed",
  "applicable_count": 86,
  "completed_count": 86,
  "failed_count": 0,
  "schema_version": 3,
  "config_hash": "787c440f826114ed",
  "data": {
    "groups": {
      "L152B03": {
        "status": "ok",
        "location_id": "L152",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L152B03.png",
        "t2i_prompt": "대한민국의 잘 관리된 주택에서 소동이 일어나기 전, 조용한 낮의 현관과 거실 통유리창을 바깥에서 바라본 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실제 미러리스 카메라와 35밀리미터급 렌즈를 사용하여 지면에서 약 1.6미터 높이의 서 있는 사람 눈높이로 촬영한다. 현관 앞 진입 공간에서 외벽을 약간 비스듬하게 바라보며, 화면 한쪽에는 닫힌 현관문과 그 옆의 빈 벽면, 다른 쪽에는 큰 통유리창과 그 너머 정돈된 거실이 함께 들어온다. 현관문 바로 앞의 디딤 공간을 충분히 보이고, 벽과 문 주변은 다른 물건으로 가리지 않는다. 내려다보는 시점이 아닌 자연스러운 수평 시선의 외부 전경이다.\n주택 외벽은 차분한 회색 미장과 콘크리트 기단으로 마감되어 있고, 현관에는 생활 흠집이 조금 있는 금속문과 디지털 도어록, 낮은 석재 문턱이 있다. 통유리창은 짙은 금속 창틀을 갖춘 온전한 유리로, 낮의 주변 밝기가 은은히 반사되지만 거실 내부를 알아볼 수 있을 만큼 투명하다. 실내에는 밝은 목재 바닥, 천 소재 소파, 낮은 목재 탁자와 수납장이 가지런히 놓여 있다. 창 양옆으로 걷힌 직물 커튼은 실내를 가리지 않는다. 청소하며 돌보던 일상의 공간처럼 정돈되어 있지만 새집 전시 공간처럼 완벽하지는 않다. 문턱 가장자리의 옅은 먼지, 외벽 하단의 미세한 빗물 자국, 창틀의 작은 사용 흔적, 소파의 실제 직물 짜임과 목재의 자연스러운 나뭇결이 보인다.\n미래의 한국이라는 배경을 과장된 장치로 설명하지 않고 익숙한 주거 구조와 유지 관리된 생활 재료로 표현한다. 파손이나 폐허, 흩어진 잔해, 깨진 유리, 비정상적인 발광은 없다. 부드러운 주간 자연광이 외벽과 진입 공간을 비추고 창을 통해 거실로 들어온다. 실외보다 조금 어두운 실내의 밝기 차이를 현실적으로 유지하면서 가구의 형태는 읽히게 한다. 회색 외벽과 금속의 차분한 색, 실내 목재의 은은한 온기를 실제 재료색 그대로 담고 과도한 대비나 인위적인 색 보정을 하지 않는다. 자연스러운 심도로 현관부터 유리 너머 거실까지 공간 관계가 분명한 실제 장소 기록 사진이며, 매끈한 광고 사진이나 합성 영상, 그림, 건축 조감도가 아니다. 사람, 얼굴, 사람 모양의 반사나 그림자, 인물이 담긴 사진, 로봇은 전혀 없다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S5_Shot1",
            "guide_text": "주택 외부에서 약 1.6미터 눈높이와 35밀리미터급 시야로 현관과 통유리창을 함께 담는다. 현관 바로 앞과 인접한 벽면을 가리지 않은 빈 공간으로 확보하고, 창 너머에는 소파와 낮은 탁자가 있는 정돈된 거실이 보이게 한다. 유리 반사가 실내 전체를 지우지 않도록 관찰 각도를 조절하되 유리를 없는 것처럼 표현하지 않는다. 부드러운 낮빛과 소동 이전의 온전한 상태를 유지하며, 사람이나 사람의 반사상은 그리지 않는다."
          }
        ],
        "shot_ids": [
          "S5_Shot1"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "text_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {},
        "reference_decision": {
          "mode": "surface_role_direct_plate",
          "surface_role": "exterior_plate",
          "fp_id": "",
          "source_bg_ids": []
        },
        "effective_render_prompt": "대한민국의 잘 관리된 주택에서 소동이 일어나기 전, 조용한 낮의 현관과 거실 통유리창을 바깥에서 바라본 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실제 미러리스 카메라와 35밀리미터급 렌즈를 사용하여 지면에서 약 1.6미터 높이의 서 있는 사람 눈높이로 촬영한다. 현관 앞 진입 공간에서 외벽을 약간 비스듬하게 바라보며, 화면 한쪽에는 닫힌 현관문과 그 옆의 빈 벽면, 다른 쪽에는 큰 통유리창과 그 너머 정돈된 거실이 함께 들어온다. 현관문 바로 앞의 디딤 공간을 충분히 보이고, 벽과 문 주변은 다른 물건으로 가리지 않는다. 내려다보는 시점이 아닌 자연스러운 수평 시선의 외부 전경이다.\n주택 외벽은 차분한 회색 미장과 콘크리트 기단으로 마감되어 있고, 현관에는 생활 흠집이 조금 있는 금속문과 디지털 도어록, 낮은 석재 문턱이 있다. 통유리창은 짙은 금속 창틀을 갖춘 온전한 유리로, 낮의 주변 밝기가 은은히 반사되지만 거실 내부를 알아볼 수 있을 만큼 투명하다. 실내에는 밝은 목재 바닥, 천 소재 소파, 낮은 목재 탁자와 수납장이 가지런히 놓여 있다. 창 양옆으로 걷힌 직물 커튼은 실내를 가리지 않는다. 청소하며 돌보던 일상의 공간처럼 정돈되어 있지만 새집 전시 공간처럼 완벽하지는 않다. 문턱 가장자리의 옅은 먼지, 외벽 하단의 미세한 빗물 자국, 창틀의 작은 사용 흔적, 소파의 실제 직물 짜임과 목재의 자연스러운 나뭇결이 보인다.\n미래의 한국이라는 배경을 과장된 장치로 설명하지 않고 익숙한 주거 구조와 유지 관리된 생활 재료로 표현한다. 파손이나 폐허, 흩어진 잔해, 깨진 유리, 비정상적인 발광은 없다. 부드러운 주간 자연광이 외벽과 진입 공간을 비추고 창을 통해 거실로 들어온다. 실외보다 조금 어두운 실내의 밝기 차이를 현실적으로 유지하면서 가구의 형태는 읽히게 한다. 회색 외벽과 금속의 차분한 색, 실내 목재의 은은한 온기를 실제 재료색 그대로 담고 과도한 대비나 인위적인 색 보정을 하지 않는다. 자연스러운 심도로 현관부터 유리 너머 거실까지 공간 관계가 분명한 실제 장소 기록 사진이며, 매끈한 광고 사진이나 합성 영상, 그림, 건축 조감도가 아니다. 사람, 얼굴, 사람 모양의 반사나 그림자, 인물이 담긴 사진, 로봇은 전혀 없다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_aware_plan_mode": "surface_role_direct_plate",
        "attached_reference_lineage": {
          "fp_id": "",
          "prior_bg_ids": [],
          "attached_ref_labels": [],
          "ref_used": "text_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L152B02": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L152",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L152B02.png",
        "t2i_prompt": "2069년 기후 재난 이후에도 유지되고 있는 한국 주택의 거실 통유리창 안쪽 바닥을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 거실은 주택의 중앙과 동쪽에 이어지고, 남쪽 외벽의 동쪽 구간에는 바닥부터 천장까지 이어지는 개폐식 통유리창이 있다. 창밖으로는 주택 외벽을 따라 출입구와 창 쪽을 연결하는 외부 접근 공간이 짧게 보인다. 평면도는 이러한 공간의 연결과 개구부 위치를 파악하는 데만 사용한다. 새로운 가구나 장식은 추가하지 않는다.\n통유리창의 가동 패널은 열려 있으며, 열린 구간으로 들어온 주간 자연광이 바로 안쪽 바닥을 밝힌다. 창틀의 실제 금속 표면과 유리의 약한 반사, 바닥 마감의 미세한 사용감과 이음새를 사실적으로 표현한다. 전체적으로 차분한 회색 계열의 실제 재료색을 유지하되 인위적인 색 보정 없이 실내 그늘과 외부 밝기의 차이를 자연스럽게 기록한다. 미래의 주택이라는 이유로 공간을 번쩍이는 첨단 시설이나 일률적인 폐허로 바꾸지 않는다.\n열린 창 바로 안쪽 바닥에는 쓰러져 손상된 가사용 로봇의 머리 외장 손상 부위만 화면 하단 가장자리에 제한적으로 걸친다. 찢긴 외장 덮개 아래 드러난 은빛 금속의 실제 반사와 거친 손상 경계가 보이되, 얼굴이나 머리 전체의 윤곽, 몸통과 팔다리, 사람 형태의 실루엣은 모두 화면 밖에 둔다. 이 부분은 바닥에 닿은 기계 외장 표면의 세부로만 읽히게 한다. 사람, 얼굴, 인체 형태의 형상은 묘사하지 않는다. 혈흔이나 생체 조직은 없으며, 손상을 주변 공간으로 확대하거나 방 전체에 약탈 흔적을 덧붙이지 않는다.\n실제 미러리스 카메라와 35밀리미터급 렌즈를 사용한 위치 기록 사진처럼, 약 1.6미터의 서 있는 눈높이에서 창 안쪽 바닥을 향해 아래로 기울여 촬영한다. 가까운 바닥과 외장 손상 표면을 중심으로 잡고, 열린 창틀과 외부 접근 공간 일부를 함께 담아 위치 관계를 읽을 수 있게 한다. 자연스러운 원근과 피사계 심도, 과장하지 않은 명암, 일상적인 재료의 마모를 유지한다. 위에서 내려다본 평면도나 건축 도해가 아닌 실제 현장 사진이며, 컴퓨터 생성 영상이나 삽화, 지나치게 말끔한 홍보 사진처럼 보이지 않게 한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S5_Shot9",
            "guide_text": "열린 통유리창 바로 안쪽 바닥과 은빛 금속이 노출된 기계 외장 손상 부위를 중심으로 구도를 잡는다. 창틀 일부와 창밖 접근 공간을 남겨 실내외 경계를 확인할 수 있게 하고, 외장 표면과 바닥의 접촉 및 자연광 반사를 선명하게 유지한다. 얼굴과 인간형 몸체는 화면 밖에 두며 사람이나 동물을 추가하지 않는다. 혈흔, 추가 파편, 주변 가구의 전도나 방 전체의 훼손을 덧붙이지 않는다."
          }
        ],
        "shot_ids": [
          "S5_Shot9"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Just inside number 1, north of number 11, facing south and slightly east toward the floor beside number 2, with a narrow view of number 3 beyond the opening.",
          "camera_height": "Low floor-detail viewpoint, approximately 0.4–0.6 m above the floor",
          "lens_hint": "50mm normal lens with a slight downward tilt",
          "framing_notes": "Prioritize number 11 and the adjacent floor, retaining the lower frame of number 2 as a spatial anchor. Apply number 12 so the glazing is open. Exposed silver-colored metal must read as robot construction, not biological injury. Keep the surrounding interior maintained; do not add human blood, generalized ransacking, or unrelated debris. Camera guidance and overlay markers are not drawn on the floor plan."
        },
        "reference_decision": {
          "bg_id": "L152B02",
          "fp_id": "fp_living_room",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L152B02 is ready for S5_Shot9 and is the sole permitted anchor candidate. Render it fresh without references. The supplied fallback admits this BG despite clean_background_expected=false and transient markers 11 and 12; those cues remain scene-layer state rather than permanent dwelling identity. Camera unit 1 faces the opening-2 side of unit 1 with narrow telephoto coverage, supporting the committed close framing and limited opening edge.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_living_room.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The dwelling anchor is seeded directly from the floor plan; the reference catalog is empty.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 1,
            "camera_cell": [
              5,
              6
            ],
            "look_at_unit": 1,
            "look_at_cell": [
              7,
              6
            ],
            "lens_enum": "telephoto",
            "fov_deg": 25,
            "framing_notes": "Use the listed unit-1 camera cell and listed opening-2 target cell on unit 1's south boundary. Narrow coverage supports S5_Shot9's close foreground context; retain only an edge of opening 2 rather than an establishing view of unit 3."
          },
          "render_guidance": {
            "visible_space_directive": "Show a narrow contextual portion of unit 1 around marker 11, with only the staged edge of opening 2 behind the foreground action. Preserve opening 2's relationship to exterior unit 3 without expanding that relationship into a broad exterior view. Visibility supersets do not require units 5, 6, or 7, or opening 4, to appear.",
            "camera_framing_directive": "Frame from camera unit 1 at [5, 6], looking toward [7, 6] at opening 2 on the boundary of look-at unit 1. Use telephoto, 25-degree narrow, compressed coverage. Honor the committed close, near-floor framing: retain a small floor plane and the opening edge rather than broad room coverage.",
            "subject_position_directive": "Follow S5_Shot9 staging: the fallen woman's sideways head, torn covering, and exposed silver metal occupy the lower center, with part of her shoulder and the supporting floor retained. Her rolled-up eyes have no purposeful engagement. Only the shepherd's lowered head enters from the upper-right, biting the covering with attention directed downward. Keep these committed subject relationships; add no other subjects.",
            "state_cue_directive": "Carry transient marker 11, Fallen damaged humanoid robot, and marker 12, Glazing open state, using base markers 1, 2, and 3 as the structural context. The BG is not designated clean. Preserve the staged daytime ambient light and the already-open state of opening 2; the exposed silver metal reads through proximity and ambient light, without an added supernatural glow.",
            "negative_continuity_directive": "No ignored numbered elements or ignored state-overlay markers are listed. Keep markers 11 and 12 as transient state rather than permanent structural changes. Avoid expanding the narrow view to include units 5, 6, or 7, opening 4, or an unsupported broad view of unit 3. Preserve opening 2's base position and avoid adding uncommitted overlays."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [5, 6]\n  - look_at_unit: 1\n  - look_at_cell: [7, 6]\n  - lens_enum: 'telephoto'\n  - fov_deg: 25\n  - framing_notes: \"Use the listed unit-1 camera cell and listed opening-2 target cell on unit 1's south boundary. Narrow coverage supports S5_Shot9's close foreground context; retain only an edge of opening 2 rather than an establishing view of unit 3.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show a narrow contextual portion of unit 1 around marker 11, with only the staged edge of opening 2 behind the foreground action. Preserve opening 2's relationship to exterior unit 3 without expanding that relationship into a broad exterior view. Visibility supersets do not require units 5, 6, or 7, or opening 4, to appear.\n  - camera_framing_directive: Frame from camera unit 1 at [5, 6], looking toward [7, 6] at opening 2 on the boundary of look-at unit 1. Use telephoto, 25-degree narrow, compressed coverage. Honor the committed close, near-floor framing: retain a small floor plane and the opening edge rather than broad room coverage.\n  - subject_position_directive: Follow S5_Shot9 staging: the fallen woman's sideways head, torn covering, and exposed silver metal occupy the lower center, with part of her shoulder and the supporting floor retained. Her rolled-up eyes have no purposeful engagement. Only the shepherd's lowered head enters from the upper-right, biting the covering with attention directed downward. Keep these committed subject relationships; add no other subjects.\n  - state_cue_directive: Carry transient marker 11, Fallen damaged humanoid robot, and marker 12, Glazing open state, using base markers 1, 2, and 3 as the structural context. The BG is not designated clean. Preserve the staged daytime ambient light and the already-open state of opening 2; the exposed silver metal reads through proximity and ambient light, without an added supernatural glow.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are listed. Keep markers 11 and 12 as transient state rather than permanent structural changes. Avoid expanding the narrow view to include units 5, 6, or 7, opening 4, or an unsupported broad view of unit 3. Preserve opening 2's base position and avoid adding uncommitted overlays.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [5, 6]\n  - look_at_unit: 1\n  - look_at_cell: [7, 6]\n  - lens_enum: 'telephoto'\n  - fov_deg: 25\n  - framing_notes: \"Use the listed unit-1 camera cell and listed opening-2 target cell on unit 1's south boundary. Narrow coverage supports S5_Shot9's close foreground context; retain only an edge of opening 2 rather than an establishing view of unit 3.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show a narrow contextual portion of unit 1 around marker 11, with only the staged edge of opening 2 behind the foreground action. Preserve opening 2's relationship to exterior unit 3 without expanding that relationship into a broad exterior view. Visibility supersets do not require units 5, 6, or 7, or opening 4, to appear.\n  - camera_framing_directive: Frame from camera unit 1 at [5, 6], looking toward [7, 6] at opening 2 on the boundary of look-at unit 1. Use telephoto, 25-degree narrow, compressed coverage. Honor the committed close, near-floor framing: retain a small floor plane and the opening edge rather than broad room coverage.\n  - subject_position_directive: Follow S5_Shot9 staging: the fallen woman's sideways head, torn covering, and exposed silver metal occupy the lower center, with part of her shoulder and the supporting floor retained. Her rolled-up eyes have no purposeful engagement. Only the shepherd's lowered head enters from the upper-right, biting the covering with attention directed downward. Keep these committed subject relationships; add no other subjects.\n  - state_cue_directive: Carry transient marker 11, Fallen damaged humanoid robot, and marker 12, Glazing open state, using base markers 1, 2, and 3 as the structural context. The BG is not designated clean. Preserve the staged daytime ambient light and the already-open state of opening 2; the exposed silver metal reads through proximity and ambient light, without an added supernatural glow.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are listed. Keep markers 11 and 12 as transient state rather than permanent structural changes. Avoid expanding the narrow view to include units 5, 6, or 7, opening 4, or an unsupported broad view of unit 3. Preserve opening 2's base position and avoid adding uncommitted overlays.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [5, 6]\n  - look_at_unit: 1\n  - look_at_cell: [7, 6]\n  - lens_enum: 'telephoto'\n  - fov_deg: 25\n  - framing_notes: \"Use the listed unit-1 camera cell and listed opening-2 target cell on unit 1's south boundary. Narrow coverage supports S5_Shot9's close foreground context; retain only an edge of opening 2 rather than an establishing view of unit 3.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show a narrow contextual portion of unit 1 around marker 11, with only the staged edge of opening 2 behind the foreground action. Preserve opening 2's relationship to exterior unit 3 without expanding that relationship into a broad exterior view. Visibility supersets do not require units 5, 6, or 7, or opening 4, to appear.\n  - camera_framing_directive: Frame from camera unit 1 at [5, 6], looking toward [7, 6] at opening 2 on the boundary of look-at unit 1. Use telephoto, 25-degree narrow, compressed coverage. Honor the committed close, near-floor framing: retain a small floor plane and the opening edge rather than broad room coverage.\n  - subject_position_directive: Follow S5_Shot9 staging: the fallen woman's sideways head, torn covering, and exposed silver metal occupy the lower center, with part of her shoulder and the supporting floor retained. Her rolled-up eyes have no purposeful engagement. Only the shepherd's lowered head enters from the upper-right, biting the covering with attention directed downward. Keep these committed subject relationships; add no other subjects.\n  - state_cue_directive: Carry transient marker 11, Fallen damaged humanoid robot, and marker 12, Glazing open state, using base markers 1, 2, and 3 as the structural context. The BG is not designated clean. Preserve the staged daytime ambient light and the already-open state of opening 2; the exposed silver metal reads through proximity and ambient light, without an added supernatural glow.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are listed. Keep markers 11 and 12 as transient state rather than permanent structural changes. Avoid expanding the narrow view to include units 5, 6, or 7, opening 4, or an unsupported broad view of unit 3. Preserve opening 2's base position and avoid adding uncommitted overlays.\n\n2069년 기후 재난 이후에도 유지되고 있는 한국 주택의 거실 통유리창 안쪽 바닥을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 거실은 주택의 중앙과 동쪽에 이어지고, 남쪽 외벽의 동쪽 구간에는 바닥부터 천장까지 이어지는 개폐식 통유리창이 있다. 창밖으로는 주택 외벽을 따라 출입구와 창 쪽을 연결하는 외부 접근 공간이 짧게 보인다. 평면도는 이러한 공간의 연결과 개구부 위치를 파악하는 데만 사용한다. 새로운 가구나 장식은 추가하지 않는다.\n통유리창의 가동 패널은 열려 있으며, 열린 구간으로 들어온 주간 자연광이 바로 안쪽 바닥을 밝힌다. 창틀의 실제 금속 표면과 유리의 약한 반사, 바닥 마감의 미세한 사용감과 이음새를 사실적으로 표현한다. 전체적으로 차분한 회색 계열의 실제 재료색을 유지하되 인위적인 색 보정 없이 실내 그늘과 외부 밝기의 차이를 자연스럽게 기록한다. 미래의 주택이라는 이유로 공간을 번쩍이는 첨단 시설이나 일률적인 폐허로 바꾸지 않는다.\n열린 창 바로 안쪽 바닥에는 쓰러져 손상된 가사용 로봇의 머리 외장 손상 부위만 화면 하단 가장자리에 제한적으로 걸친다. 찢긴 외장 덮개 아래 드러난 은빛 금속의 실제 반사와 거친 손상 경계가 보이되, 얼굴이나 머리 전체의 윤곽, 몸통과 팔다리, 사람 형태의 실루엣은 모두 화면 밖에 둔다. 이 부분은 바닥에 닿은 기계 외장 표면의 세부로만 읽히게 한다. 사람, 얼굴, 인체 형태의 형상은 묘사하지 않는다. 혈흔이나 생체 조직은 없으며, 손상을 주변 공간으로 확대하거나 방 전체에 약탈 흔적을 덧붙이지 않는다.\n실제 미러리스 카메라와 35밀리미터급 렌즈를 사용한 위치 기록 사진처럼, 약 1.6미터의 서 있는 눈높이에서 창 안쪽 바닥을 향해 아래로 기울여 촬영한다. 가까운 바닥과 외장 손상 표면을 중심으로 잡고, 열린 창틀과 외부 접근 공간 일부를 함께 담아 위치 관계를 읽을 수 있게 한다. 자연스러운 원근과 피사계 심도, 과장하지 않은 명암, 일상적인 재료의 마모를 유지한다. 위에서 내려다본 평면도나 건축 도해가 아닌 실제 현장 사진이며, 컴퓨터 생성 영상이나 삽화, 지나치게 말끔한 홍보 사진처럼 보이지 않게 한다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 1,
          "camera_cell": [
            5,
            6
          ],
          "look_at_unit": 1,
          "look_at_cell": [
            7,
            6
          ],
          "lens_enum": "telephoto",
          "fov_deg": 25,
          "framing_notes": "Use the listed unit-1 camera cell and listed opening-2 target cell on unit 1's south boundary. Narrow coverage supports S5_Shot9's close foreground context; retain only an edge of opening 2 rather than an establishing view of unit 3."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Show a narrow contextual portion of unit 1 around marker 11, with only the staged edge of opening 2 behind the foreground action. Preserve opening 2's relationship to exterior unit 3 without expanding that relationship into a broad exterior view. Visibility supersets do not require units 5, 6, or 7, or opening 4, to appear.",
          "camera_framing_directive": "Frame from camera unit 1 at [5, 6], looking toward [7, 6] at opening 2 on the boundary of look-at unit 1. Use telephoto, 25-degree narrow, compressed coverage. Honor the committed close, near-floor framing: retain a small floor plane and the opening edge rather than broad room coverage.",
          "subject_position_directive": "Follow S5_Shot9 staging: the fallen woman's sideways head, torn covering, and exposed silver metal occupy the lower center, with part of her shoulder and the supporting floor retained. Her rolled-up eyes have no purposeful engagement. Only the shepherd's lowered head enters from the upper-right, biting the covering with attention directed downward. Keep these committed subject relationships; add no other subjects.",
          "state_cue_directive": "Carry transient marker 11, Fallen damaged humanoid robot, and marker 12, Glazing open state, using base markers 1, 2, and 3 as the structural context. The BG is not designated clean. Preserve the staged daytime ambient light and the already-open state of opening 2; the exposed silver metal reads through proximity and ambient light, without an added supernatural glow.",
          "negative_continuity_directive": "No ignored numbered elements or ignored state-overlay markers are listed. Keep markers 11 and 12 as transient state rather than permanent structural changes. Avoid expanding the narrow view to include units 5, 6, or 7, opening 4, or an unsupported broad view of unit 3. Preserve opening 2's base position and avoid adding uncommitted overlays."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_living_room",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_living_room"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L152B01": {
        "status": "ok",
        "location_id": "L152",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L152B01.png",
        "t2i_prompt": "2069년 기후 재난 이후 대한민국의 주택 앞 도로변을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 전혀 없는 주간의 외부 공간만 담는다. 낡았지만 생활 기반이 남아 있는 저층 주택가로, 과도한 붕괴나 거대한 잔해 없이 유지 보수의 흔적과 일상적인 노후화를 보여 준다. 화면 왼쪽에 주택의 시멘트 외벽과 낮은 담장, 도장 일부가 벗겨진 철제 대문, 알루미늄 창틀의 유리창이 보이고, 그 앞의 좁은 콘크리트 진입부가 아스팔트 도로와 이어진다. 도로 가장자리에는 낮은 경계석과 배수구가 있으며, 아스팔트의 잔균열과 부분 보수 자국, 콘크리트의 빗물 얼룩, 대문 모서리의 실제 금속 부식을 절제된 정도로 드러낸다. 도로변에서 주택 앞을 지나온 방향으로 비스듬히 돌아보는 시선으로 촬영한다. 전경 중앙은 비어 있는 이동 공간으로 남기고, 화면 중앙부터 오른쪽 중경까지 차량이 떠난 뒤 아무것도 남아 있지 않은 길가를 넓고 분명하게 보여 준다. 빈 길 가장자리가 멀리 이어지는 도로와 함께 읽히며, 주차 차량이나 멀어지는 차량도 넣지 않는다. 차량의 부재를 가리는 물건이나 인위적인 타이어 자국, 먼지구름을 추가하지 않는다. 실제 미러리스 카메라에 풀프레임 환산 35밀리미터 렌즈를 사용하고, 서 있는 사람의 눈높이 약 1.6미터에서 수평에 가까운 시선으로 촬영한 자연스러운 원근감. 부드러운 주간 자연광과 약한 그림자, 회색 계열 건축 재료 본연의 색, 과장되지 않은 명암을 유지한다. 전경의 실제 아스팔트 입자와 중경의 빈 길가가 함께 식별되는 자연스러운 피사계 심도. 깨끗하게 연출된 홍보 사진이 아닌 실제 장소 기록 사진처럼 보이며, 인공적인 색 보정이나 그래픽 효과가 없다. 사람, 얼굴, 신체 일부, 시신, 혈흔, 차량, 로봇, 공중 정보 표시는 없다. 위에서 내려다보는 시점이나 평면도, 건축 도해가 아닌 지상 눈높이의 실사 사진. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S5_Shot16",
            "guide_text": "연행 중 뒤를 돌아보는 방향에 대응하도록 도로변 눈높이에서 주택 앞과 빈 길가를 비스듬히 바라본다. 전경 중앙에 후속 인물 배치를 위한 여백을 확보하고, 중앙과 오른쪽 중경에는 차량이 이미 사라진 길 가장자리를 가림 없이 남긴다. 연행하는 사람이나 붙잡힌 팔을 배경에 그리지 않으며, 떠나는 차량이나 다른 주차 차량도 넣지 않는다. 주간 자연광과 주택 외벽, 대문, 도로의 재료감을 유지한다."
          }
        ],
        "shot_ids": [
          "S5_Shot16"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "text_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {},
        "reference_decision": {
          "mode": "surface_role_direct_plate",
          "surface_role": "exterior_plate",
          "fp_id": "",
          "source_bg_ids": []
        },
        "effective_render_prompt": "2069년 기후 재난 이후 대한민국의 주택 앞 도로변을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 전혀 없는 주간의 외부 공간만 담는다. 낡았지만 생활 기반이 남아 있는 저층 주택가로, 과도한 붕괴나 거대한 잔해 없이 유지 보수의 흔적과 일상적인 노후화를 보여 준다. 화면 왼쪽에 주택의 시멘트 외벽과 낮은 담장, 도장 일부가 벗겨진 철제 대문, 알루미늄 창틀의 유리창이 보이고, 그 앞의 좁은 콘크리트 진입부가 아스팔트 도로와 이어진다. 도로 가장자리에는 낮은 경계석과 배수구가 있으며, 아스팔트의 잔균열과 부분 보수 자국, 콘크리트의 빗물 얼룩, 대문 모서리의 실제 금속 부식을 절제된 정도로 드러낸다. 도로변에서 주택 앞을 지나온 방향으로 비스듬히 돌아보는 시선으로 촬영한다. 전경 중앙은 비어 있는 이동 공간으로 남기고, 화면 중앙부터 오른쪽 중경까지 차량이 떠난 뒤 아무것도 남아 있지 않은 길가를 넓고 분명하게 보여 준다. 빈 길 가장자리가 멀리 이어지는 도로와 함께 읽히며, 주차 차량이나 멀어지는 차량도 넣지 않는다. 차량의 부재를 가리는 물건이나 인위적인 타이어 자국, 먼지구름을 추가하지 않는다. 실제 미러리스 카메라에 풀프레임 환산 35밀리미터 렌즈를 사용하고, 서 있는 사람의 눈높이 약 1.6미터에서 수평에 가까운 시선으로 촬영한 자연스러운 원근감. 부드러운 주간 자연광과 약한 그림자, 회색 계열 건축 재료 본연의 색, 과장되지 않은 명암을 유지한다. 전경의 실제 아스팔트 입자와 중경의 빈 길가가 함께 식별되는 자연스러운 피사계 심도. 깨끗하게 연출된 홍보 사진이 아닌 실제 장소 기록 사진처럼 보이며, 인공적인 색 보정이나 그래픽 효과가 없다. 사람, 얼굴, 신체 일부, 시신, 혈흔, 차량, 로봇, 공중 정보 표시는 없다. 위에서 내려다보는 시점이나 평면도, 건축 도해가 아닌 지상 눈높이의 실사 사진. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_aware_plan_mode": "surface_role_direct_plate",
        "attached_reference_lineage": {
          "fp_id": "",
          "prior_bg_ids": [],
          "attached_ref_labels": [],
          "ref_used": "text_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L159B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L159",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L159B01.png",
        "t2i_prompt": "2069년 기후 재난 이후 한국에서 계속 사용 중인 허름한 법정 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실제 장소 답사 사진처럼 꾸밈없이 표현한다. 직사각형 실내의 남서쪽 출입구 문턱 바로 안쪽, 중앙의 열린 바닥 서쪽에 선 위치에서 북동쪽의 재판관 탁자와 그 뒤 의자를 바라본다. 촬영 높이는 서 있는 사람의 눈높이인 약 1.6미터, 실제 미러리스 카메라의 환산 35밀리미터 광각 렌즈를 사용한 시야다. 탁자 상판과 앞쪽 바닥이 한 화면에서 자연스럽게 이어지며, 바닥을 내려다보는 조감 구도가 아니라 실내의 깊이가 드러나는 수평 시점이다.\n실내 북쪽에는 긴 축이 동서로 놓인 낡은 목재 탁자가 있고, 그 북쪽 중앙에는 남쪽을 향한 재판관 의자가 있다. 탁자 남쪽의 넓게 열린 바닥과 탁자 양옆으로 이어지는 공간을 충분히 보여준다. 탁자 서쪽 상판에는 업무용 종이 서류가 여러 더미로 포개져 있으며, 종이 가장자리의 미세한 굽음과 겹친 두께가 보인다. 동쪽 상판은 도장을 찍는 작업을 위한 빈 작업면으로 유지한다.\n한국의 오래된 소규모 공공 실내를 연상시키는 수수한 회색 미장 벽과 닳은 시멘트 바닥, 탁자의 실제 나뭇결과 모서리 마모를 세밀하게 담는다. 오랜 사용으로 생긴 옅은 생활 얼룩과 표면의 불균일함은 현실적인 수준으로 표현한다. 낮의 부드러운 자연광이 실내에 퍼지고 탁자 아래에는 자연스러운 그림자가 남는다. 차분한 회색 재료 본연의 색과 목재의 약한 온기를 유지하며, 과도한 명암이나 인위적인 색 보정 없이 상판과 앞쪽 바닥을 함께 읽을 수 있는 자연스러운 피사계 심도로 촬영한다. 사람, 얼굴, 사람 형태의 형상 없이 공간과 가구, 서류만 담는다. 광고용으로 말끔하게 연출한 사진이 아닌 실제 현장 기록 사진이며, 삽화나 컴퓨터 생성 영상, 건축 시각화, 평면도 표현을 사용하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S8_Shot5",
            "guide_text": "탁자 서쪽의 서류 더미와 동쪽의 빈 작업면이 구분되도록 상판을 읽기 쉽게 확보한다. 뒤쪽 재판관 의자와 앞쪽 열린 바닥도 같은 공간 안에 담고, 눈높이 시점과 낮의 자연광을 유지한다. 인물이나 추가 소품 없이 배경만 표현한다."
          },
          {
            "shot_id": "S8_Shot8",
            "guide_text": "동일한 탁자와 의자 배치, 서류 더미의 위치를 유지하며 탁자 앞 바닥을 충분히 확보한다. 바닥이 탁자 양옆으로 연결되는 관계를 보여주고, 앞선 배경과 재료 및 낮의 채광을 일치시킨다. 별도의 사건 흔적이나 인물 없이 같은 공간 상태를 유지한다."
          }
        ],
        "shot_ids": [
          "S8_Shot5",
          "S8_Shot8"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Just inside number 2, offset toward the west side of number 4, facing northeast toward number 5 and number 6.",
          "camera_height": "Eye-level standing, approximately 1.6 m",
          "lens_hint": "28–35 mm equivalent wide angle",
          "framing_notes": "Use one consistent room view for both shots. Keep number 4 broad in the foreground, number 5 and its clear stamping surface readable in the middle ground, and number 6 behind it. Preserve visible circulation around the east end of the table. Add number 7 on the western tabletop through the overlay. Keep the chair in its established position; a person falling does not establish an overturned chair. Do not add blood, scattered documents, impact damage, or exterior and memory imagery."
        },
        "reference_decision": {
          "bg_id": "L159B01",
          "fp_id": "fp_refugee_court_interior",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L159B01 is the sole ready BG and the sole authorized anchor candidate. The supplied fallback admits it despite clean_background_expected=false and transient marker 7. With no prior references, establish the fixed layout from the floor plan. Camera unit 1 provides an oblique view toward marker 5 within unit 1, retaining adjacent unit 4 for the shared spatial context of S8_Shot5 and S8_Shot8. Their different camera heights and subject actions remain shot-specific; this single plan does not assert that both framings occur simultaneously.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_refugee_court_interior.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The reference catalog is empty; the authorized anchor establishes identity directly from the supplied floor plan.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 1,
            "camera_cell": [
              4,
              0
            ],
            "look_at_unit": 1,
            "look_at_cell": [
              2,
              4
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad oblique base coverage from unit 1 toward marker 5 at [2, 4], with marker 6 beyond it and adjacent unit 4 toward the lower side of the view. The listed coordinates establish the horizontal base view; they do not encode the distinct downward and floor-level shot framings."
          },
          "render_guidance": {
            "visible_space_directive": "Show the portion of unit 1 centered on marker 5, marker 6 north of it, and the adjacent portion of unit 4 south of marker 5. Preserve marker 5's east-west long axis and marker 6's centered position north of it. Unit 2 and opening marker 3 are not committed as visible in this north-east-facing view; the geometry's visibility lists are only supersets.",
            "camera_framing_directive": "Use camera unit 1 at [4, 0], looking within unit 1 toward [2, 4], with a wide lens and 90-degree field of view for broad oblique coverage. Retain the outer edge of marker 5 and adjacent unit 4 as shared spatial references. Treat S8_Shot5's close downward framing and S8_Shot8's medium floor-level framing as separate shot requirements, not simultaneous properties of this base view.",
            "subject_position_directive": "Keep the supplied subject cues shot-specific. In S8_Shot5, 재판관 is seated behind marker 5, with the descending hand and wrist central, the face cropped out, and the seated body only a partial upper-edge reference. In S8_Shot8, 재판관's shoulder and pulled collar occupy the lower-right foreground near unit 4, while 현우's upper body is left of center with both gripping hands visible between them. Do not combine these separate poses or add subjects beyond the committed staging.",
            "state_cue_directive": "Include transient marker 7, Working document stacks, associated with marker 5; clean_background_expected is false. Preserve the eastern working surface of marker 5 for the staged contact action. S8_Shot5 specifies first contact without asserted wording or a completed seal; S8_Shot8 specifies a floor-level interaction beside the unchanged marker 5. Carry the supplied interior ambient illumination and controlled contrast without adding an unstated lighting change or permanent structural damage.",
            "negative_continuity_directive": "No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating markers 5 or 6, converting transient marker 7 into fixed structure, or forcing unit 2 and opening marker 3 into this view. Avoid merging the distinct staging states of S8_Shot5 and S8_Shot8 or treating their framing differences as a rearrangement of the fixed layout."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [4, 0]\n  - look_at_unit: 1\n  - look_at_cell: [2, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad oblique base coverage from unit 1 toward marker 5 at [2, 4], with marker 6 beyond it and adjacent unit 4 toward the lower side of the view. The listed coordinates establish the horizontal base view; they do not encode the distinct downward and floor-level shot framings.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the portion of unit 1 centered on marker 5, marker 6 north of it, and the adjacent portion of unit 4 south of marker 5. Preserve marker 5's east-west long axis and marker 6's centered position north of it. Unit 2 and opening marker 3 are not committed as visible in this north-east-facing view; the geometry's visibility lists are only supersets.\n  - camera_framing_directive: Use camera unit 1 at [4, 0], looking within unit 1 toward [2, 4], with a wide lens and 90-degree field of view for broad oblique coverage. Retain the outer edge of marker 5 and adjacent unit 4 as shared spatial references. Treat S8_Shot5's close downward framing and S8_Shot8's medium floor-level framing as separate shot requirements, not simultaneous properties of this base view.\n  - subject_position_directive: Keep the supplied subject cues shot-specific. In S8_Shot5, 재판관 is seated behind marker 5, with the descending hand and wrist central, the face cropped out, and the seated body only a partial upper-edge reference. In S8_Shot8, 재판관's shoulder and pulled collar occupy the lower-right foreground near unit 4, while 현우's upper body is left of center with both gripping hands visible between them. Do not combine these separate poses or add subjects beyond the committed staging.\n  - state_cue_directive: Include transient marker 7, Working document stacks, associated with marker 5; clean_background_expected is false. Preserve the eastern working surface of marker 5 for the staged contact action. S8_Shot5 specifies first contact without asserted wording or a completed seal; S8_Shot8 specifies a floor-level interaction beside the unchanged marker 5. Carry the supplied interior ambient illumination and controlled contrast without adding an unstated lighting change or permanent structural damage.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating markers 5 or 6, converting transient marker 7 into fixed structure, or forcing unit 2 and opening marker 3 into this view. Avoid merging the distinct staging states of S8_Shot5 and S8_Shot8 or treating their framing differences as a rearrangement of the fixed layout.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [4, 0]\n  - look_at_unit: 1\n  - look_at_cell: [2, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad oblique base coverage from unit 1 toward marker 5 at [2, 4], with marker 6 beyond it and adjacent unit 4 toward the lower side of the view. The listed coordinates establish the horizontal base view; they do not encode the distinct downward and floor-level shot framings.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the portion of unit 1 centered on marker 5, marker 6 north of it, and the adjacent portion of unit 4 south of marker 5. Preserve marker 5's east-west long axis and marker 6's centered position north of it. Unit 2 and opening marker 3 are not committed as visible in this north-east-facing view; the geometry's visibility lists are only supersets.\n  - camera_framing_directive: Use camera unit 1 at [4, 0], looking within unit 1 toward [2, 4], with a wide lens and 90-degree field of view for broad oblique coverage. Retain the outer edge of marker 5 and adjacent unit 4 as shared spatial references. Treat S8_Shot5's close downward framing and S8_Shot8's medium floor-level framing as separate shot requirements, not simultaneous properties of this base view.\n  - subject_position_directive: Keep the supplied subject cues shot-specific. In S8_Shot5, 재판관 is seated behind marker 5, with the descending hand and wrist central, the face cropped out, and the seated body only a partial upper-edge reference. In S8_Shot8, 재판관's shoulder and pulled collar occupy the lower-right foreground near unit 4, while 현우's upper body is left of center with both gripping hands visible between them. Do not combine these separate poses or add subjects beyond the committed staging.\n  - state_cue_directive: Include transient marker 7, Working document stacks, associated with marker 5; clean_background_expected is false. Preserve the eastern working surface of marker 5 for the staged contact action. S8_Shot5 specifies first contact without asserted wording or a completed seal; S8_Shot8 specifies a floor-level interaction beside the unchanged marker 5. Carry the supplied interior ambient illumination and controlled contrast without adding an unstated lighting change or permanent structural damage.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating markers 5 or 6, converting transient marker 7 into fixed structure, or forcing unit 2 and opening marker 3 into this view. Avoid merging the distinct staging states of S8_Shot5 and S8_Shot8 or treating their framing differences as a rearrangement of the fixed layout.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [4, 0]\n  - look_at_unit: 1\n  - look_at_cell: [2, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad oblique base coverage from unit 1 toward marker 5 at [2, 4], with marker 6 beyond it and adjacent unit 4 toward the lower side of the view. The listed coordinates establish the horizontal base view; they do not encode the distinct downward and floor-level shot framings.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the portion of unit 1 centered on marker 5, marker 6 north of it, and the adjacent portion of unit 4 south of marker 5. Preserve marker 5's east-west long axis and marker 6's centered position north of it. Unit 2 and opening marker 3 are not committed as visible in this north-east-facing view; the geometry's visibility lists are only supersets.\n  - camera_framing_directive: Use camera unit 1 at [4, 0], looking within unit 1 toward [2, 4], with a wide lens and 90-degree field of view for broad oblique coverage. Retain the outer edge of marker 5 and adjacent unit 4 as shared spatial references. Treat S8_Shot5's close downward framing and S8_Shot8's medium floor-level framing as separate shot requirements, not simultaneous properties of this base view.\n  - subject_position_directive: Keep the supplied subject cues shot-specific. In S8_Shot5, 재판관 is seated behind marker 5, with the descending hand and wrist central, the face cropped out, and the seated body only a partial upper-edge reference. In S8_Shot8, 재판관's shoulder and pulled collar occupy the lower-right foreground near unit 4, while 현우's upper body is left of center with both gripping hands visible between them. Do not combine these separate poses or add subjects beyond the committed staging.\n  - state_cue_directive: Include transient marker 7, Working document stacks, associated with marker 5; clean_background_expected is false. Preserve the eastern working surface of marker 5 for the staged contact action. S8_Shot5 specifies first contact without asserted wording or a completed seal; S8_Shot8 specifies a floor-level interaction beside the unchanged marker 5. Carry the supplied interior ambient illumination and controlled contrast without adding an unstated lighting change or permanent structural damage.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating markers 5 or 6, converting transient marker 7 into fixed structure, or forcing unit 2 and opening marker 3 into this view. Avoid merging the distinct staging states of S8_Shot5 and S8_Shot8 or treating their framing differences as a rearrangement of the fixed layout.\n\n2069년 기후 재난 이후 한국에서 계속 사용 중인 허름한 법정 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실제 장소 답사 사진처럼 꾸밈없이 표현한다. 직사각형 실내의 남서쪽 출입구 문턱 바로 안쪽, 중앙의 열린 바닥 서쪽에 선 위치에서 북동쪽의 재판관 탁자와 그 뒤 의자를 바라본다. 촬영 높이는 서 있는 사람의 눈높이인 약 1.6미터, 실제 미러리스 카메라의 환산 35밀리미터 광각 렌즈를 사용한 시야다. 탁자 상판과 앞쪽 바닥이 한 화면에서 자연스럽게 이어지며, 바닥을 내려다보는 조감 구도가 아니라 실내의 깊이가 드러나는 수평 시점이다.\n실내 북쪽에는 긴 축이 동서로 놓인 낡은 목재 탁자가 있고, 그 북쪽 중앙에는 남쪽을 향한 재판관 의자가 있다. 탁자 남쪽의 넓게 열린 바닥과 탁자 양옆으로 이어지는 공간을 충분히 보여준다. 탁자 서쪽 상판에는 업무용 종이 서류가 여러 더미로 포개져 있으며, 종이 가장자리의 미세한 굽음과 겹친 두께가 보인다. 동쪽 상판은 도장을 찍는 작업을 위한 빈 작업면으로 유지한다.\n한국의 오래된 소규모 공공 실내를 연상시키는 수수한 회색 미장 벽과 닳은 시멘트 바닥, 탁자의 실제 나뭇결과 모서리 마모를 세밀하게 담는다. 오랜 사용으로 생긴 옅은 생활 얼룩과 표면의 불균일함은 현실적인 수준으로 표현한다. 낮의 부드러운 자연광이 실내에 퍼지고 탁자 아래에는 자연스러운 그림자가 남는다. 차분한 회색 재료 본연의 색과 목재의 약한 온기를 유지하며, 과도한 명암이나 인위적인 색 보정 없이 상판과 앞쪽 바닥을 함께 읽을 수 있는 자연스러운 피사계 심도로 촬영한다. 사람, 얼굴, 사람 형태의 형상 없이 공간과 가구, 서류만 담는다. 광고용으로 말끔하게 연출한 사진이 아닌 실제 현장 기록 사진이며, 삽화나 컴퓨터 생성 영상, 건축 시각화, 평면도 표현을 사용하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 1,
          "camera_cell": [
            4,
            0
          ],
          "look_at_unit": 1,
          "look_at_cell": [
            2,
            4
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad oblique base coverage from unit 1 toward marker 5 at [2, 4], with marker 6 beyond it and adjacent unit 4 toward the lower side of the view. The listed coordinates establish the horizontal base view; they do not encode the distinct downward and floor-level shot framings."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Show the portion of unit 1 centered on marker 5, marker 6 north of it, and the adjacent portion of unit 4 south of marker 5. Preserve marker 5's east-west long axis and marker 6's centered position north of it. Unit 2 and opening marker 3 are not committed as visible in this north-east-facing view; the geometry's visibility lists are only supersets.",
          "camera_framing_directive": "Use camera unit 1 at [4, 0], looking within unit 1 toward [2, 4], with a wide lens and 90-degree field of view for broad oblique coverage. Retain the outer edge of marker 5 and adjacent unit 4 as shared spatial references. Treat S8_Shot5's close downward framing and S8_Shot8's medium floor-level framing as separate shot requirements, not simultaneous properties of this base view.",
          "subject_position_directive": "Keep the supplied subject cues shot-specific. In S8_Shot5, 재판관 is seated behind marker 5, with the descending hand and wrist central, the face cropped out, and the seated body only a partial upper-edge reference. In S8_Shot8, 재판관's shoulder and pulled collar occupy the lower-right foreground near unit 4, while 현우's upper body is left of center with both gripping hands visible between them. Do not combine these separate poses or add subjects beyond the committed staging.",
          "state_cue_directive": "Include transient marker 7, Working document stacks, associated with marker 5; clean_background_expected is false. Preserve the eastern working surface of marker 5 for the staged contact action. S8_Shot5 specifies first contact without asserted wording or a completed seal; S8_Shot8 specifies a floor-level interaction beside the unchanged marker 5. Carry the supplied interior ambient illumination and controlled contrast without adding an unstated lighting change or permanent structural damage.",
          "negative_continuity_directive": "No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating markers 5 or 6, converting transient marker 7 into fixed structure, or forcing unit 2 and opening marker 3 into this view. Avoid merging the distinct staging states of S8_Shot5 and S8_Shot8 or treating their framing differences as a rearrangement of the fixed layout."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_refugee_court_interior",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_refugee_court_interior"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L159B02": {
        "status": "ok",
        "location_id": "L159",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L159B02.png",
        "t2i_prompt": "과거 미국 도시의 밤거리를 실제 미러리스 카메라와 35밀리미터급 렌즈로 촬영한 다큐멘터리 풍 흑백 사진. 현재의 법정과 완전히 분리된 악몽 속 장소이며, 사람이 없는 거리 배경만 담는다. 카메라는 보도 가장자리의 지상 약 1.6미터 눈높이에 놓고 길을 따라 바라보되, 가까운 아스팔트 지면과 콘크리트 연석이 화면 아래쪽에 충분히 보이도록 약간 내려다본다. 중앙과 가까운 전경은 비워 두고, 중경과 원경에는 미국 도시의 일상적인 벽돌 상가 외벽, 금속틀 유리 출입문과 쇼윈도, 보도 가장자리의 가로등, 차도 배수구가 자연스러운 원근으로 이어진다. 특정 도시를 식별하는 명소나 상호는 없다. 재난 이후의 폐허가 아닌 과거 생활권으로, 아스팔트의 잔골재와 보수 자국, 연석의 마모, 벽돌 줄눈의 먼지, 금속틀의 작은 부식과 유리의 생활 얼룩을 실제 재질 그대로 보여 준다. 밤하늘의 미약한 주변광과 기존 가로등이 만드는 현실적인 야간 노출 속에서, 화면 바깥의 총격으로 발생한 짧고 날카로운 백색 섬광이 프레임 한쪽 가장자리에 걸리고 그 빛이 노면과 유리 일부를 순간적으로 밝힌다. 총기와 발사자는 보이지 않는다. 위협은 사람이 아니라 비어 있는 어두운 거리의 깊이와 갑작스러운 섬광으로만 전달한다. 흑백의 명암 안에서도 지면과 외벽의 질감은 읽히며, 섬광 근처에만 국소적인 밝기 포화를 허용한다. 끊기는 악몽의 한 프레임처럼 화면 가장자리 일부에 짧은 노출 단절 흔적을 최소한으로 남기되, 실제 거리 사진의 물리적 공간감과 자연스러운 피사계 심도를 유지한다. 사람, 얼굴, 인물 실루엣, 사람 모양 그림자, 시신, 혈흔은 전혀 없다. 법정 가구나 실내 구조, 미래 장비, 과장된 파괴는 추가하지 않는다. 깨끗하게 연출한 홍보용 사진이 아니라 실제 현장에서 촬영한 장소 참고 사진으로, 삽화나 컴퓨터 생성 이미지, 건축 시각화가 아니며 평면도나 수직 조감도도 아니다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S8_Shot13",
            "guide_text": "눈높이 약 1.6미터, 35밀리미터급 시야로 밤거리의 지면과 뒤쪽 거리 깊이가 함께 보이게 구성한다. 전경과 중앙은 후속 장면 구성을 위한 빈 공간으로 확보하되 배경 자체에는 사람이나 사람 모양 그림자를 넣지 않는다. 프레임 가장자리의 총격 섬광과 노면의 순간적인 밝기 변화가 핵심이며, 흑백과 최소한의 노출 단절 흔적으로 끊기는 악몽의 한순간을 드러낸다. 법정과 연결되는 출입구나 실내 요소는 보이지 않게 한다."
          }
        ],
        "shot_ids": [
          "S8_Shot13"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {},
        "reference_decision": {
          "mode": "surface_role_direct_plate",
          "surface_role": "exterior_plate",
          "fp_id": "",
          "source_bg_ids": []
        },
        "effective_render_prompt": "과거 미국 도시의 밤거리를 실제 미러리스 카메라와 35밀리미터급 렌즈로 촬영한 다큐멘터리 풍 흑백 사진. 현재의 법정과 완전히 분리된 악몽 속 장소이며, 사람이 없는 거리 배경만 담는다. 카메라는 보도 가장자리의 지상 약 1.6미터 눈높이에 놓고 길을 따라 바라보되, 가까운 아스팔트 지면과 콘크리트 연석이 화면 아래쪽에 충분히 보이도록 약간 내려다본다. 중앙과 가까운 전경은 비워 두고, 중경과 원경에는 미국 도시의 일상적인 벽돌 상가 외벽, 금속틀 유리 출입문과 쇼윈도, 보도 가장자리의 가로등, 차도 배수구가 자연스러운 원근으로 이어진다. 특정 도시를 식별하는 명소나 상호는 없다. 재난 이후의 폐허가 아닌 과거 생활권으로, 아스팔트의 잔골재와 보수 자국, 연석의 마모, 벽돌 줄눈의 먼지, 금속틀의 작은 부식과 유리의 생활 얼룩을 실제 재질 그대로 보여 준다. 밤하늘의 미약한 주변광과 기존 가로등이 만드는 현실적인 야간 노출 속에서, 화면 바깥의 총격으로 발생한 짧고 날카로운 백색 섬광이 프레임 한쪽 가장자리에 걸리고 그 빛이 노면과 유리 일부를 순간적으로 밝힌다. 총기와 발사자는 보이지 않는다. 위협은 사람이 아니라 비어 있는 어두운 거리의 깊이와 갑작스러운 섬광으로만 전달한다. 흑백의 명암 안에서도 지면과 외벽의 질감은 읽히며, 섬광 근처에만 국소적인 밝기 포화를 허용한다. 끊기는 악몽의 한 프레임처럼 화면 가장자리 일부에 짧은 노출 단절 흔적을 최소한으로 남기되, 실제 거리 사진의 물리적 공간감과 자연스러운 피사계 심도를 유지한다. 사람, 얼굴, 인물 실루엣, 사람 모양 그림자, 시신, 혈흔은 전혀 없다. 법정 가구나 실내 구조, 미래 장비, 과장된 파괴는 추가하지 않는다. 깨끗하게 연출한 홍보용 사진이 아니라 실제 현장에서 촬영한 장소 참고 사진으로, 삽화나 컴퓨터 생성 이미지, 건축 시각화가 아니며 평면도나 수직 조감도도 아니다. 16:9 가로 비율, 실제 카메라 촬영본\n\nOne attached image is a PHOTOREAL RENDER of the SAME building/site this scene belongs to — it may show the outside while this scene is inside, or another part of the same place. Treat it as the BUILDING IDENTITY reference. Keep this render consistent with it: the same era, age and state of repair, the same palette and material quality, the same window and door frame styles, and anything visible through openings (windows, doorways, passages) must belong to that same building and its surroundings. Lettering visible in the reference is reproduced EXACTLY — same characters, same mark, same position; never invent different wording from render to render. Lighting and time of day follow THIS prompt. Do NOT copy the reference's composition, framing or camera angle; only the building's physical identity carries over.",
        "shot_aware_plan_mode": "surface_role_direct_plate",
        "attached_reference_lineage": {
          "fp_id": "",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "building_anchor:L161B01"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        },
        "building_anchor_ref": {
          "anchor_bg_id": "L161B01",
          "group_id": "bg_refugee_court"
        }
      },
      "L161B01": {
        "status": "ok",
        "location_id": "L161",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L161B01.png",
        "t2i_prompt": "2069년 기후 재난 이후 한국의 난민 재판소 바깥, 밤의 인적 없는 쓰레기 적치 공간을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 한국의 오래된 공공건물에서 볼 수 있는 실용적인 콘크리트 외벽과 황폐한 거친 지면이 남아 있는 장소다. 평면도는 공간의 배치 관계를 파악하는 자료로만 사용한다. 재판소 외벽 바로 옆 남북 방향 통로의 남쪽 끝에서 북서쪽을 바라본다. 실제 미러리스 카메라의 35밀리미터 렌즈, 서 있는 사람의 눈높이인 약 1.6미터에서 촬영한 자연스러운 원근감이다. 동쪽 경계를 따라 뻗은 재판소 외벽은 화면 오른쪽 가장자리에 좁게만 보이고, 그 왼쪽의 통로가 중앙의 빈 터로 바로 이어지는 구조를 분명히 보여 준다. 중앙 빈 터의 북서쪽과 서쪽에 기존 쓰레기 더미가 보이며, 남서쪽 더미는 왼쪽 전경에 걸친다. 남서쪽 더미의 동쪽은 접근할 수 있도록 열려 있고, 중앙의 거친 지면은 가리지 않는다. 건물보다 텅 빈 마당과 쓰레기 더미 사이의 공간을 중심으로 담는다. 공간은 손대지 않은 상태다. 희미한 밤하늘의 자연광이 외벽과 지면, 쓰레기 더미의 표면에 닿으며, 그늘은 실제 야간 촬영처럼 어둡되 공간의 경계를 알아볼 수 있다. 콘크리트의 거친 입자와 오래된 표면 마모, 지면의 불균일한 질감, 적치물의 눌리고 바랜 표면을 사실적으로 표현한다. 차가운 회색 기운은 현장의 빛과 재료에서 자연스럽게 드러나며, 과도한 보정이나 인위적인 극적 조명은 없다. 자연스러운 피사계 심도로 전경과 중앙 빈 터, 뒤쪽 더미의 거리감이 읽히는 실제 장소 기록 사진이다. 사람, 얼굴, 사람 몸 형태의 형상은 전혀 없는 배경만 담는다. 위에서 내려다본 시점이나 평면도, 건축 도해가 아니며, 그림이나 컴퓨터 합성 이미지가 아닌 실제 사진이어야 한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S9_Shot2",
            "guide_text": "공통 배경 시점을 사용하고 중앙 빈 터의 거친 지면이 충분히 드러나게 한다. 왼쪽 전경의 남서쪽 쓰레기 더미, 뒤쪽의 북서쪽·서쪽 더미, 오른쪽의 좁은 외벽과 통로가 위치 기준이 된다. 인물이나 동작에 따른 흔적을 배경에 포함하지 않는다."
          },
          {
            "shot_id": "S9_Shot5",
            "guide_text": "앞선 숏과 동일한 카메라 위치, 화각, 야간 밝기와 쓰레기 더미 배치를 유지한다. 중앙 빈 터에서 더미 가장자리로 이어지는 지면을 가리지 않아 같은 외부 공간임을 알 수 있게 한다. 동작에 사용하는 소품은 배경에 고정하지 않고 별도 장면 요소로 처리한다."
          }
        ],
        "shot_ids": [
          "S9_Shot2",
          "S9_Shot5"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "At the southern end of number 2 (side passage), facing northwest across number 3 (open ground pocket), toward numbers 4 and 5 (rubbish heaps), with number 6 near the left foreground and number 1 along the right edge.",
          "camera_height": "low standing viewpoint, approximately 1.2 m",
          "lens_hint": "35mm moderately wide angle",
          "framing_notes": "Use one consistent background viewpoint for both shots. Keep the open ground pocket unobstructed and the side passage legible. Include only a narrow courthouse wall edge; emphasize the empty rubbish yard. Stage the wallet action within the same pocket near a heap edge, but do not bake the wallet, money, identification, or people into the background."
        },
        "reference_decision": {
          "mode": "camera_geometry_direct_plate",
          "surface_role": "exterior_plate",
          "fp_id": "",
          "source_bg_ids": []
        },
        "effective_render_prompt": "2069년 기후 재난 이후 한국의 난민 재판소 바깥, 밤의 인적 없는 쓰레기 적치 공간을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 한국의 오래된 공공건물에서 볼 수 있는 실용적인 콘크리트 외벽과 황폐한 거친 지면이 남아 있는 장소다. 평면도는 공간의 배치 관계를 파악하는 자료로만 사용한다. 재판소 외벽 바로 옆 남북 방향 통로의 남쪽 끝에서 북서쪽을 바라본다. 실제 미러리스 카메라의 35밀리미터 렌즈, 서 있는 사람의 눈높이인 약 1.6미터에서 촬영한 자연스러운 원근감이다. 동쪽 경계를 따라 뻗은 재판소 외벽은 화면 오른쪽 가장자리에 좁게만 보이고, 그 왼쪽의 통로가 중앙의 빈 터로 바로 이어지는 구조를 분명히 보여 준다. 중앙 빈 터의 북서쪽과 서쪽에 기존 쓰레기 더미가 보이며, 남서쪽 더미는 왼쪽 전경에 걸친다. 남서쪽 더미의 동쪽은 접근할 수 있도록 열려 있고, 중앙의 거친 지면은 가리지 않는다. 건물보다 텅 빈 마당과 쓰레기 더미 사이의 공간을 중심으로 담는다. 공간은 손대지 않은 상태다. 희미한 밤하늘의 자연광이 외벽과 지면, 쓰레기 더미의 표면에 닿으며, 그늘은 실제 야간 촬영처럼 어둡되 공간의 경계를 알아볼 수 있다. 콘크리트의 거친 입자와 오래된 표면 마모, 지면의 불균일한 질감, 적치물의 눌리고 바랜 표면을 사실적으로 표현한다. 차가운 회색 기운은 현장의 빛과 재료에서 자연스럽게 드러나며, 과도한 보정이나 인위적인 극적 조명은 없다. 자연스러운 피사계 심도로 전경과 중앙 빈 터, 뒤쪽 더미의 거리감이 읽히는 실제 장소 기록 사진이다. 사람, 얼굴, 사람 몸 형태의 형상은 전혀 없는 배경만 담는다. 위에서 내려다본 시점이나 평면도, 건축 도해가 아니며, 그림이나 컴퓨터 합성 이미지가 아닌 실제 사진이어야 한다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThe LAST attached image is a TOP-DOWN INTERIOR FLOOR PLAN of the building at this location — a STRUCTURAL REFERENCE ONLY, never content to draw. It defines the building's real scale: its footprint, room count, and the placement of its doors and windows. Render the scene so the building's exterior size, number of storeys, and the scale and placement of its doors and windows stay consistent with that plan. Do NOT draw the floor plan itself, its lines, text or numbers anywhere in the image.",
        "shot_aware_plan_mode": "camera_geometry_direct_plate",
        "attached_reference_lineage": {
          "fp_id": "",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "building_fp:fp_refugee_court_interior"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        },
        "building_fp_ref": {
          "fp_id": "fp_refugee_court_interior",
          "indoor_loc_sid": "L159",
          "group_id": "bg_refugee_court",
          "fp_asset_id": "42d0de04-d37b-4103-a3f5-ae756992fba9"
        },
        "render_degraded": true,
        "fallback_reason": "no_viable_camera_look_at_pair",
        "source_fp_id": "fp_refugee_court_rubbish_site"
      },
      "L162B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L162",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L162B01.png",
        "t2i_prompt": "기후 재난 이후인 2069년 무렵, 한국의 허름한 골목 식당 안쪽을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 밤의 실내이며, 오래된 생활 공간을 계속 사용하고 있는 소박한 한국 동네 식당의 재료와 규모를 보여준다. 실제 미러리스 카메라와 35밀리미터 환산 렌즈를 사용하고, 약 1.6미터의 서 있는 사람 눈높이에서 수평에 가까운 시선으로 촬영한다. 서쪽과 중앙으로 이어지는 공용 통행 공간 중 테이블의 서남서쪽에 서서, 동북동쪽의 외진 뒤편 좌석 구역을 바라보는 구도다. 공용 통행 공간과 막힘없이 연결된 북동쪽 구석에 낡은 테이블이 있고, 테이블 북쪽과 남쪽에 의자가 하나씩 마주 놓여 있다. 북쪽 의자는 남쪽을 향하며 뒤쪽 벽과 간격이 있고, 남쪽 의자는 북쪽을 향하며 서쪽 통행 공간에서 접근할 수 있다. 테이블 상판과 양쪽 의자의 상대 위치, 의자 아래 바닥과 뒤쪽 벽까지 함께 읽히도록 여유 있게 담는다.\n테이블은 오래 사용해 가장자리가 닳은 목재 상판이며, 의자의 금속 골조에는 생활 속 마찰과 미세한 산화 흔적이 남아 있다. 뒤쪽 벽의 낡은 도장과 바닥의 실제 콘크리트 질감에는 오랜 사용에서 비롯된 자연스러운 마모와 옅은 얼룩이 보인다. 과도하게 무너진 폐허가 아니라 유지하며 사용하는 실내다. 마주 보는 두 좌석 사이의 테이블 상판에는 돈이 든 종이봉투 하나가 놓여 있다. 봉투는 상판 위에 자연스럽게 닿아 있으며, 종이의 섬유와 접힌 가장자리, 부드러운 접촉 그림자가 보인다. 정확한 위치는 후속 숏의 순간에 맞춰 조정할 수 있도록 상판의 여백을 충분히 확보한다.\n희미한 식당 실내조명이 테이블 위를 약하게 밝히고 뒤쪽 구석은 자연스럽게 어두워진다. 야간의 실제 현장광과 벽에서 반사되는 약한 빛만으로 밝기를 구성한다. 회색 벽과 바닥의 차가운 재료색에 상판의 은은한 따뜻함이 섞이며, 어두운 부분도 재료의 표면을 알아볼 수 있는 현실적인 노출을 유지한다. 자연스러운 피사계 심도로 테이블과 두 의자의 배치는 선명하게 읽히고 멀어진 벽은 조금 부드러워진다. 사람, 얼굴, 신체 일부, 사람 형태의 형상은 전혀 없는 배경 사진이다. 인위적 색 보정이나 미화 없이 실제 장소 답사 사진과 구별되지 않는 재질과 광학 표현을 유지한다. 위에서 내려다보는 시점이나 평면도, 건축 도해가 아닌 실내 현장 사진. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S10_Shot3",
            "guide_text": "테이블 서남서쪽에서 바라보는 기본 방향을 유지한다. 북쪽 의자 뒤의 벽 간격과 남쪽 의자로 이어지는 서쪽 접근 공간을 고정하고, 필요한 크기로 화면을 잘라 사용한다. 종이봉투는 두 좌석 사이 상판 위에 하나만 유지하며, 구체적인 순간 정보 없이 취급 동작을 배경에 그리지 않는다."
          },
          {
            "shot_id": "S10_Shot6",
            "guide_text": "같은 테이블과 의자 배치, 상판의 마모, 뒤쪽 벽의 표면, 희미한 야간 조명을 그대로 유지한다. 좁은 구도가 필요하면 기본 사진의 같은 시선 방향에서 확대하되 좌석 축을 반전하지 않는다. 봉투의 세부 위치만 해당 숏의 순간에 맞추고 배경에는 신체 일부를 포함하지 않는다."
          },
          {
            "shot_id": "S10_Shot7",
            "guide_text": "앞선 숏과 동일한 외진 좌석 구역을 사용한다. 넓은 구도에서는 두 의자 아래 바닥과 공용 통행 공간의 연결이 자연스럽게 이어지도록 하고, 좁은 구도에서도 테이블과 뒤쪽 벽의 방향을 유지한다. 조명의 밝기와 색은 일정하게 유지하며 추가 인물이나 별도의 사건성 광원은 넣지 않는다."
          }
        ],
        "shot_ids": [
          "S10_Shot3",
          "S10_Shot6",
          "S10_Shot7"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Within number 1, west-southwest of number 5, facing east-northeast toward number 2 and the opposing chairs numbered 6 and 7.",
          "camera_height": "Seated-to-standing intermediate height, approximately 1.3m",
          "lens_hint": "35mm equivalent for the master background; derive tighter crops without reversing the seating axis",
          "framing_notes": "Keep number 5 and both facing seats legible, with room for seated full-body framing. Preserve this west-side view of the north-south seating axis across hand, face, and wider shots. Numbers 3 and 4 remain behind the camera. Number 8 belongs only to the shot-dependent overlay, not to the persistent tabletop surface. Nighttime dimness belongs to background treatment; add neither emergency-light spill nor departing crowds in response to the offscreen siren."
        },
        "reference_decision": {
          "bg_id": "L162B01",
          "fp_id": "fp_backstreet_restaurant",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L162B01 is the only ready BG and the sole permitted anchor candidate under the supplied ramped fallback. Seed its fixed identity from the floor plan without references, retaining its explicitly required transient marker 8 rather than treating it as clean. Camera unit 1 looking toward unit 2 provides broad coverage of markers 5, 6, and 7 for S10_Shot7 and establishes the shared fixed layout underlying the tighter staging in S10_Shot3 and S10_Shot6.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_backstreet_restaurant.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "No prior references are available; the sole permitted anchor is rendered fresh from the base floor plan.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 1,
            "camera_cell": [
              5,
              4
            ],
            "look_at_unit": 2,
            "look_at_cell": [
              2,
              7
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad oblique coverage from unit 1 toward marker 5 in unit 2. Establish the fixed arrangement of markers 5, 6, and 7 with surrounding clearance needed by S10_Shot7. The close compositions in S10_Shot3 and S10_Shot6 are consuming-shot requirements, not simultaneous compositions of this single plate."
          },
          "render_guidance": {
            "visible_space_directive": "Show the forward portion of unit 1 leading into unit 2, centered toward base marker 5, with base markers 6 and 7 retaining their north-side and south-side positions relative to marker 5. Preserve the open relationship between units 1 and 2. The visibility supersets do not require unit 3 or opening marker 4 to appear in this forward-facing view.",
            "camera_framing_directive": "Use camera unit 1 at [5, 4], looking toward unit 2 at [2, 7], with a wide lens and 90-degree field of view. Keep broad coverage and usable clearance around markers 5, 6, and 7 for the full seated-body staging in S10_Shot7. Preserve this fixed layout through the tighter oblique and over-shoulder consuming-shot compositions; do not combine their different crops into one composition.",
            "subject_position_directive": "Treat the committed subject placements as shot-specific rather than simultaneous. S10_Shot3 places overlapping hands near center, one entering from lower left, with partial seated torsos at opposing edges and faces outside the crop. S10_Shot6 places the seated three-quarter face right of center, a soft foreground shoulder sliver at the left edge, and a narrow marker 5 edge below. S10_Shot7 places the entire seated subject right of center with marker 5 confined to the left, preserving unobstructed fists and feet and a downward gaze. Preserve the opposing seating arrangement without assigning named subjects to marker 6 or 7 where the supplied facts do not specify that mapping.",
            "state_cue_directive": "This BG is not marked clean. Include transient marker 8 on the surface of marker 5 beside the hand-contact area committed in S10_Shot3; within that shot's crop it occupies less than a quarter of the frame. Keep markers 5, 6, and 7 fixed through the staged actions. Retain the supplied ambient illumination and restrained contrast across the consuming shots, without adding a visible source or flashing or colored light for the offscreen sound cue.",
            "negative_continuity_directive": "No numbered elements or state-overlay markers are listed for exclusion. Avoid relocating or duplicating markers 5, 6, and 7, converting transient marker 8 into a permanent fixture, or treating the shared grid cell of markers 5 and 7 as physical overlap. Do not force unit 3 or marker 4 into the selected forward view merely because they occur in visibility supersets. Avoid merging incompatible subject crops from S10_Shot3, S10_Shot6, and S10_Shot7 into this single plate."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [5, 4]\n  - look_at_unit: 2\n  - look_at_cell: [2, 7]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad oblique coverage from unit 1 toward marker 5 in unit 2. Establish the fixed arrangement of markers 5, 6, and 7 with surrounding clearance needed by S10_Shot7. The close compositions in S10_Shot3 and S10_Shot6 are consuming-shot requirements, not simultaneous compositions of this single plate.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward portion of unit 1 leading into unit 2, centered toward base marker 5, with base markers 6 and 7 retaining their north-side and south-side positions relative to marker 5. Preserve the open relationship between units 1 and 2. The visibility supersets do not require unit 3 or opening marker 4 to appear in this forward-facing view.\n  - camera_framing_directive: Use camera unit 1 at [5, 4], looking toward unit 2 at [2, 7], with a wide lens and 90-degree field of view. Keep broad coverage and usable clearance around markers 5, 6, and 7 for the full seated-body staging in S10_Shot7. Preserve this fixed layout through the tighter oblique and over-shoulder consuming-shot compositions; do not combine their different crops into one composition.\n  - subject_position_directive: Treat the committed subject placements as shot-specific rather than simultaneous. S10_Shot3 places overlapping hands near center, one entering from lower left, with partial seated torsos at opposing edges and faces outside the crop. S10_Shot6 places the seated three-quarter face right of center, a soft foreground shoulder sliver at the left edge, and a narrow marker 5 edge below. S10_Shot7 places the entire seated subject right of center with marker 5 confined to the left, preserving unobstructed fists and feet and a downward gaze. Preserve the opposing seating arrangement without assigning named subjects to marker 6 or 7 where the supplied facts do not specify that mapping.\n  - state_cue_directive: This BG is not marked clean. Include transient marker 8 on the surface of marker 5 beside the hand-contact area committed in S10_Shot3; within that shot's crop it occupies less than a quarter of the frame. Keep markers 5, 6, and 7 fixed through the staged actions. Retain the supplied ambient illumination and restrained contrast across the consuming shots, without adding a visible source or flashing or colored light for the offscreen sound cue.\n  - negative_continuity_directive: No numbered elements or state-overlay markers are listed for exclusion. Avoid relocating or duplicating markers 5, 6, and 7, converting transient marker 8 into a permanent fixture, or treating the shared grid cell of markers 5 and 7 as physical overlap. Do not force unit 3 or marker 4 into the selected forward view merely because they occur in visibility supersets. Avoid merging incompatible subject crops from S10_Shot3, S10_Shot6, and S10_Shot7 into this single plate.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [5, 4]\n  - look_at_unit: 2\n  - look_at_cell: [2, 7]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad oblique coverage from unit 1 toward marker 5 in unit 2. Establish the fixed arrangement of markers 5, 6, and 7 with surrounding clearance needed by S10_Shot7. The close compositions in S10_Shot3 and S10_Shot6 are consuming-shot requirements, not simultaneous compositions of this single plate.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward portion of unit 1 leading into unit 2, centered toward base marker 5, with base markers 6 and 7 retaining their north-side and south-side positions relative to marker 5. Preserve the open relationship between units 1 and 2. The visibility supersets do not require unit 3 or opening marker 4 to appear in this forward-facing view.\n  - camera_framing_directive: Use camera unit 1 at [5, 4], looking toward unit 2 at [2, 7], with a wide lens and 90-degree field of view. Keep broad coverage and usable clearance around markers 5, 6, and 7 for the full seated-body staging in S10_Shot7. Preserve this fixed layout through the tighter oblique and over-shoulder consuming-shot compositions; do not combine their different crops into one composition.\n  - subject_position_directive: Treat the committed subject placements as shot-specific rather than simultaneous. S10_Shot3 places overlapping hands near center, one entering from lower left, with partial seated torsos at opposing edges and faces outside the crop. S10_Shot6 places the seated three-quarter face right of center, a soft foreground shoulder sliver at the left edge, and a narrow marker 5 edge below. S10_Shot7 places the entire seated subject right of center with marker 5 confined to the left, preserving unobstructed fists and feet and a downward gaze. Preserve the opposing seating arrangement without assigning named subjects to marker 6 or 7 where the supplied facts do not specify that mapping.\n  - state_cue_directive: This BG is not marked clean. Include transient marker 8 on the surface of marker 5 beside the hand-contact area committed in S10_Shot3; within that shot's crop it occupies less than a quarter of the frame. Keep markers 5, 6, and 7 fixed through the staged actions. Retain the supplied ambient illumination and restrained contrast across the consuming shots, without adding a visible source or flashing or colored light for the offscreen sound cue.\n  - negative_continuity_directive: No numbered elements or state-overlay markers are listed for exclusion. Avoid relocating or duplicating markers 5, 6, and 7, converting transient marker 8 into a permanent fixture, or treating the shared grid cell of markers 5 and 7 as physical overlap. Do not force unit 3 or marker 4 into the selected forward view merely because they occur in visibility supersets. Avoid merging incompatible subject crops from S10_Shot3, S10_Shot6, and S10_Shot7 into this single plate.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [5, 4]\n  - look_at_unit: 2\n  - look_at_cell: [2, 7]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad oblique coverage from unit 1 toward marker 5 in unit 2. Establish the fixed arrangement of markers 5, 6, and 7 with surrounding clearance needed by S10_Shot7. The close compositions in S10_Shot3 and S10_Shot6 are consuming-shot requirements, not simultaneous compositions of this single plate.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward portion of unit 1 leading into unit 2, centered toward base marker 5, with base markers 6 and 7 retaining their north-side and south-side positions relative to marker 5. Preserve the open relationship between units 1 and 2. The visibility supersets do not require unit 3 or opening marker 4 to appear in this forward-facing view.\n  - camera_framing_directive: Use camera unit 1 at [5, 4], looking toward unit 2 at [2, 7], with a wide lens and 90-degree field of view. Keep broad coverage and usable clearance around markers 5, 6, and 7 for the full seated-body staging in S10_Shot7. Preserve this fixed layout through the tighter oblique and over-shoulder consuming-shot compositions; do not combine their different crops into one composition.\n  - subject_position_directive: Treat the committed subject placements as shot-specific rather than simultaneous. S10_Shot3 places overlapping hands near center, one entering from lower left, with partial seated torsos at opposing edges and faces outside the crop. S10_Shot6 places the seated three-quarter face right of center, a soft foreground shoulder sliver at the left edge, and a narrow marker 5 edge below. S10_Shot7 places the entire seated subject right of center with marker 5 confined to the left, preserving unobstructed fists and feet and a downward gaze. Preserve the opposing seating arrangement without assigning named subjects to marker 6 or 7 where the supplied facts do not specify that mapping.\n  - state_cue_directive: This BG is not marked clean. Include transient marker 8 on the surface of marker 5 beside the hand-contact area committed in S10_Shot3; within that shot's crop it occupies less than a quarter of the frame. Keep markers 5, 6, and 7 fixed through the staged actions. Retain the supplied ambient illumination and restrained contrast across the consuming shots, without adding a visible source or flashing or colored light for the offscreen sound cue.\n  - negative_continuity_directive: No numbered elements or state-overlay markers are listed for exclusion. Avoid relocating or duplicating markers 5, 6, and 7, converting transient marker 8 into a permanent fixture, or treating the shared grid cell of markers 5 and 7 as physical overlap. Do not force unit 3 or marker 4 into the selected forward view merely because they occur in visibility supersets. Avoid merging incompatible subject crops from S10_Shot3, S10_Shot6, and S10_Shot7 into this single plate.\n\n기후 재난 이후인 2069년 무렵, 한국의 허름한 골목 식당 안쪽을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 밤의 실내이며, 오래된 생활 공간을 계속 사용하고 있는 소박한 한국 동네 식당의 재료와 규모를 보여준다. 실제 미러리스 카메라와 35밀리미터 환산 렌즈를 사용하고, 약 1.6미터의 서 있는 사람 눈높이에서 수평에 가까운 시선으로 촬영한다. 서쪽과 중앙으로 이어지는 공용 통행 공간 중 테이블의 서남서쪽에 서서, 동북동쪽의 외진 뒤편 좌석 구역을 바라보는 구도다. 공용 통행 공간과 막힘없이 연결된 북동쪽 구석에 낡은 테이블이 있고, 테이블 북쪽과 남쪽에 의자가 하나씩 마주 놓여 있다. 북쪽 의자는 남쪽을 향하며 뒤쪽 벽과 간격이 있고, 남쪽 의자는 북쪽을 향하며 서쪽 통행 공간에서 접근할 수 있다. 테이블 상판과 양쪽 의자의 상대 위치, 의자 아래 바닥과 뒤쪽 벽까지 함께 읽히도록 여유 있게 담는다.\n테이블은 오래 사용해 가장자리가 닳은 목재 상판이며, 의자의 금속 골조에는 생활 속 마찰과 미세한 산화 흔적이 남아 있다. 뒤쪽 벽의 낡은 도장과 바닥의 실제 콘크리트 질감에는 오랜 사용에서 비롯된 자연스러운 마모와 옅은 얼룩이 보인다. 과도하게 무너진 폐허가 아니라 유지하며 사용하는 실내다. 마주 보는 두 좌석 사이의 테이블 상판에는 돈이 든 종이봉투 하나가 놓여 있다. 봉투는 상판 위에 자연스럽게 닿아 있으며, 종이의 섬유와 접힌 가장자리, 부드러운 접촉 그림자가 보인다. 정확한 위치는 후속 숏의 순간에 맞춰 조정할 수 있도록 상판의 여백을 충분히 확보한다.\n희미한 식당 실내조명이 테이블 위를 약하게 밝히고 뒤쪽 구석은 자연스럽게 어두워진다. 야간의 실제 현장광과 벽에서 반사되는 약한 빛만으로 밝기를 구성한다. 회색 벽과 바닥의 차가운 재료색에 상판의 은은한 따뜻함이 섞이며, 어두운 부분도 재료의 표면을 알아볼 수 있는 현실적인 노출을 유지한다. 자연스러운 피사계 심도로 테이블과 두 의자의 배치는 선명하게 읽히고 멀어진 벽은 조금 부드러워진다. 사람, 얼굴, 신체 일부, 사람 형태의 형상은 전혀 없는 배경 사진이다. 인위적 색 보정이나 미화 없이 실제 장소 답사 사진과 구별되지 않는 재질과 광학 표현을 유지한다. 위에서 내려다보는 시점이나 평면도, 건축 도해가 아닌 실내 현장 사진. 16:9 가로 비율, 실제 카메라 촬영본",
        "camera_decision": {
          "camera_unit": 1,
          "camera_cell": [
            5,
            4
          ],
          "look_at_unit": 2,
          "look_at_cell": [
            2,
            7
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad oblique coverage from unit 1 toward marker 5 in unit 2. Establish the fixed arrangement of markers 5, 6, and 7 with surrounding clearance needed by S10_Shot7. The close compositions in S10_Shot3 and S10_Shot6 are consuming-shot requirements, not simultaneous compositions of this single plate."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Show the forward portion of unit 1 leading into unit 2, centered toward base marker 5, with base markers 6 and 7 retaining their north-side and south-side positions relative to marker 5. Preserve the open relationship between units 1 and 2. The visibility supersets do not require unit 3 or opening marker 4 to appear in this forward-facing view.",
          "camera_framing_directive": "Use camera unit 1 at [5, 4], looking toward unit 2 at [2, 7], with a wide lens and 90-degree field of view. Keep broad coverage and usable clearance around markers 5, 6, and 7 for the full seated-body staging in S10_Shot7. Preserve this fixed layout through the tighter oblique and over-shoulder consuming-shot compositions; do not combine their different crops into one composition.",
          "subject_position_directive": "Treat the committed subject placements as shot-specific rather than simultaneous. S10_Shot3 places overlapping hands near center, one entering from lower left, with partial seated torsos at opposing edges and faces outside the crop. S10_Shot6 places the seated three-quarter face right of center, a soft foreground shoulder sliver at the left edge, and a narrow marker 5 edge below. S10_Shot7 places the entire seated subject right of center with marker 5 confined to the left, preserving unobstructed fists and feet and a downward gaze. Preserve the opposing seating arrangement without assigning named subjects to marker 6 or 7 where the supplied facts do not specify that mapping.",
          "state_cue_directive": "This BG is not marked clean. Include transient marker 8 on the surface of marker 5 beside the hand-contact area committed in S10_Shot3; within that shot's crop it occupies less than a quarter of the frame. Keep markers 5, 6, and 7 fixed through the staged actions. Retain the supplied ambient illumination and restrained contrast across the consuming shots, without adding a visible source or flashing or colored light for the offscreen sound cue.",
          "negative_continuity_directive": "No numbered elements or state-overlay markers are listed for exclusion. Avoid relocating or duplicating markers 5, 6, and 7, converting transient marker 8 into a permanent fixture, or treating the shared grid cell of markers 5 and 7 as physical overlap. Do not force unit 3 or marker 4 into the selected forward view merely because they occur in visibility supersets. Avoid merging incompatible subject crops from S10_Shot3, S10_Shot6, and S10_Shot7 into this single plate."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_backstreet_restaurant",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_backstreet_restaurant"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L166B03": {
        "status": "ok",
        "is_reuse": true,
        "render_action": "reuse_existing_plate",
        "reuse_target_bg_id": "L166B01",
        "reused_from_bg_id": "L166B01",
        "location_id": "L166",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L166B01.png",
        "t2i_prompt": "기후 재난 이후인 2069년 무렵 대한민국에서 생활 공간으로 사용하는 길쭉한 직사각형 컨테이너 내부의 밤. 실제 미러리스 카메라와 35밀리미터급 렌즈로 촬영한 다큐멘터리 풍 사진으로, 실제 거주지의 현장 기록 사진과 구별되지 않는 사실성을 갖춘다. 공용 공간의 동쪽에서 서북서쪽을 바라보며, 선 사람의 눈높이인 약 1.6미터에서 식탁 너머 서쪽 좌석과 서쪽 짧은 벽의 남쪽 끝에 있는 외부 출입문을 함께 담는다. 동쪽 좌석은 카메라 가까이에 놓인다. 식탁 상판을 읽을 수 있을 만큼만 시선을 아래로 기울이고, 마주 보는 두 좌석과 출입문 사이의 거리감이 자연스럽게 드러나게 한다. 위에서 내려다본 구도나 평면도, 건축 도해가 아닌 실내 현장 사진이다.\n\n공용 생활 공간은 내부의 서쪽 대부분을 차지하며 식탁은 그 북쪽 절반에 놓여 있다. 식탁 양 끝의 좌석과 남쪽 가장자리를 따라 이어지는 출입 동선의 위치 관계는 제공된 배치 자료를 근거로 한다. 남쪽 통로는 가구나 물건으로 막지 않는다. 한국의 소박한 임시 주거에 어울리는 실용적인 마감과 오래 사용한 생활 가구를 보여 준다. 컨테이너 금속 벽체의 도장면, 이음부의 가벼운 산화, 식탁 표면의 나뭇결과 잔잔한 사용 흔적을 실제 재료처럼 표현하되 거주 공간을 과도하게 붕괴한 폐허로 만들지 않는다.\n\n식탁 중앙 가까이에 놓인 초가 공간을 밝힌다. 서쪽 좌석 앞 상판에는 밥그릇과 수저를 갖춘 소박한 식사가 놓여 있다. 동쪽 좌석 옆 상판에는 바늘과 실 같은 바느질 도구 및 수선 중인 옷감이 놓여 있으며, 옷은 사람의 몸 형태가 되지 않도록 상판 위에 자연스럽게 펼쳐져 있다. 같은 동쪽 좌석 가까이에는 열린 약통이 놓여 있고, 서쪽의 식사 자리와는 분리되어 있다. 초와 식사, 바느질 도구와 옷, 열린 약통이 서로 가리지 않도록 읽히게 한다. 실제 촛불에서 생기는 따뜻한 빛과 벽면에 반사된 약한 빛만으로 조명을 설명하고, 식탁에서 멀어질수록 밝기가 자연스럽게 떨어지게 한다. 금속과 그릇에는 작은 반사광이, 옷감에는 실제 직물의 짜임과 부드러운 그림자가 보인다. 어두운 부분의 회색 재료색과 촛불 주변의 온기가 과장 없이 공존하며, 자연스러운 심도로 식탁과 출입문의 공간 관계를 알아볼 수 있게 한다. 과도한 보정이나 인위적인 조명 효과 없이 촬영한 사진이며, 광고용으로 말끔하게 꾸민 사진이나 컴퓨터 합성 이미지, 삽화, 건축 시각화가 아니다. 사람, 얼굴, 사람 모양의 형상은 전혀 없는 배경만 담는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S12_Shot7",
            "guide_text": "동쪽 좌석이 가까이 보이는 방향을 유지하고, 식탁 너머 서쪽 좌석과 외부 출입문을 함께 읽히게 한다. 중앙의 초, 서쪽의 식사, 동쪽의 바느질 도구와 옷 및 열린 약통의 위치를 유지한다. 남쪽 통로를 비워 두고 인물 없이 촛불로 밝힌 생활 공간만 보여 준다."
          },
          {
            "shot_id": "S12_Shot8",
            "guide_text": "같은 밤의 배경을 사용하며 식탁, 두 좌석, 출입문과 남쪽 통로의 관계 및 상판 물건의 배치를 이어 간다. 촛불의 밝기와 재료 질감도 동일하게 유지한다. 순간적인 불꽃의 흔들림은 촬영 장면의 동작으로만 다루고, 별도의 공간 상태나 지속적인 배경 변화로 고정하지 않는다. 배경에는 인물이나 사람 모양의 형상을 넣지 않는다."
          }
        ],
        "shot_ids": [
          "S12_Shot7",
          "S12_Shot8"
        ],
        "scenes": [],
        "parent_id": "L166B01",
        "ref_used": "reused_plate",
        "render_attempts": 0,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "Near number 6 on the shared-room side, facing west-northwest across number 7 toward numbers 8 and 5, with number 9 nearer the camera.",
          "camera_height": "Seated eye level, approximately 1.2m",
          "lens_hint": "28mm wide angle",
          "framing_notes": "Keep both opposing seats and the tabletop readable. Depict overlays 11 through 14 under candlelight; any momentary flame movement is shot action, not a different room state. Preserve the clear route at number 3."
        },
        "reference_decision": {
          "mode": "reference_derived",
          "render_action": "reuse_existing_plate",
          "reuse_target_bg_id": "L166B01",
          "selected_refs": [
            {
              "ref_bg_id": "L166B01",
              "physical_space_id": "fp_container_interior_space_2",
              "space_description": "Unit 2 and its continuous unit 3 margin within unit 1."
            }
          ]
        },
        "shot_aware_plan_node_index": 2,
        "shot_aware_plan_mode": "reference_derived",
        "render_guidance": {
          "visible_space_directive": "Retain L166B01's unit 2 view within unit 1, including the in-cone unit 3 margin. Keep marker 7 and its opposing markers 8 and 9 in their established positions. Keep the enclosing boundaries and marker 5 location consistent even where cropped out.",
          "camera_framing_directive": "Use camera unit 1 at [3, 0], aimed toward unit 2 at [4, 3], with wide 90-degree broad coverage matching L166B01. Treat the medium, oblique views around marker 7 in S12_Shot7 and S12_Shot8 as consuming-shot compositions; retain the same fixed spatial arrangement.",
          "subject_position_directive": "For S12_Shot7, preserve the committed narrow left-foreground shoulder of 미연, the small offered item at lower center, and 현우 recoiling in the right half with a visible gap. For S12_Shot8, reserve center-right for 현우, separated hand contacts in the lower field, and marker 11 at lower left. These are separate shot cues, not simultaneous subjects to bake into the representative plate.",
          "state_cue_directive": "Use transient markers 11, 12, 13 and 14 with base markers 1, 2, 3, 5, 7, 8 and 9. Preserve the committed restrained candlelight warmth and subdued surroundings. S12_Shot7 carries the offered marker 14 and the set-out marker 12; S12_Shot8 carries the momentarily bent flame of marker 11. Marker 13 has no additional committed action or placement detail to invent.",
          "negative_continuity_directive": "Exclude marker 15. Preserve the fixed positions of markers 7, 8 and 9 from L166B01 rather than rearranging them for the medium framings. Do not make markers 11–14 permanent fixtures or expose unit 4 outside the chosen view."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_container_interior",
          "prior_bg_ids": [
            "L166B01"
          ],
          "attached_ref_labels": [
            "bg:L166B01"
          ],
          "ref_used": "reused_plate",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L166B04": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L166",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L166B04.png",
        "t2i_prompt": "2069년 기후 재난 이후 한국에서 주거용으로 사용하는 길쭉한 컨테이너의 밤 실내를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실제 장소 답사 사진처럼 담백하고 사실적으로 표현한다. 미러리스 카메라와 35밀리미터급 렌즈를 사용하고, 바닥에서 약 1.6미터 높이의 서 있는 사람 눈높이에서 촬영한다. 공용 공간의 동쪽에서 서북서쪽을 향해 식탁 너머 서쪽 끝의 빈 의자와 닫힌 외부 출입문을 함께 바라보는 구도다. 내려다보는 시점이나 평면도 구도가 아니다.\n\n컨테이너 서쪽 대부분을 차지하는 공용 식사 공간에서 식탁은 북쪽 절반에 놓여 있고, 남쪽 가장자리의 통행 공간은 비워져 있다. 서쪽 짧은 벽의 남쪽 끝 가까이에 있는 출입문은 닫혀 있다. 식탁 양 끝의 의자를 모두 유지하되, 동쪽 의자 맞은편에 있는 서쪽 빈 의자가 식탁 너머 또렷하게 보이도록 한다. 가까운 동쪽 의자는 화면 가장자리에 자연스럽게 걸리고, 서쪽 의자와 닫힌 문 사이의 공간 관계가 읽힌다.\n\n식탁 중앙 가까이의 촛불이 타오르며 상판과 빈 의자에 작고 따뜻한 빛을 비춘다. 식탁 서쪽 끝에는 서쪽 의자 앞의 식사 그릇과 남은 음식이 그대로 놓여 있다. 동쪽 의자 옆 상판에는 바느질 도구와 수선하던 옷감이 놓여 있고, 옷은 사람의 형상을 만들지 않도록 상판에 납작하게 놓인다. 같은 동쪽 자리 가까이에 열린 약 용기를 두되 식사 그릇과는 떨어져 있게 한다. 식사와 바느질의 배치를 정리하거나 치우지 않은 채 조용히 유지하고, 새로운 파손을 만들지 않는다.\n\n한국의 소박한 임시 주거용 컨테이너에 어울리는 실용적인 금속 벽체와 단순한 출입문, 오래 사용한 식탁과 의자를 보여준다. 금속 표면의 미세한 산화와 손때, 상판의 나뭇결과 일상적인 얼룩, 옷감의 실제 직조 조직을 과장 없이 담는다. 미래라는 이유로 새로운 전자 장비나 장식을 덧붙이지 않는다. 어둠 속 금속 벽은 낮은 채도의 회색으로 남고, 촛불 가까이에만 따뜻한 빛이 번진다. 촛불의 실제 광량에 맞는 자연스러운 저조도 노출과 부드러운 그림자, 자연스러운 피사계 심도를 사용하며 빈 의자와 문을 과도하게 흐리지 않는다. 과장된 색 보정이나 인위적인 광원 없이 실제 생활 공간의 재질과 어둠을 기록한다. 지나치게 말끔한 광고 사진이 아니라 실제 현장 사진이며, 컴퓨터 합성 이미지나 삽화, 건축 시각화가 아니다. 사람, 얼굴, 신체 형태의 형상은 전혀 없이 공간과 사물만 보인다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S12_Shot12",
            "guide_text": "식탁 동쪽에서 맞은편 서쪽 빈 의자를 중심으로 바라보고, 닫힌 외부 출입문이 같은 화면 안에서 분명히 읽히게 한다. 빈 의자를 제거하거나 다른 사물로 가리지 않는다. 중앙 촛불, 서쪽의 식사 그릇과 남은 음식, 동쪽의 바느질 도구와 옷감 및 별도로 놓인 열린 약 용기를 유지한다. 사람 없이 고요한 밤의 공간만 담고, 식탁을 청소한 모습이나 새롭게 훼손된 모습으로 바꾸지 않는다."
          }
        ],
        "shot_ids": [
          "S12_Shot12"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "Near number 6 on the shared-room side, facing west-northwest across number 7 toward number 8 and the exterior entrance at number 5.",
          "camera_height": "Seated eye level, approximately 1.2m",
          "lens_hint": "28mm wide angle",
          "framing_notes": "Show number 5 closed and emphasize the unoccupied west seat at number 8 opposite number 9. Retain the candle, meal remnants, sewing supplies, and opened medicine container without implying cleanup or damage. Do not remove the empty chair."
        },
        "reference_decision": {
          "bg_id": "L166B04",
          "fp_id": "fp_container_interior",
          "node_index": 3,
          "mode": "reference_derived",
          "is_dwelling_identity_anchor": false,
          "rationale": "S12_Shot12 remains in the same fixed space as L166B03 with identical base and transient marker sets. Camera unit 1 toward unit 2 also matches that earlier node and supports the entrance-side view toward marker 7 with marker 5 outside the frame. The remaining change is subject absence, seated pose and minor shot framing, so L166B03 is the selected low-delta representative.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L166B01.png"
          ],
          "source_bg_ids": [
            "L166B03"
          ],
          "fp_included": false,
          "reference_decision": {
            "selected_refs": [
              {
                "ref_bg_id": "L166B03",
                "physical_space_id": "fp_container_interior_space_2",
                "space_description": "Unit 2 and its continuous unit 3 margin within unit 1."
              }
            ],
            "rejected_refs": [
              {
                "ref_bg_id": "L166B01",
                "reason": "Same physical-space identity; explicitly deduplicated to L166B03 for this node."
              },
              {
                "ref_bg_id": "L166B02",
                "reason": "Same physical-space identity; explicitly deduplicated to L166B03 for this node."
              }
            ],
            "same_physical_space_dedup_decision": "single_same_space_representative",
            "why_single_ref_or_two_refs": "L166B03 is the selected representative of the same space and committed overlay set. Additional references would duplicate that physical-space identity.",
            "physical_space_id_per_ref": [
              "fp_container_interior_space_2"
            ],
            "same_physical_space_low_delta_candidate": true,
            "low_delta_reuse_target_bg_id": "L166B03",
            "low_delta_rationale": "Camera unit 1 and look-at unit 2 at [3, 0] and [4, 3], fixed markers, and transient markers 11–14 match L166B03. Subject removal, seated pose, empty space and moment-specific light behavior are scene-restorable."
          },
          "camera_decision": {
            "camera_unit": 1,
            "camera_cell": [
              3,
              0
            ],
            "look_at_unit": 2,
            "look_at_cell": [
              4,
              3
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Match L166B03's representative geometry. S12_Shot12 uses a medium selection with occupied space on the left and unoccupied marker 7 surface to the right; marker 5 remains outside the frame near the camera side."
          },
          "render_guidance": {
            "visible_space_directive": "Keep unit 2, marker 7 and markers 8 and 9 in the same positions established through L166B03 and L166B01. Retain unit 1 boundaries and only the in-cone unit 3 margin. Marker 5 stays at its fixed west-boundary position outside the consuming-shot frame.",
            "camera_framing_directive": "Use camera unit 1 at [3, 0], look-at unit 2 at [4, 3], wide lens and 90-degree broad representative coverage. Within the S12_Shot12 medium composition, preserve left-side subject room and unoccupied marker 7 surface extending toward the lower right without changing the plate geometry.",
            "subject_position_directive": "S12_Shot12 commits 미연 alone at marker 7, upper body in the left half, shoulders drawn and gaze toward off-screen marker 5 near the camera side. Keep the right-side space unoccupied and do not carry over the other subject or hand actions from L166B03.",
            "state_cue_directive": "Retain transient markers 11, 12, 13 and 14 and the established intimate candlelight with subdued surrounding contrast. The committed aftermath is unoccupied space beside the seated subject; marker 5 is closed but off-screen. No new lighting source or persistent structural change is committed.",
            "negative_continuity_directive": "Exclude marker 15. Do not carry over L166B03's shot-specific subject occupancy, contact actions or momentary marker 11 deformation as permanent features. Keep marker 5 outside the shot frame and preserve markers 7, 8 and 9 at their established positions."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nInherit the visible identity of this dwelling from the supplied prior background reference images. Match floor, wall, window, lighting, and fixed-furniture palette so the space reads as the same home; do not redraw any transient cue already present in the references.\n\nREFERENCE PLAN: mode='reference_derived'\n  - selected_refs[0]: ref_bg_id='L166B03' physical_space_id='fp_container_interior_space_2'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [3, 0]\n  - look_at_unit: 2\n  - look_at_cell: [4, 3]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Match L166B03's representative geometry. S12_Shot12 uses a medium selection with occupied space on the left and unoccupied marker 7 surface to the right; marker 5 remains outside the frame near the camera side.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Keep unit 2, marker 7 and markers 8 and 9 in the same positions established through L166B03 and L166B01. Retain unit 1 boundaries and only the in-cone unit 3 margin. Marker 5 stays at its fixed west-boundary position outside the consuming-shot frame.\n  - camera_framing_directive: Use camera unit 1 at [3, 0], look-at unit 2 at [4, 3], wide lens and 90-degree broad representative coverage. Within the S12_Shot12 medium composition, preserve left-side subject room and unoccupied marker 7 surface extending toward the lower right without changing the plate geometry.\n  - subject_position_directive: S12_Shot12 commits 미연 alone at marker 7, upper body in the left half, shoulders drawn and gaze toward off-screen marker 5 near the camera side. Keep the right-side space unoccupied and do not carry over the other subject or hand actions from L166B03.\n  - state_cue_directive: Retain transient markers 11, 12, 13 and 14 and the established intimate candlelight with subdued surrounding contrast. The committed aftermath is unoccupied space beside the seated subject; marker 5 is closed but off-screen. No new lighting source or persistent structural change is committed.\n  - negative_continuity_directive: Exclude marker 15. Do not carry over L166B03's shot-specific subject occupancy, contact actions or momentary marker 11 deformation as permanent features. Keep marker 5 outside the shot frame and preserve markers 7, 8 and 9 at their established positions.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nInherit the visible identity of this dwelling from the supplied prior background reference images. Match floor, wall, window, lighting, and fixed-furniture palette so the space reads as the same home; do not redraw any transient cue already present in the references.\n\nREFERENCE PLAN: mode='reference_derived'\n  - selected_refs[0]: ref_bg_id='L166B03' physical_space_id='fp_container_interior_space_2'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [3, 0]\n  - look_at_unit: 2\n  - look_at_cell: [4, 3]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Match L166B03's representative geometry. S12_Shot12 uses a medium selection with occupied space on the left and unoccupied marker 7 surface to the right; marker 5 remains outside the frame near the camera side.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Keep unit 2, marker 7 and markers 8 and 9 in the same positions established through L166B03 and L166B01. Retain unit 1 boundaries and only the in-cone unit 3 margin. Marker 5 stays at its fixed west-boundary position outside the consuming-shot frame.\n  - camera_framing_directive: Use camera unit 1 at [3, 0], look-at unit 2 at [4, 3], wide lens and 90-degree broad representative coverage. Within the S12_Shot12 medium composition, preserve left-side subject room and unoccupied marker 7 surface extending toward the lower right without changing the plate geometry.\n  - subject_position_directive: S12_Shot12 commits 미연 alone at marker 7, upper body in the left half, shoulders drawn and gaze toward off-screen marker 5 near the camera side. Keep the right-side space unoccupied and do not carry over the other subject or hand actions from L166B03.\n  - state_cue_directive: Retain transient markers 11, 12, 13 and 14 and the established intimate candlelight with subdued surrounding contrast. The committed aftermath is unoccupied space beside the seated subject; marker 5 is closed but off-screen. No new lighting source or persistent structural change is committed.\n  - negative_continuity_directive: Exclude marker 15. Do not carry over L166B03's shot-specific subject occupancy, contact actions or momentary marker 11 deformation as permanent features. Keep marker 5 outside the shot frame and preserve markers 7, 8 and 9 at their established positions.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nInherit the visible identity of this dwelling from the supplied prior background reference images. Match floor, wall, window, lighting, and fixed-furniture palette so the space reads as the same home; do not redraw any transient cue already present in the references.\n\nREFERENCE PLAN: mode='reference_derived'\n  - selected_refs[0]: ref_bg_id='L166B03' physical_space_id='fp_container_interior_space_2'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [3, 0]\n  - look_at_unit: 2\n  - look_at_cell: [4, 3]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Match L166B03's representative geometry. S12_Shot12 uses a medium selection with occupied space on the left and unoccupied marker 7 surface to the right; marker 5 remains outside the frame near the camera side.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Keep unit 2, marker 7 and markers 8 and 9 in the same positions established through L166B03 and L166B01. Retain unit 1 boundaries and only the in-cone unit 3 margin. Marker 5 stays at its fixed west-boundary position outside the consuming-shot frame.\n  - camera_framing_directive: Use camera unit 1 at [3, 0], look-at unit 2 at [4, 3], wide lens and 90-degree broad representative coverage. Within the S12_Shot12 medium composition, preserve left-side subject room and unoccupied marker 7 surface extending toward the lower right without changing the plate geometry.\n  - subject_position_directive: S12_Shot12 commits 미연 alone at marker 7, upper body in the left half, shoulders drawn and gaze toward off-screen marker 5 near the camera side. Keep the right-side space unoccupied and do not carry over the other subject or hand actions from L166B03.\n  - state_cue_directive: Retain transient markers 11, 12, 13 and 14 and the established intimate candlelight with subdued surrounding contrast. The committed aftermath is unoccupied space beside the seated subject; marker 5 is closed but off-screen. No new lighting source or persistent structural change is committed.\n  - negative_continuity_directive: Exclude marker 15. Do not carry over L166B03's shot-specific subject occupancy, contact actions or momentary marker 11 deformation as permanent features. Keep marker 5 outside the shot frame and preserve markers 7, 8 and 9 at their established positions.\n\n2069년 기후 재난 이후 한국에서 주거용으로 사용하는 길쭉한 컨테이너의 밤 실내를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실제 장소 답사 사진처럼 담백하고 사실적으로 표현한다. 미러리스 카메라와 35밀리미터급 렌즈를 사용하고, 바닥에서 약 1.6미터 높이의 서 있는 사람 눈높이에서 촬영한다. 공용 공간의 동쪽에서 서북서쪽을 향해 식탁 너머 서쪽 끝의 빈 의자와 닫힌 외부 출입문을 함께 바라보는 구도다. 내려다보는 시점이나 평면도 구도가 아니다.\n\n컨테이너 서쪽 대부분을 차지하는 공용 식사 공간에서 식탁은 북쪽 절반에 놓여 있고, 남쪽 가장자리의 통행 공간은 비워져 있다. 서쪽 짧은 벽의 남쪽 끝 가까이에 있는 출입문은 닫혀 있다. 식탁 양 끝의 의자를 모두 유지하되, 동쪽 의자 맞은편에 있는 서쪽 빈 의자가 식탁 너머 또렷하게 보이도록 한다. 가까운 동쪽 의자는 화면 가장자리에 자연스럽게 걸리고, 서쪽 의자와 닫힌 문 사이의 공간 관계가 읽힌다.\n\n식탁 중앙 가까이의 촛불이 타오르며 상판과 빈 의자에 작고 따뜻한 빛을 비춘다. 식탁 서쪽 끝에는 서쪽 의자 앞의 식사 그릇과 남은 음식이 그대로 놓여 있다. 동쪽 의자 옆 상판에는 바느질 도구와 수선하던 옷감이 놓여 있고, 옷은 사람의 형상을 만들지 않도록 상판에 납작하게 놓인다. 같은 동쪽 자리 가까이에 열린 약 용기를 두되 식사 그릇과는 떨어져 있게 한다. 식사와 바느질의 배치를 정리하거나 치우지 않은 채 조용히 유지하고, 새로운 파손을 만들지 않는다.\n\n한국의 소박한 임시 주거용 컨테이너에 어울리는 실용적인 금속 벽체와 단순한 출입문, 오래 사용한 식탁과 의자를 보여준다. 금속 표면의 미세한 산화와 손때, 상판의 나뭇결과 일상적인 얼룩, 옷감의 실제 직조 조직을 과장 없이 담는다. 미래라는 이유로 새로운 전자 장비나 장식을 덧붙이지 않는다. 어둠 속 금속 벽은 낮은 채도의 회색으로 남고, 촛불 가까이에만 따뜻한 빛이 번진다. 촛불의 실제 광량에 맞는 자연스러운 저조도 노출과 부드러운 그림자, 자연스러운 피사계 심도를 사용하며 빈 의자와 문을 과도하게 흐리지 않는다. 과장된 색 보정이나 인위적인 광원 없이 실제 생활 공간의 재질과 어둠을 기록한다. 지나치게 말끔한 광고 사진이 아니라 실제 현장 사진이며, 컴퓨터 합성 이미지나 삽화, 건축 시각화가 아니다. 사람, 얼굴, 신체 형태의 형상은 전혀 없이 공간과 사물만 보인다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 1,
          "camera_cell": [
            3,
            0
          ],
          "look_at_unit": 2,
          "look_at_cell": [
            4,
            3
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Match L166B03's representative geometry. S12_Shot12 uses a medium selection with occupied space on the left and unoccupied marker 7 surface to the right; marker 5 remains outside the frame near the camera side."
        },
        "shot_aware_plan_node_index": 3,
        "shot_aware_plan_mode": "reference_derived",
        "render_guidance": {
          "visible_space_directive": "Keep unit 2, marker 7 and markers 8 and 9 in the same positions established through L166B03 and L166B01. Retain unit 1 boundaries and only the in-cone unit 3 margin. Marker 5 stays at its fixed west-boundary position outside the consuming-shot frame.",
          "camera_framing_directive": "Use camera unit 1 at [3, 0], look-at unit 2 at [4, 3], wide lens and 90-degree broad representative coverage. Within the S12_Shot12 medium composition, preserve left-side subject room and unoccupied marker 7 surface extending toward the lower right without changing the plate geometry.",
          "subject_position_directive": "S12_Shot12 commits 미연 alone at marker 7, upper body in the left half, shoulders drawn and gaze toward off-screen marker 5 near the camera side. Keep the right-side space unoccupied and do not carry over the other subject or hand actions from L166B03.",
          "state_cue_directive": "Retain transient markers 11, 12, 13 and 14 and the established intimate candlelight with subdued surrounding contrast. The committed aftermath is unoccupied space beside the seated subject; marker 5 is closed but off-screen. No new lighting source or persistent structural change is committed.",
          "negative_continuity_directive": "Exclude marker 15. Do not carry over L166B03's shot-specific subject occupancy, contact actions or momentary marker 11 deformation as permanent features. Keep marker 5 outside the shot frame and preserve markers 7, 8 and 9 at their established positions."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_container_interior",
          "prior_bg_ids": [
            "L166B01"
          ],
          "attached_ref_labels": [
            "bg:L166B01"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L166B02": {
        "status": "ok",
        "is_reuse": true,
        "render_action": "reuse_existing_plate",
        "reuse_target_bg_id": "L166B01",
        "reused_from_bg_id": "L166B01",
        "location_id": "L166",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L166B01.png",
        "t2i_prompt": "2069년 기후 재난 이후 대한민국에서 계속 생활용으로 쓰이는 길쭉한 직사각형 컨테이너 주거 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 주간의 생활 공간이며, 실제 장소 답사 사진과 구별되지 않는 물성과 노출로 표현한다. 컨테이너의 도장된 금속 벽에는 오래 사용한 표면의 잔흠집과 약한 변색이 있고, 생활용 바닥 마감에는 일상적인 마모가 보인다. 재난 이후에도 관리하며 사용하는 소박한 거처로, 공간 전체를 폐허나 쓰레기 더미로 만들지 않는다.\n\n평면도는 구조와 기존 가구의 위치를 파악하는 자료로만 사용한다. 내부 서쪽 대부분은 공용 식사 공간이고 남쪽 가장자리는 이동 통로로 비워져 있다. 식탁은 공용 공간의 북쪽 절반에 있으며, 식탁 서쪽 끝과 동쪽 끝에 서로 마주 보는 좌석이 있다. 외부 출입구는 서쪽 짧은 벽의 남쪽 끝 가까이에 있다. 기존 식탁과 좌석은 그 위치에서 평소처럼 정돈된 상태를 유지한다. 식탁 표면의 실제 나뭇결과 가장자리 마모, 금속 벽의 도장 질감, 바닥의 미세한 사용 흔적을 과장 없이 보여준다.\n\n식탁 서쪽의 빈 바닥 한정된 범위에 깨진 화병 조각이 흩어져 있다. 조각마다 화병의 곡면 일부와 불규칙한 깨진 단면이 보이며, 몇 조각은 북쪽 벽 쪽으로 밀려나 주된 조각 무리와 조금 떨어져 있다. 이 국소적인 흩어짐 이외의 생활 공간은 정돈되어 있고 남쪽 이동 통로도 확보되어 있다. 파편의 크기와 바닥에 닿는 그림자는 실제 비례에 맞춘다.\n\n카메라는 공용 식사 공간의 남동쪽 가장자리에 두고, 식탁 옆을 지나 식탁 서쪽의 빈 바닥과 서쪽 외부 출입구를 향해 서북서 방향으로 바라본다. 서 있는 사람의 눈높이인 약 1.5미터에서 전면형 센서 미러리스 카메라와 28밀리미터 광각 렌즈로 촬영한다. 식탁은 화면 오른쪽에 걸리고 파편이 있는 바닥은 중앙에서 왼쪽 아래에 충분히 드러나며, 출입구와 긴 내부의 깊이도 함께 읽히게 한다. 바닥을 담기 위한 가벼운 하향 구도만 사용하고, 위에서 내려다본 시점이나 평면도 구도는 사용하지 않는다. 출입구 쪽에서 들어온 낮의 자연광이 바닥과 가구에 부드럽게 퍼지고 안쪽으로 갈수록 자연스럽게 어두워진다. 회색 계열 재료 본래의 색과 나무의 은은한 따뜻함을 유지하며 인위적인 색 보정 없이 적정 노출과 자연스러운 심도로 기록한다. 사람, 얼굴, 신체 일부, 인체 형태의 형상은 전혀 없다. 삽화나 컴퓨터 그래픽이 아닌 실제 현장 사진의 질감. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S14_Shot3",
            "guide_text": "공용 공간 남동쪽의 눈높이 시점을 기준으로 식탁, 양끝 좌석, 서쪽 출입구와 남쪽 통로의 관계를 읽을 수 있게 한다. 식탁 서쪽 바닥의 화병 조각을 가구에 가리지 않고 보여주되, 흩어짐은 작은 범위에 한정한다. 인물 없이 배경만 구성한다."
          },
          {
            "shot_id": "S14_Shot5",
            "guide_text": "같은 주간 조명과 가구 배치를 유지한다. 바닥 부분을 더 강조해 잘라 쓰더라도 주된 화병 조각 무리와 북쪽 벽 쪽으로 밀린 몇 조각의 상대 위치를 바꾸지 않는다. 바닥을 수직으로 내려다보는 시점으로 전환하지 않으며 신체 일부를 넣지 않는다."
          },
          {
            "shot_id": "S14_Shot9",
            "guide_text": "동일한 공간 상태를 유지하고 화병 조각의 수량이나 분포를 임의로 확대하지 않는다. 식탁과 남쪽 통로를 함께 포함해 국소적으로 조각이 흩어진 바닥과 정돈된 나머지 생활 공간의 차이가 드러나게 한다. 자연광 방향과 재료 색을 앞선 배경과 일치시킨다."
          }
        ],
        "shot_ids": [
          "S14_Shot3",
          "S14_Shot5",
          "S14_Shot9"
        ],
        "scenes": [],
        "parent_id": "L166B01",
        "ref_used": "reused_plate",
        "render_attempts": 0,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "At the southeast edge of number 2 near number 6, looking west-northwest past number 7 toward the open floor west of the table and number 5.",
          "camera_height": "Standing eye level, approximately 1.5m",
          "lens_hint": "28mm wide angle",
          "framing_notes": "Use a sufficiently low frame edge to show number 15 on the floor. Keep fragments confined to a small patch, including a few pushed aside; the rest of the dwelling remains orderly and structurally intact. Use daytime conditions without the nighttime tabletop overlays."
        },
        "reference_decision": {
          "mode": "reference_derived",
          "render_action": "reuse_existing_plate",
          "reuse_target_bg_id": "L166B01",
          "selected_refs": [
            {
              "ref_bg_id": "L166B01",
              "physical_space_id": "fp_container_interior_space_2",
              "space_description": "Unit 2 and its continuous unit 3 margin within unit 1."
            }
          ]
        },
        "shot_aware_plan_node_index": 1,
        "shot_aware_plan_mode": "reference_derived",
        "render_guidance": {
          "visible_space_directive": "Show unit 2 within unit 1 and the in-cone portion of unit 3 as established by L166B01. Keep markers 7, 8 and 9 in the same fixed positions, with the same enclosing boundaries and marker 5 location. Maintain available floor context for marker 15 without introducing another visible room.",
          "camera_framing_directive": "Match camera unit 1 at [3, 0], look-at unit 2 at [4, 3], and the wide 90-degree coverage of L166B01. The broad plate supports the full-figure context of S14_Shot5; the downward floor detail of S14_Shot3 and narrow background of S14_Shot9 remain separate consuming-shot framings.",
          "subject_position_directive": "Keep subject actions separate from the reusable fixed background. S14_Shot3 commits lower legs entering from above, a moving foot through lower center, and marker 15 ahead of the toe, with the face outside the crop. S14_Shot5 centers 앰버 with both hands and feet retained and attention to the right. S14_Shot9 places 현우 upper left, the gripping hand lower center, and 찰리's arm and shoulder at the right edge. Do not combine these shot-specific arrangements.",
          "state_cue_directive": "Carry only transient marker 15 in addition to use markers 1, 2, 3, 5, 7, 8 and 9. Its committed state is a small localized scatter being pushed along the floor in S14_Shot3. Preserve neutral daytime ambient illumination and restrained contrast without inventing additional state cues.",
          "negative_continuity_directive": "Exclude markers 11, 12, 13 and 14. Avoid relocating markers 7, 8 or 9 relative to L166B01, enlarging marker 15 beyond its localized extent, or introducing occluding fixed elements. Do not treat visibility supersets as permission to reveal unit 4 or openings outside the selected cone."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_container_interior",
          "prior_bg_ids": [
            "L166B01"
          ],
          "attached_ref_labels": [
            "bg:L166B01"
          ],
          "ref_used": "reused_plate",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L166B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L166",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L166B01.png",
        "t2i_prompt": "2069년 기후 재난 이후 한국에서 생활 공간으로 사용하는 길쭉한 직사각형 컨테이너 주거 내부. 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진으로, 실제 장소를 기록한 사진과 구별되지 않는 사실적인 배경이다. 한국의 실용적인 컨테이너 주거에 어울리는 금속 패널 벽과 낮은 천장, 소박한 바닥 마감으로 공간을 표현한다. 오래 사용한 자재의 자연스러운 질감과 도장된 금속의 미세한 표면 차이, 식탁과 좌석의 실제 재료 결을 담되 과도하게 낡은 폐허로 만들지 않는다.\n참조 평면도는 공간 구성과 기존 가구 위치를 파악하는 용도로만 사용한다. 서쪽 약 사분의 삼을 차지하는 공동 식사 공간의 북쪽 절반에 식탁이 있고, 식탁의 서쪽 끝과 동쪽 끝에는 서로 마주 보는 좌석이 있다. 남쪽 가장자리를 따라 이어지는 통행 공간은 가구에 가려지지 않으며, 서쪽 짧은 벽의 남쪽 끝 가까이에 있는 외부 출입구까지 연결된다.\n카메라는 남쪽 통행 공간의 동쪽 끝 실내에 두고 서쪽 출입구를 향한다. 높이는 서 있는 사람의 눈높이인 약 1.5~1.6미터, 35밀리미터 풀프레임 카메라에 24밀리미터 광각 렌즈를 사용한 시야다. 수직선과 공간 비례를 자연스럽게 유지하며 과도한 광각 늘어짐을 억제한다. 북쪽의 식탁은 화면 오른편에 놓이고, 전경의 통행 바닥부터 안쪽 출입구까지 길이 한눈에 이어진다. 전신 구도에 필요한 바닥과 천장 여유를 확보하여 식사 공간과 출입 동선의 관계가 분명히 읽히게 한다.\n낮의 자연광이 외부 출입구를 통해 들어와 가까운 바닥과 벽을 밝히고 실내 깊숙한 곳으로 부드럽게 약해진다. 밝은 입구와 실내 그늘의 노출 차이를 실제 카메라처럼 유지하면서 재료의 세부는 알아볼 수 있게 한다. 회색 계열 자재의 본래 색과 은은한 자연광 반사를 살리고, 인위적인 색 보정 없이 자연스러운 심도와 명암으로 기록한다. 공간은 깨끗하고 정돈된 평상 상태다. 사람, 얼굴, 인체 형태의 형상은 전혀 없는 빈 공간만 촬영한다. 위에서 내려다보는 시점이나 도면이 아닌 눈높이 실내 사진이며, 삽화나 컴퓨터 그래픽, 건축 시각화 또는 지나치게 매끈한 홍보 사진이 아니다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S24_Shot4",
            "guide_text": "실내에서 서쪽 출입구를 바라보는 기준 시점을 사용한다. 출입구에서 전경으로 이어지는 남쪽 통행 공간과 오른편 식사 공간을 함께 담아, 진입 동선과 실내 자리의 연결 관계를 보여 준다. 인물 없이 빈 배경만 유지한다."
          },
          {
            "shot_id": "S24_Shot7",
            "guide_text": "동일한 실내 방향과 낮의 채광을 유지한다. 식탁과 양 끝 좌석을 공간의 기준점으로 삼고, 남쪽 통행 공간이 출입구로 이어지는 관계를 화면 안에 남긴다. 가구를 옮기거나 별도의 소품을 추가하지 않고 빈 배경으로 구성한다."
          },
          {
            "shot_id": "S24_Shot10",
            "guide_text": "카메라는 끝까지 실내에 두고 서쪽 출입구를 향한다. 전신 숏에 사용할 수 있도록 전경 바닥과 상부 여유를 넉넉히 확보하고, 남쪽 통행 공간을 따라 출구까지 시야가 막힘없이 이어지게 한다. 앞선 숏과 같은 가구 배치와 낮의 빛을 유지하며 실제 인물이나 동작 형상은 그리지 않는다."
          }
        ],
        "shot_ids": [
          "S24_Shot4",
          "S24_Shot7",
          "S24_Shot10"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "At the eastern end of number 3, just west of number 6, facing west along the circulation strip toward number 5, with number 7 on the north side of frame.",
          "camera_height": "Standing eye level, approximately 1.5m",
          "lens_hint": "24mm wide angle",
          "framing_notes": "Maintain an indoor viewpoint with full-body clearance along the route to the exit. Connect the reunion and conversation space to the same entrance used for the hurried departure. Do not add search traces, vase fragments, damage, or nighttime tabletop items."
        },
        "reference_decision": {
          "bg_id": "L166B01",
          "fp_id": "fp_container_interior",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "This ready BG belongs to the clean anchor candidate set and establishes the fixed identity used by the four BGs targeting units 1, 2 and 3. Camera unit 1 looking toward unit 2 provides a broad interior representative view for the close-shot background margins. S24_Shot10 requires an exterior viewpoint that the supplied camera candidates do not encode; this node supplies interior continuity only, not a fabricated exterior view.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_container_interior.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "anchor_without_reference",
            "why_single_ref_or_two_refs": "The dwelling anchor is established directly from the supplied base plan; no prior reference is selected.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 1,
            "camera_cell": [
              3,
              0
            ],
            "look_at_unit": 2,
            "look_at_cell": [
              4,
              3
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad representative interior coverage toward marker 7 in unit 2. Close-shot margins are consuming-shot treatments. The exterior tracking viewpoint of S24_Shot10 is not represented by these candidate coordinates."
          },
          "render_guidance": {
            "visible_space_directive": "Establish unit 2 within enclosure 1, with markers 7, 8 and 9 at their supplied positions and only the portion of unit 3 falling inside the chosen cone. Marker 5 remains fixed on the west boundary but is not a required visible opening in this eastward view. Candidate visibility lists are supersets, not permission to expose unit 4 through the partition.",
            "camera_framing_directive": "Use camera unit 1 at [3, 0], looking toward unit 2 at [4, 3], with wide 90-degree broad coverage. Preserve this representative geometry; the narrow margins in S24_Shot4 and S24_Shot7 do not justify moving fixed elements. Do not represent the unencoded exterior viewpoint of S24_Shot10 as this camera.",
            "subject_position_directive": "Keep the reusable clean background free of baked-in subjects. For S24_Shot4, the committed composition places 현우's shoulder at the narrow left foreground and 페드로 right of center. S24_Shot7 places 현우 slightly left of center with attention beyond the right edge. S24_Shot10 separately places the running figure left of center with room to the right; its exterior positioning is not supplied by this interior plate. Do not combine these subjects or poses into one background.",
            "state_cue_directive": "No committed background state cue beyond clean residential space applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Preserve restrained ambient illumination; the opening action in S24_Shot10 belongs to its consuming-shot treatment rather than a permanent change to this plate.",
            "negative_continuity_directive": "Exclude markers 11, 12, 13, 14 and 15. Do not force marker 5 into a cone that does not include it, expose unit 4 through fixed boundaries, or invent exterior geometry for S24_Shot10. Avoid shifting markers 7, 8 or 9 to accommodate subject framing."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [3, 0]\n  - look_at_unit: 2\n  - look_at_cell: [4, 3]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad representative interior coverage toward marker 7 in unit 2. Close-shot margins are consuming-shot treatments. The exterior tracking viewpoint of S24_Shot10 is not represented by these candidate coordinates.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 2 within enclosure 1, with markers 7, 8 and 9 at their supplied positions and only the portion of unit 3 falling inside the chosen cone. Marker 5 remains fixed on the west boundary but is not a required visible opening in this eastward view. Candidate visibility lists are supersets, not permission to expose unit 4 through the partition.\n  - camera_framing_directive: Use camera unit 1 at [3, 0], looking toward unit 2 at [4, 3], with wide 90-degree broad coverage. Preserve this representative geometry; the narrow margins in S24_Shot4 and S24_Shot7 do not justify moving fixed elements. Do not represent the unencoded exterior viewpoint of S24_Shot10 as this camera.\n  - subject_position_directive: Keep the reusable clean background free of baked-in subjects. For S24_Shot4, the committed composition places 현우's shoulder at the narrow left foreground and 페드로 right of center. S24_Shot7 places 현우 slightly left of center with attention beyond the right edge. S24_Shot10 separately places the running figure left of center with room to the right; its exterior positioning is not supplied by this interior plate. Do not combine these subjects or poses into one background.\n  - state_cue_directive: No committed background state cue beyond clean residential space applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Preserve restrained ambient illumination; the opening action in S24_Shot10 belongs to its consuming-shot treatment rather than a permanent change to this plate.\n  - negative_continuity_directive: Exclude markers 11, 12, 13, 14 and 15. Do not force marker 5 into a cone that does not include it, expose unit 4 through fixed boundaries, or invent exterior geometry for S24_Shot10. Avoid shifting markers 7, 8 or 9 to accommodate subject framing.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [3, 0]\n  - look_at_unit: 2\n  - look_at_cell: [4, 3]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad representative interior coverage toward marker 7 in unit 2. Close-shot margins are consuming-shot treatments. The exterior tracking viewpoint of S24_Shot10 is not represented by these candidate coordinates.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 2 within enclosure 1, with markers 7, 8 and 9 at their supplied positions and only the portion of unit 3 falling inside the chosen cone. Marker 5 remains fixed on the west boundary but is not a required visible opening in this eastward view. Candidate visibility lists are supersets, not permission to expose unit 4 through the partition.\n  - camera_framing_directive: Use camera unit 1 at [3, 0], looking toward unit 2 at [4, 3], with wide 90-degree broad coverage. Preserve this representative geometry; the narrow margins in S24_Shot4 and S24_Shot7 do not justify moving fixed elements. Do not represent the unencoded exterior viewpoint of S24_Shot10 as this camera.\n  - subject_position_directive: Keep the reusable clean background free of baked-in subjects. For S24_Shot4, the committed composition places 현우's shoulder at the narrow left foreground and 페드로 right of center. S24_Shot7 places 현우 slightly left of center with attention beyond the right edge. S24_Shot10 separately places the running figure left of center with room to the right; its exterior positioning is not supplied by this interior plate. Do not combine these subjects or poses into one background.\n  - state_cue_directive: No committed background state cue beyond clean residential space applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Preserve restrained ambient illumination; the opening action in S24_Shot10 belongs to its consuming-shot treatment rather than a permanent change to this plate.\n  - negative_continuity_directive: Exclude markers 11, 12, 13, 14 and 15. Do not force marker 5 into a cone that does not include it, expose unit 4 through fixed boundaries, or invent exterior geometry for S24_Shot10. Avoid shifting markers 7, 8 or 9 to accommodate subject framing.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [3, 0]\n  - look_at_unit: 2\n  - look_at_cell: [4, 3]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad representative interior coverage toward marker 7 in unit 2. Close-shot margins are consuming-shot treatments. The exterior tracking viewpoint of S24_Shot10 is not represented by these candidate coordinates.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 2 within enclosure 1, with markers 7, 8 and 9 at their supplied positions and only the portion of unit 3 falling inside the chosen cone. Marker 5 remains fixed on the west boundary but is not a required visible opening in this eastward view. Candidate visibility lists are supersets, not permission to expose unit 4 through the partition.\n  - camera_framing_directive: Use camera unit 1 at [3, 0], looking toward unit 2 at [4, 3], with wide 90-degree broad coverage. Preserve this representative geometry; the narrow margins in S24_Shot4 and S24_Shot7 do not justify moving fixed elements. Do not represent the unencoded exterior viewpoint of S24_Shot10 as this camera.\n  - subject_position_directive: Keep the reusable clean background free of baked-in subjects. For S24_Shot4, the committed composition places 현우's shoulder at the narrow left foreground and 페드로 right of center. S24_Shot7 places 현우 slightly left of center with attention beyond the right edge. S24_Shot10 separately places the running figure left of center with room to the right; its exterior positioning is not supplied by this interior plate. Do not combine these subjects or poses into one background.\n  - state_cue_directive: No committed background state cue beyond clean residential space applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Preserve restrained ambient illumination; the opening action in S24_Shot10 belongs to its consuming-shot treatment rather than a permanent change to this plate.\n  - negative_continuity_directive: Exclude markers 11, 12, 13, 14 and 15. Do not force marker 5 into a cone that does not include it, expose unit 4 through fixed boundaries, or invent exterior geometry for S24_Shot10. Avoid shifting markers 7, 8 or 9 to accommodate subject framing.\n\n2069년 기후 재난 이후 한국에서 생활 공간으로 사용하는 길쭉한 직사각형 컨테이너 주거 내부. 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진으로, 실제 장소를 기록한 사진과 구별되지 않는 사실적인 배경이다. 한국의 실용적인 컨테이너 주거에 어울리는 금속 패널 벽과 낮은 천장, 소박한 바닥 마감으로 공간을 표현한다. 오래 사용한 자재의 자연스러운 질감과 도장된 금속의 미세한 표면 차이, 식탁과 좌석의 실제 재료 결을 담되 과도하게 낡은 폐허로 만들지 않는다.\n참조 평면도는 공간 구성과 기존 가구 위치를 파악하는 용도로만 사용한다. 서쪽 약 사분의 삼을 차지하는 공동 식사 공간의 북쪽 절반에 식탁이 있고, 식탁의 서쪽 끝과 동쪽 끝에는 서로 마주 보는 좌석이 있다. 남쪽 가장자리를 따라 이어지는 통행 공간은 가구에 가려지지 않으며, 서쪽 짧은 벽의 남쪽 끝 가까이에 있는 외부 출입구까지 연결된다.\n카메라는 남쪽 통행 공간의 동쪽 끝 실내에 두고 서쪽 출입구를 향한다. 높이는 서 있는 사람의 눈높이인 약 1.5~1.6미터, 35밀리미터 풀프레임 카메라에 24밀리미터 광각 렌즈를 사용한 시야다. 수직선과 공간 비례를 자연스럽게 유지하며 과도한 광각 늘어짐을 억제한다. 북쪽의 식탁은 화면 오른편에 놓이고, 전경의 통행 바닥부터 안쪽 출입구까지 길이 한눈에 이어진다. 전신 구도에 필요한 바닥과 천장 여유를 확보하여 식사 공간과 출입 동선의 관계가 분명히 읽히게 한다.\n낮의 자연광이 외부 출입구를 통해 들어와 가까운 바닥과 벽을 밝히고 실내 깊숙한 곳으로 부드럽게 약해진다. 밝은 입구와 실내 그늘의 노출 차이를 실제 카메라처럼 유지하면서 재료의 세부는 알아볼 수 있게 한다. 회색 계열 자재의 본래 색과 은은한 자연광 반사를 살리고, 인위적인 색 보정 없이 자연스러운 심도와 명암으로 기록한다. 공간은 깨끗하고 정돈된 평상 상태다. 사람, 얼굴, 인체 형태의 형상은 전혀 없는 빈 공간만 촬영한다. 위에서 내려다보는 시점이나 도면이 아닌 눈높이 실내 사진이며, 삽화나 컴퓨터 그래픽, 건축 시각화 또는 지나치게 매끈한 홍보 사진이 아니다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 1,
          "camera_cell": [
            3,
            0
          ],
          "look_at_unit": 2,
          "look_at_cell": [
            4,
            3
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad representative interior coverage toward marker 7 in unit 2. Close-shot margins are consuming-shot treatments. The exterior tracking viewpoint of S24_Shot10 is not represented by these candidate coordinates."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Establish unit 2 within enclosure 1, with markers 7, 8 and 9 at their supplied positions and only the portion of unit 3 falling inside the chosen cone. Marker 5 remains fixed on the west boundary but is not a required visible opening in this eastward view. Candidate visibility lists are supersets, not permission to expose unit 4 through the partition.",
          "camera_framing_directive": "Use camera unit 1 at [3, 0], looking toward unit 2 at [4, 3], with wide 90-degree broad coverage. Preserve this representative geometry; the narrow margins in S24_Shot4 and S24_Shot7 do not justify moving fixed elements. Do not represent the unencoded exterior viewpoint of S24_Shot10 as this camera.",
          "subject_position_directive": "Keep the reusable clean background free of baked-in subjects. For S24_Shot4, the committed composition places 현우's shoulder at the narrow left foreground and 페드로 right of center. S24_Shot7 places 현우 slightly left of center with attention beyond the right edge. S24_Shot10 separately places the running figure left of center with room to the right; its exterior positioning is not supplied by this interior plate. Do not combine these subjects or poses into one background.",
          "state_cue_directive": "No committed background state cue beyond clean residential space applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Preserve restrained ambient illumination; the opening action in S24_Shot10 belongs to its consuming-shot treatment rather than a permanent change to this plate.",
          "negative_continuity_directive": "Exclude markers 11, 12, 13, 14 and 15. Do not force marker 5 into a cone that does not include it, expose unit 4 through fixed boundaries, or invent exterior geometry for S24_Shot10. Avoid shifting markers 7, 8 or 9 to accommodate subject framing."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_container_interior",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_container_interior"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L168B03": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L168",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L168B03.png",
        "t2i_prompt": "2069년 기후 재난 이후 한국에서 오래된 생활 장비를 재사용하며 영업을 이어가는 고물상 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 실내 공간만 담는다. 실제 미러리스 카메라와 32밀리미터 준광각 렌즈를 사용하고, 중앙 고객 통로의 남서쪽에서 약 1.6미터의 서 있는 눈높이로 북쪽 수리 작업대를 비스듬히 바라본다. 위에서 내려다보는 시점이 아닌 실제 방문자의 시선이다.\n\n참조 평면도는 공간 구성과 기존 집기의 위치를 파악하는 데만 사용한다. 중앙에는 제품을 살펴볼 수 있는 빈 공간과 작업대 앞까지 이어지는 통로가 있다. 서쪽 벽을 따라 보관된 가전제품 더미, 동쪽 벽을 따라 보관된 고물 더미가 화면 양옆에 자연스럽게 들어오되 중앙 통로와 작업대의 시야를 가리지 않는다. 동쪽 보관 구역은 뒤쪽 작업 통로에 이르기 전에 끝난다. 북쪽 수리 작업대의 서쪽 끝에는 뒤편 작업 공간을 향한 탁상형 컴퓨터가 있고, 동쪽 끝에는 오래된 탁상 전화기가 있다. 두 장비가 한 화면에서 식별되며 특히 전화기의 형태와 놓인 자리가 분명하게 보인다. 작업대 앞의 확인 공간, 작업대 동쪽 끝을 돌아 뒤로 들어가는 통로를 확보한다. 작업대 뒤 북쪽 벽에는 수리 도구가 정리된 고정식 도구 정리대가 있다.\n\n주간이지만 실내 깊숙한 곳은 어둡다. 화면 바깥 전면 쪽에서 들어오는 약한 자연광이 중앙 바닥과 가전제품 표면을 비추고, 안쪽 작업 공간으로 갈수록 밝기가 완만하게 낮아진다. 어두운 부분에도 작업대와 전화기의 실제 표면 질감은 남긴다. 한국의 오래된 소규모 재활용품 매입점 같은 실용적인 실내 마감, 콘크리트의 거친 입자, 작업대 목재의 결, 가전 외장의 오래된 도장과 플라스틱, 고물의 무광 금속과 자연스러운 경년 변화를 사실적으로 표현한다. 오래 사용한 집기의 생활감은 유지하되 공간은 정돈되어 있고 평온한 일상 상태다. 차가운 회색 계열의 실제 재료색을 중심으로 목재의 은은한 갈색을 그대로 살리고, 과도한 명암 보정 없이 자연스러운 노출과 피사계 심도를 사용한다. 사람, 얼굴, 인체 형상의 물체는 화면이나 반사면을 포함해 표현하지 않는다. 삽화나 컴퓨터 합성 이미지, 건축 시각화 또는 지나치게 말끔한 광고 사진이 아니라 실제 장소에서 찍은 현장 기록 사진이어야 한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S15_Shot4",
            "guide_text": "중앙 통로 남서쪽의 약 1.6미터 눈높이와 32밀리미터 준광각 구도를 사용한다. 작업대 앞 제품 확인 공간을 비워 두고, 양옆 재고 더미가 그 공간을 가리지 않게 한다. 북쪽 작업대의 컴퓨터와 전화기, 뒤편 도구 정리대가 함께 보이는 빈 배경으로 유지한다."
          },
          {
            "shot_id": "S15_Shot10",
            "guide_text": "앞선 숏과 카메라 위치, 화각, 주간의 어두운 실내 밝기 및 모든 집기 위치를 동일하게 유지한다. 작업대 동쪽 끝의 낡은 탁상 전화기가 다른 물건에 가려지지 않고 뒤편 작업 통로에서 닿을 수 있는 위치임을 읽을 수 있게 한다. 전화기를 확대하려고 옮기거나 별도 집기를 추가하지 않는다."
          }
        ],
        "shot_ids": [
          "S15_Shot4",
          "S15_Shot10"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Near the southwest side of number 1, just beyond number 2, facing diagonally toward number 10, with numbers 11 and 12 visible across the desk.",
          "camera_height": "Eye-level standing, approximately 1.6 m",
          "lens_hint": "32mm moderate wide angle",
          "framing_notes": "Use the same camera for both shots. Preserve open inspection space in front of number 10 and a clear view of number 12 for the telephone action. Numbers 8 and 9 frame the occupied interior without blocking the desk. Keep the room dim in the downstream background, not in the floor plan."
        },
        "reference_decision": {
          "bg_id": "L168B03",
          "fp_id": "fp_matsuda_junk_shop",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L168B03 is the sole eligible clean anchor. Establish its identity directly from the floor plan. Camera unit 2 looking toward unit 5 provides a common interior plate with markers 8 and 9 flanking unit 1 and markers 10–13 farther back. The close subject compositions in S15_Shot4 and S15_Shot10 remain shot-layer treatments rather than changes to the fixed layout.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_matsuda_junk_shop.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The clean identity anchor is rendered fresh; no earlier reference is required or available.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 2,
            "camera_cell": [
              8,
              5
            ],
            "look_at_unit": 5,
            "look_at_cell": [
              1,
              5
            ],
            "lens_enum": "normal",
            "fov_deg": 50,
            "framing_notes": "Neutral inward coverage through unit 1 toward unit 5, retaining in-cone portions of markers 8 and 9. This is the shared background framing; the two consuming shots have separate close subject compositions."
          },
          "render_guidance": {
            "visible_space_directive": "Show unit 1 extending toward unit 5, with in-cone portions of units 3 and 4 containing markers 8 and 9. Establish marker 10 across unit 5, marker 11 at its west end, marker 12 at its east end, and marker 13 against the north wall behind it. Opening 7 is at the camera location rather than an inward-facing background feature; unit 6 is behind this view.",
            "camera_framing_directive": "Use camera unit 2 at [8, 5], looking toward unit 5 at [1, 5], with normal lens coverage of 50 degrees. Keep the interior depth neutral and the fixed background framing consistent across the consuming shots; their close subject framing does not authorize moving the background fixtures.",
            "subject_position_directive": "Keep the clean background plate free of baked-in subjects while reserving the supplied shot compositions. For S15_Shot4, 찰리's chest and shoulder occupy center-right, with 마츠다's forearm entering from the left and 찰리's face beyond the upper edge. For S15_Shot10, 마츠다's face occupies center-right with the receiver along his near cheek. These are separate shot-layer arrangements, not simultaneous subjects.",
            "state_cue_directive": "No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Retain the persistent arrangement of markers 8–13; clean does not mean removing these base elements. Keep the supplied restrained ambient treatment without inventing an additional light source or other state cues.",
            "negative_continuity_directive": "Exclude overlay markers 14 and 15. Avoid introducing unit 6 or opening 7 as background features in this inward view, treating visibility supersets as guarantees, or changing the fixed positions of markers 8–13 between consuming shots."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [8, 5]\n  - look_at_unit: 5\n  - look_at_cell: [1, 5]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral inward coverage through unit 1 toward unit 5, retaining in-cone portions of markers 8 and 9. This is the shared background framing; the two consuming shots have separate close subject compositions.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 1 extending toward unit 5, with in-cone portions of units 3 and 4 containing markers 8 and 9. Establish marker 10 across unit 5, marker 11 at its west end, marker 12 at its east end, and marker 13 against the north wall behind it. Opening 7 is at the camera location rather than an inward-facing background feature; unit 6 is behind this view.\n  - camera_framing_directive: Use camera unit 2 at [8, 5], looking toward unit 5 at [1, 5], with normal lens coverage of 50 degrees. Keep the interior depth neutral and the fixed background framing consistent across the consuming shots; their close subject framing does not authorize moving the background fixtures.\n  - subject_position_directive: Keep the clean background plate free of baked-in subjects while reserving the supplied shot compositions. For S15_Shot4, 찰리's chest and shoulder occupy center-right, with 마츠다's forearm entering from the left and 찰리's face beyond the upper edge. For S15_Shot10, 마츠다's face occupies center-right with the receiver along his near cheek. These are separate shot-layer arrangements, not simultaneous subjects.\n  - state_cue_directive: No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Retain the persistent arrangement of markers 8–13; clean does not mean removing these base elements. Keep the supplied restrained ambient treatment without inventing an additional light source or other state cues.\n  - negative_continuity_directive: Exclude overlay markers 14 and 15. Avoid introducing unit 6 or opening 7 as background features in this inward view, treating visibility supersets as guarantees, or changing the fixed positions of markers 8–13 between consuming shots.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [8, 5]\n  - look_at_unit: 5\n  - look_at_cell: [1, 5]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral inward coverage through unit 1 toward unit 5, retaining in-cone portions of markers 8 and 9. This is the shared background framing; the two consuming shots have separate close subject compositions.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 1 extending toward unit 5, with in-cone portions of units 3 and 4 containing markers 8 and 9. Establish marker 10 across unit 5, marker 11 at its west end, marker 12 at its east end, and marker 13 against the north wall behind it. Opening 7 is at the camera location rather than an inward-facing background feature; unit 6 is behind this view.\n  - camera_framing_directive: Use camera unit 2 at [8, 5], looking toward unit 5 at [1, 5], with normal lens coverage of 50 degrees. Keep the interior depth neutral and the fixed background framing consistent across the consuming shots; their close subject framing does not authorize moving the background fixtures.\n  - subject_position_directive: Keep the clean background plate free of baked-in subjects while reserving the supplied shot compositions. For S15_Shot4, 찰리's chest and shoulder occupy center-right, with 마츠다's forearm entering from the left and 찰리's face beyond the upper edge. For S15_Shot10, 마츠다's face occupies center-right with the receiver along his near cheek. These are separate shot-layer arrangements, not simultaneous subjects.\n  - state_cue_directive: No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Retain the persistent arrangement of markers 8–13; clean does not mean removing these base elements. Keep the supplied restrained ambient treatment without inventing an additional light source or other state cues.\n  - negative_continuity_directive: Exclude overlay markers 14 and 15. Avoid introducing unit 6 or opening 7 as background features in this inward view, treating visibility supersets as guarantees, or changing the fixed positions of markers 8–13 between consuming shots.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [8, 5]\n  - look_at_unit: 5\n  - look_at_cell: [1, 5]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral inward coverage through unit 1 toward unit 5, retaining in-cone portions of markers 8 and 9. This is the shared background framing; the two consuming shots have separate close subject compositions.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 1 extending toward unit 5, with in-cone portions of units 3 and 4 containing markers 8 and 9. Establish marker 10 across unit 5, marker 11 at its west end, marker 12 at its east end, and marker 13 against the north wall behind it. Opening 7 is at the camera location rather than an inward-facing background feature; unit 6 is behind this view.\n  - camera_framing_directive: Use camera unit 2 at [8, 5], looking toward unit 5 at [1, 5], with normal lens coverage of 50 degrees. Keep the interior depth neutral and the fixed background framing consistent across the consuming shots; their close subject framing does not authorize moving the background fixtures.\n  - subject_position_directive: Keep the clean background plate free of baked-in subjects while reserving the supplied shot compositions. For S15_Shot4, 찰리's chest and shoulder occupy center-right, with 마츠다's forearm entering from the left and 찰리's face beyond the upper edge. For S15_Shot10, 마츠다's face occupies center-right with the receiver along his near cheek. These are separate shot-layer arrangements, not simultaneous subjects.\n  - state_cue_directive: No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Retain the persistent arrangement of markers 8–13; clean does not mean removing these base elements. Keep the supplied restrained ambient treatment without inventing an additional light source or other state cues.\n  - negative_continuity_directive: Exclude overlay markers 14 and 15. Avoid introducing unit 6 or opening 7 as background features in this inward view, treating visibility supersets as guarantees, or changing the fixed positions of markers 8–13 between consuming shots.\n\n2069년 기후 재난 이후 한국에서 오래된 생활 장비를 재사용하며 영업을 이어가는 고물상 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 실내 공간만 담는다. 실제 미러리스 카메라와 32밀리미터 준광각 렌즈를 사용하고, 중앙 고객 통로의 남서쪽에서 약 1.6미터의 서 있는 눈높이로 북쪽 수리 작업대를 비스듬히 바라본다. 위에서 내려다보는 시점이 아닌 실제 방문자의 시선이다.\n\n참조 평면도는 공간 구성과 기존 집기의 위치를 파악하는 데만 사용한다. 중앙에는 제품을 살펴볼 수 있는 빈 공간과 작업대 앞까지 이어지는 통로가 있다. 서쪽 벽을 따라 보관된 가전제품 더미, 동쪽 벽을 따라 보관된 고물 더미가 화면 양옆에 자연스럽게 들어오되 중앙 통로와 작업대의 시야를 가리지 않는다. 동쪽 보관 구역은 뒤쪽 작업 통로에 이르기 전에 끝난다. 북쪽 수리 작업대의 서쪽 끝에는 뒤편 작업 공간을 향한 탁상형 컴퓨터가 있고, 동쪽 끝에는 오래된 탁상 전화기가 있다. 두 장비가 한 화면에서 식별되며 특히 전화기의 형태와 놓인 자리가 분명하게 보인다. 작업대 앞의 확인 공간, 작업대 동쪽 끝을 돌아 뒤로 들어가는 통로를 확보한다. 작업대 뒤 북쪽 벽에는 수리 도구가 정리된 고정식 도구 정리대가 있다.\n\n주간이지만 실내 깊숙한 곳은 어둡다. 화면 바깥 전면 쪽에서 들어오는 약한 자연광이 중앙 바닥과 가전제품 표면을 비추고, 안쪽 작업 공간으로 갈수록 밝기가 완만하게 낮아진다. 어두운 부분에도 작업대와 전화기의 실제 표면 질감은 남긴다. 한국의 오래된 소규모 재활용품 매입점 같은 실용적인 실내 마감, 콘크리트의 거친 입자, 작업대 목재의 결, 가전 외장의 오래된 도장과 플라스틱, 고물의 무광 금속과 자연스러운 경년 변화를 사실적으로 표현한다. 오래 사용한 집기의 생활감은 유지하되 공간은 정돈되어 있고 평온한 일상 상태다. 차가운 회색 계열의 실제 재료색을 중심으로 목재의 은은한 갈색을 그대로 살리고, 과도한 명암 보정 없이 자연스러운 노출과 피사계 심도를 사용한다. 사람, 얼굴, 인체 형상의 물체는 화면이나 반사면을 포함해 표현하지 않는다. 삽화나 컴퓨터 합성 이미지, 건축 시각화 또는 지나치게 말끔한 광고 사진이 아니라 실제 장소에서 찍은 현장 기록 사진이어야 한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "camera_decision": {
          "camera_unit": 2,
          "camera_cell": [
            8,
            5
          ],
          "look_at_unit": 5,
          "look_at_cell": [
            1,
            5
          ],
          "lens_enum": "normal",
          "fov_deg": 50,
          "framing_notes": "Neutral inward coverage through unit 1 toward unit 5, retaining in-cone portions of markers 8 and 9. This is the shared background framing; the two consuming shots have separate close subject compositions."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Show unit 1 extending toward unit 5, with in-cone portions of units 3 and 4 containing markers 8 and 9. Establish marker 10 across unit 5, marker 11 at its west end, marker 12 at its east end, and marker 13 against the north wall behind it. Opening 7 is at the camera location rather than an inward-facing background feature; unit 6 is behind this view.",
          "camera_framing_directive": "Use camera unit 2 at [8, 5], looking toward unit 5 at [1, 5], with normal lens coverage of 50 degrees. Keep the interior depth neutral and the fixed background framing consistent across the consuming shots; their close subject framing does not authorize moving the background fixtures.",
          "subject_position_directive": "Keep the clean background plate free of baked-in subjects while reserving the supplied shot compositions. For S15_Shot4, 찰리's chest and shoulder occupy center-right, with 마츠다's forearm entering from the left and 찰리's face beyond the upper edge. For S15_Shot10, 마츠다's face occupies center-right with the receiver along his near cheek. These are separate shot-layer arrangements, not simultaneous subjects.",
          "state_cue_directive": "No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Retain the persistent arrangement of markers 8–13; clean does not mean removing these base elements. Keep the supplied restrained ambient treatment without inventing an additional light source or other state cues.",
          "negative_continuity_directive": "Exclude overlay markers 14 and 15. Avoid introducing unit 6 or opening 7 as background features in this inward view, treating visibility supersets as guarantees, or changing the fixed positions of markers 8–13 between consuming shots."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_matsuda_junk_shop",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_matsuda_junk_shop"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L168B02": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L168",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L168B02.png",
        "t2i_prompt": "2069년 기후 재난 이후 대한민국의 낡은 고물상 내부에서 주간의 입구를 바라본, 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 오래된 생활 가전과 회수한 금속 자재를 보관하며 수리 작업을 이어가는 소규모 상점의 현실적인 모습이다. 참고 평면도는 공간의 연결 관계와 기존 집기의 위치를 파악하는 용도로만 사용한다. 내려다보는 시점이나 도면이 아니라, 사람이 서서 바라보는 높이 약 1.6미터에서 35밀리미터 렌즈로 촬영한 실제 장소 기록 사진으로 표현한다.\n\n카메라는 상점 북쪽 수리 작업대의 동쪽 끝 옆 통로에 놓고, 중앙 고객 통로를 따라 남쪽 입구를 바라본다. 남쪽 벽 중앙의 출입구와 문턱을 화면 중앙에 두고, 그 너머로 바로 이어지는 작은 외부 진입 공간을 보이게 한다. 서쪽 벽을 따라 놓인 폐가전 더미는 화면 오른쪽에, 동쪽 벽을 따라 놓인 회수 자재 더미는 화면 왼쪽에 자리한다. 두 더미는 중앙 통로를 침범하지 않으며, 동쪽 보관 구역과 뒤편 작업대 사이의 이동 공간이 유지된다. 가까운 화면 가장자리에는 북쪽 수리 작업대의 모서리가 절제된 비중으로 걸린다. 작업대 상판의 중앙에서 서쪽으로 치우친 자리에 수리 중인 텔레비전 한 대가 놓여 있고, 작업대 가장자리와 함께 가까운 거리의 맥락으로만 보인다. 텔레비전이나 작업대가 중앙 출입구를 가리지 않도록 한다.\n\n문밖의 밝은 주광과 상대적으로 어두운 실내의 차이를 분명하게 담되, 실내 고물 더미의 재질과 통로의 깊이는 자연스러운 반사광 속에서 읽히게 한다. 중앙 입구와 문턱은 비어 있다. 낡은 콘크리트의 미세한 얼룩, 금속 표면의 오래된 산화와 마찰 흔적, 가전 외장의 바랜 플라스틱, 작업대 목재의 결과 생활 마모를 실제 촬영처럼 표현한다. 차가운 회색 계열의 기존 재료색을 중심으로 자연광의 색을 그대로 유지하며, 과장된 보정 없이 가까운 작업대와 먼 입구 사이에 자연스러운 피사계 심도를 둔다. 사람, 얼굴, 인체 형태의 물체나 그림자는 전혀 없는 배경 사진이다. 인공적으로 말끔한 상품 사진이나 컴퓨터 생성 이미지, 삽화, 건축 시각화가 아닌 실제 현장 촬영의 질감. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S17_Shot1",
            "guide_text": "북쪽 수리 작업대 동쪽 끝 옆에서 높이 약 1.6미터, 35밀리미터 렌즈로 남쪽 출입구를 정면에 가깝게 바라본다. 중앙 입구와 문턱, 그 앞뒤 통로를 비워 두고 양옆 고물 더미가 공간의 깊이를 드러내게 한다. 가까운 작업대 모서리와 수리 중인 텔레비전은 가장자리에 제한적으로 포함한다. 밝은 문밖 주광과 어두운 실내의 대비를 유지하되 사람이나 사람 형태의 실루엣은 배경에 넣지 않는다."
          }
        ],
        "shot_ids": [
          "S17_Shot1"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "At the east-side passage beside number 10, looking south along number 1 toward numbers 7 and 6.",
          "camera_height": "Eye-level standing, approximately 1.6 m",
          "lens_hint": "35mm wide angle",
          "framing_notes": "Center the entrance for the arriving full-body silhouette. Use the desk edge and television as restrained near-frame context, with both stock piles flanking the aisle. Exterior daylight and the dim interior belong only to the downstream background. No damage or post-incident figure."
        },
        "reference_decision": {
          "bg_id": "L168B02",
          "fp_id": "fp_matsuda_junk_shop",
          "node_index": 2,
          "mode": "same_physical_space_view",
          "is_dwelling_identity_anchor": false,
          "rationale": "S17_Shot1 requires an oblique interior view toward opening 7, unlike the anchor's inward view toward unit 5. Camera unit 3 looking toward unit 2 supplies this diagonal with wide coverage. It remains the same connected physical interior, so L168B03 commits the layout, but the reversed direction reveals a different structural slice and requires its own plate rather than low-delta reuse.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L168B03.png"
          ],
          "source_bg_ids": [
            "L168B03"
          ],
          "fp_included": false,
          "reference_decision": {
            "selected_refs": [
              {
                "ref_bg_id": "L168B03",
                "physical_space_id": "fp_matsuda_junk_shop:space_01",
                "space_description": "The same connected interior, now viewed toward unit 2 and opening 7 rather than unit 5."
              }
            ],
            "rejected_refs": [
              {
                "ref_bg_id": "L168B01",
                "reason": "Represents the same physical space already supplied by L168B03 and adds no distinct visible-space reference. Deduplicate to the clean anchor."
              }
            ],
            "same_physical_space_dedup_decision": "deduplicate_same_space_to_clean_anchor",
            "why_single_ref_or_two_refs": "One reference suffices to preserve the connected interior layout for S17_Shot1. Opening 7 and any limited view beyond it do not establish a second previously rendered distinct space.",
            "physical_space_id_per_ref": [
              "fp_matsuda_junk_shop:space_01"
            ],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 3,
            "camera_cell": [
              4,
              3
            ],
            "look_at_unit": 2,
            "look_at_cell": [
              8,
              5
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad diagonal coverage from inside unit 3 toward unit 2 and opening 7. Reserve space just right of center for the staged full figure. The entrance-facing structural slice differs from L168B03; the coordinate collision between markers 2 and 7 does not imply a door-leaf state."
          },
          "render_guidance": {
            "visible_space_directive": "Show the southward portion of unit 1 leading toward unit 2 and opening 7 from unit 3. Restrict any view of unit 6 to what opening 7 actually exposes; adjacency and unobstructed visibility are not established by the candidate supersets. Preserve L168B03's fixed layout throughout the same interior, including positions of markers 8–13, even where those markers fall outside this reverse-facing cone.",
            "camera_framing_directive": "Use camera unit 3 at [4, 3], looking toward unit 2 at [8, 5], with a wide lens and 90-degree field of view. Provide broad oblique coverage of opening 7 and sufficient frame area for the staged full figure just right of center. Keep this entrance-facing composition distinct from the anchor's inward framing.",
            "subject_position_directive": "For S17_Shot1, reserve the full figure of 수하 1 just right of center while his weight transfers through opening 7. His head angles toward off-screen space beyond the left edge rather than toward the camera. Keep the carried Silenced rifle adjacent to his body, not aimed into the lens, and leave other arrivals outside this selected frame.",
            "state_cue_directive": "Marker 14, labeled \"Television under repair\", is the only listed transient background marker; retain it only where its placement is compatible with this view, without relocating fixed elements to force visibility. Opening 7 is being crossed by the staged subject, with no committed door-leaf position. Preserve the staged dark silhouette using entrance-to-interior tonal separation without inventing a light source.",
            "negative_continuity_directive": "Exclude marker 15. Avoid copying the camera-facing arrangement of L168B03 into this reversed view, moving markers 8–13 to fill the frame, forcing unit 5 into the southward cone, or inventing a state for opening 7. Do not treat the unit and opening visibility supersets as guaranteed co-visibility."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L168B03' physical_space_id='fp_matsuda_junk_shop:space_01'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [4, 3]\n  - look_at_unit: 2\n  - look_at_cell: [8, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad diagonal coverage from inside unit 3 toward unit 2 and opening 7. Reserve space just right of center for the staged full figure. The entrance-facing structural slice differs from L168B03; the coordinate collision between markers 2 and 7 does not imply a door-leaf state.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the southward portion of unit 1 leading toward unit 2 and opening 7 from unit 3. Restrict any view of unit 6 to what opening 7 actually exposes; adjacency and unobstructed visibility are not established by the candidate supersets. Preserve L168B03's fixed layout throughout the same interior, including positions of markers 8–13, even where those markers fall outside this reverse-facing cone.\n  - camera_framing_directive: Use camera unit 3 at [4, 3], looking toward unit 2 at [8, 5], with a wide lens and 90-degree field of view. Provide broad oblique coverage of opening 7 and sufficient frame area for the staged full figure just right of center. Keep this entrance-facing composition distinct from the anchor's inward framing.\n  - subject_position_directive: For S17_Shot1, reserve the full figure of 수하 1 just right of center while his weight transfers through opening 7. His head angles toward off-screen space beyond the left edge rather than toward the camera. Keep the carried Silenced rifle adjacent to his body, not aimed into the lens, and leave other arrivals outside this selected frame.\n  - state_cue_directive: Marker 14, labeled \"Television under repair\", is the only listed transient background marker; retain it only where its placement is compatible with this view, without relocating fixed elements to force visibility. Opening 7 is being crossed by the staged subject, with no committed door-leaf position. Preserve the staged dark silhouette using entrance-to-interior tonal separation without inventing a light source.\n  - negative_continuity_directive: Exclude marker 15. Avoid copying the camera-facing arrangement of L168B03 into this reversed view, moving markers 8–13 to fill the frame, forcing unit 5 into the southward cone, or inventing a state for opening 7. Do not treat the unit and opening visibility supersets as guaranteed co-visibility.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L168B03' physical_space_id='fp_matsuda_junk_shop:space_01'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [4, 3]\n  - look_at_unit: 2\n  - look_at_cell: [8, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad diagonal coverage from inside unit 3 toward unit 2 and opening 7. Reserve space just right of center for the staged full figure. The entrance-facing structural slice differs from L168B03; the coordinate collision between markers 2 and 7 does not imply a door-leaf state.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the southward portion of unit 1 leading toward unit 2 and opening 7 from unit 3. Restrict any view of unit 6 to what opening 7 actually exposes; adjacency and unobstructed visibility are not established by the candidate supersets. Preserve L168B03's fixed layout throughout the same interior, including positions of markers 8–13, even where those markers fall outside this reverse-facing cone.\n  - camera_framing_directive: Use camera unit 3 at [4, 3], looking toward unit 2 at [8, 5], with a wide lens and 90-degree field of view. Provide broad oblique coverage of opening 7 and sufficient frame area for the staged full figure just right of center. Keep this entrance-facing composition distinct from the anchor's inward framing.\n  - subject_position_directive: For S17_Shot1, reserve the full figure of 수하 1 just right of center while his weight transfers through opening 7. His head angles toward off-screen space beyond the left edge rather than toward the camera. Keep the carried Silenced rifle adjacent to his body, not aimed into the lens, and leave other arrivals outside this selected frame.\n  - state_cue_directive: Marker 14, labeled \"Television under repair\", is the only listed transient background marker; retain it only where its placement is compatible with this view, without relocating fixed elements to force visibility. Opening 7 is being crossed by the staged subject, with no committed door-leaf position. Preserve the staged dark silhouette using entrance-to-interior tonal separation without inventing a light source.\n  - negative_continuity_directive: Exclude marker 15. Avoid copying the camera-facing arrangement of L168B03 into this reversed view, moving markers 8–13 to fill the frame, forcing unit 5 into the southward cone, or inventing a state for opening 7. Do not treat the unit and opening visibility supersets as guaranteed co-visibility.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L168B03' physical_space_id='fp_matsuda_junk_shop:space_01'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [4, 3]\n  - look_at_unit: 2\n  - look_at_cell: [8, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad diagonal coverage from inside unit 3 toward unit 2 and opening 7. Reserve space just right of center for the staged full figure. The entrance-facing structural slice differs from L168B03; the coordinate collision between markers 2 and 7 does not imply a door-leaf state.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the southward portion of unit 1 leading toward unit 2 and opening 7 from unit 3. Restrict any view of unit 6 to what opening 7 actually exposes; adjacency and unobstructed visibility are not established by the candidate supersets. Preserve L168B03's fixed layout throughout the same interior, including positions of markers 8–13, even where those markers fall outside this reverse-facing cone.\n  - camera_framing_directive: Use camera unit 3 at [4, 3], looking toward unit 2 at [8, 5], with a wide lens and 90-degree field of view. Provide broad oblique coverage of opening 7 and sufficient frame area for the staged full figure just right of center. Keep this entrance-facing composition distinct from the anchor's inward framing.\n  - subject_position_directive: For S17_Shot1, reserve the full figure of 수하 1 just right of center while his weight transfers through opening 7. His head angles toward off-screen space beyond the left edge rather than toward the camera. Keep the carried Silenced rifle adjacent to his body, not aimed into the lens, and leave other arrivals outside this selected frame.\n  - state_cue_directive: Marker 14, labeled \"Television under repair\", is the only listed transient background marker; retain it only where its placement is compatible with this view, without relocating fixed elements to force visibility. Opening 7 is being crossed by the staged subject, with no committed door-leaf position. Preserve the staged dark silhouette using entrance-to-interior tonal separation without inventing a light source.\n  - negative_continuity_directive: Exclude marker 15. Avoid copying the camera-facing arrangement of L168B03 into this reversed view, moving markers 8–13 to fill the frame, forcing unit 5 into the southward cone, or inventing a state for opening 7. Do not treat the unit and opening visibility supersets as guaranteed co-visibility.\n\n2069년 기후 재난 이후 대한민국의 낡은 고물상 내부에서 주간의 입구를 바라본, 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 오래된 생활 가전과 회수한 금속 자재를 보관하며 수리 작업을 이어가는 소규모 상점의 현실적인 모습이다. 참고 평면도는 공간의 연결 관계와 기존 집기의 위치를 파악하는 용도로만 사용한다. 내려다보는 시점이나 도면이 아니라, 사람이 서서 바라보는 높이 약 1.6미터에서 35밀리미터 렌즈로 촬영한 실제 장소 기록 사진으로 표현한다.\n\n카메라는 상점 북쪽 수리 작업대의 동쪽 끝 옆 통로에 놓고, 중앙 고객 통로를 따라 남쪽 입구를 바라본다. 남쪽 벽 중앙의 출입구와 문턱을 화면 중앙에 두고, 그 너머로 바로 이어지는 작은 외부 진입 공간을 보이게 한다. 서쪽 벽을 따라 놓인 폐가전 더미는 화면 오른쪽에, 동쪽 벽을 따라 놓인 회수 자재 더미는 화면 왼쪽에 자리한다. 두 더미는 중앙 통로를 침범하지 않으며, 동쪽 보관 구역과 뒤편 작업대 사이의 이동 공간이 유지된다. 가까운 화면 가장자리에는 북쪽 수리 작업대의 모서리가 절제된 비중으로 걸린다. 작업대 상판의 중앙에서 서쪽으로 치우친 자리에 수리 중인 텔레비전 한 대가 놓여 있고, 작업대 가장자리와 함께 가까운 거리의 맥락으로만 보인다. 텔레비전이나 작업대가 중앙 출입구를 가리지 않도록 한다.\n\n문밖의 밝은 주광과 상대적으로 어두운 실내의 차이를 분명하게 담되, 실내 고물 더미의 재질과 통로의 깊이는 자연스러운 반사광 속에서 읽히게 한다. 중앙 입구와 문턱은 비어 있다. 낡은 콘크리트의 미세한 얼룩, 금속 표면의 오래된 산화와 마찰 흔적, 가전 외장의 바랜 플라스틱, 작업대 목재의 결과 생활 마모를 실제 촬영처럼 표현한다. 차가운 회색 계열의 기존 재료색을 중심으로 자연광의 색을 그대로 유지하며, 과장된 보정 없이 가까운 작업대와 먼 입구 사이에 자연스러운 피사계 심도를 둔다. 사람, 얼굴, 인체 형태의 물체나 그림자는 전혀 없는 배경 사진이다. 인공적으로 말끔한 상품 사진이나 컴퓨터 생성 이미지, 삽화, 건축 시각화가 아닌 실제 현장 촬영의 질감. 16:9 가로 비율, 실제 카메라 촬영본",
        "camera_decision": {
          "camera_unit": 3,
          "camera_cell": [
            4,
            3
          ],
          "look_at_unit": 2,
          "look_at_cell": [
            8,
            5
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad diagonal coverage from inside unit 3 toward unit 2 and opening 7. Reserve space just right of center for the staged full figure. The entrance-facing structural slice differs from L168B03; the coordinate collision between markers 2 and 7 does not imply a door-leaf state."
        },
        "shot_aware_plan_node_index": 2,
        "shot_aware_plan_mode": "same_physical_space_view",
        "render_guidance": {
          "visible_space_directive": "Show the southward portion of unit 1 leading toward unit 2 and opening 7 from unit 3. Restrict any view of unit 6 to what opening 7 actually exposes; adjacency and unobstructed visibility are not established by the candidate supersets. Preserve L168B03's fixed layout throughout the same interior, including positions of markers 8–13, even where those markers fall outside this reverse-facing cone.",
          "camera_framing_directive": "Use camera unit 3 at [4, 3], looking toward unit 2 at [8, 5], with a wide lens and 90-degree field of view. Provide broad oblique coverage of opening 7 and sufficient frame area for the staged full figure just right of center. Keep this entrance-facing composition distinct from the anchor's inward framing.",
          "subject_position_directive": "For S17_Shot1, reserve the full figure of 수하 1 just right of center while his weight transfers through opening 7. His head angles toward off-screen space beyond the left edge rather than toward the camera. Keep the carried Silenced rifle adjacent to his body, not aimed into the lens, and leave other arrivals outside this selected frame.",
          "state_cue_directive": "Marker 14, labeled \"Television under repair\", is the only listed transient background marker; retain it only where its placement is compatible with this view, without relocating fixed elements to force visibility. Opening 7 is being crossed by the staged subject, with no committed door-leaf position. Preserve the staged dark silhouette using entrance-to-interior tonal separation without inventing a light source.",
          "negative_continuity_directive": "Exclude marker 15. Avoid copying the camera-facing arrangement of L168B03 into this reversed view, moving markers 8–13 to fill the frame, forcing unit 5 into the southward cone, or inventing a state for opening 7. Do not treat the unit and opening visibility supersets as guaranteed co-visibility."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_matsuda_junk_shop",
          "prior_bg_ids": [
            "L168B03"
          ],
          "attached_ref_labels": [
            "bg:L168B03"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L168B01": {
        "status": "ok",
        "is_reuse": true,
        "render_action": "reuse_existing_plate",
        "reuse_target_bg_id": "L168B03",
        "reused_from_bg_id": "L168B03",
        "location_id": "L168",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L168B03.png",
        "t2i_prompt": "2069년 기후 재난 이후 대한민국의 오래된 고물상 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 낡은 생활 가전을 계속 수리해 사용하는 소규모 점포의 현실적인 재질과 사용감을 담는다. 실제 미러리스 카메라와 40밀리미터 렌즈로 약 1.6미터 높이에서 촬영한다. 매장 중앙 고객 통로에서 북쪽 수리 작업대를 바라보며, 전경에 통로의 여백을 두고 작업대 상판의 중앙 오른쪽과 그 뒤 작업 공간이 가려지지 않도록 잡는다. 내려다보는 평면도 시점이 아닌 서 있는 사람의 눈높이 사진이다.\n제공된 평면도는 공간과 기존 물품의 위치를 파악하는 자료로만 사용한다. 중앙 통로 서쪽에는 오래된 가전 재고가, 동쪽에는 고물 재고가 쌓여 있으며 모두 통행 공간 밖에 놓여 있다. 북쪽 작업 구역을 가로지르는 수리 작업대와 그 뒤쪽 작업 공간, 작업대 동쪽 끝을 돌아 들어가는 통로가 자연스럽게 보인다. 작업대 서쪽 끝의 데스크톱 컴퓨터는 뒤쪽 작업 공간을 향하고, 동쪽 끝에는 오래된 탁상 전화기가 놓여 있다. 북쪽 벽에는 고정된 공구 정리대가 있다. 작업대 서쪽 중앙에는 현재 수리 중인 텔레비전이 컴퓨터 옆에 놓여 있고, 동쪽 전화기와는 떨어져 있다. 기존 재고와 수리 물품의 배치를 그대로 이어가며 추가적인 현장 변화를 만들어내지 않는다.\n화면 밖에서 들어오는 약한 자연광이 작업대와 통로를 비추고, 실내 안쪽은 세부가 식별되는 그늘로 남는다. 빛바랜 가전 외장, 손때 묻은 전화기, 작업대의 오랜 마찰 자국, 금속의 실제 산화와 콘크리트의 생활 얼룩을 과장 없이 보여준다. 차가운 회색 계열은 실제 재료와 빛에서 드러나게 하고 인위적인 색 보정은 하지 않는다. 자연스러운 원근과 피사계 심도로 전경 통로부터 뒤쪽 작업대까지 공간 관계가 읽힌다. 사람, 얼굴, 인체 형상의 물체는 묘사하지 않는 빈 배경이다. 매끈하게 정돈한 홍보 사진이 아니라 실제 장소 기록 사진이며, 삽화나 컴퓨터 생성 영상, 건축 시각화가 아니다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S17_Shot7",
            "guide_text": "중앙 고객 통로에서 북쪽 수리 작업대를 바라보는 눈높이 구도. 촬영 높이는 약 1.6미터, 렌즈는 40밀리미터로 잡는다. 전경의 통로에 여백을 확보하면서 후경 작업대의 중앙 오른쪽 상판과 뒤쪽 작업 공간이 명확히 보이게 한다. 왼쪽에는 컴퓨터와 수리 중인 텔레비전, 오른쪽에는 탁상 전화기가 위치하며, 양쪽 재고는 시선을 막지 않도록 기존 구역 안에서 보인다. 인물이나 인체 형상 없이 환경만 촬영하고, 새로운 손상이나 물품 이동을 덧붙이지 않는다."
          }
        ],
        "shot_ids": [
          "S17_Shot7"
        ],
        "scenes": [],
        "parent_id": "L168B03",
        "ref_used": "reused_plate",
        "render_attempts": 0,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "Just inside number 7, slightly west of the center of number 1, facing north toward number 10 and overlay number 15.",
          "camera_height": "Eye-level standing, approximately 1.6 m",
          "lens_hint": "40mm normal-wide lens",
          "framing_notes": "Leave a middle-ground position for the radio-speaking intruder, offset so number 15 remains clearly visible at the desk behind him. Retain number 14 and the original stock arrangement. The figure has fallen onto the desk; the desk itself is not overturned. Add no unspecified blood, bullet damage, or scattered objects."
        },
        "reference_decision": {
          "mode": "reference_derived",
          "render_action": "reuse_existing_plate",
          "reuse_target_bg_id": "L168B03",
          "selected_refs": [
            {
              "ref_bg_id": "L168B03",
              "physical_space_id": "fp_matsuda_junk_shop:space_01",
              "space_description": "Connected interior represented by units 1, 3, 4 and 5 and base markers 8–13."
            }
          ]
        },
        "shot_aware_plan_node_index": 1,
        "shot_aware_plan_mode": "reference_derived",
        "render_guidance": {
          "visible_space_directive": "Inherit L168B03's visible unit 1 to unit 5 depth and the in-cone portions of units 3 and 4. Keep markers 8 and 9 in their established lateral positions, marker 10 across unit 5, markers 11 and 12 at its west and east ends, and marker 13 behind it against the north wall. Preserve the part of marker 10 supporting the staged middle-right background relation.",
          "camera_framing_directive": "Match camera unit 2 at [8, 5], looking toward unit 5 at [1, 5], with the same normal lens and 50-degree field of view as L168B03. Maintain neutral spatial coverage and enough background legibility for the staged depth separation. The close foreground composition must fit this plate without shifting its fixed elements.",
          "subject_position_directive": "For S17_Shot7, place 수하 1's left-facing profile in the left foreground, holding the radio near his mouth and addressing off-screen space ahead. Place 마츠다 folded face-down over marker 10 in the middle-right background behind his back, matching overlay 15. Preserve the staged separation and avoid rotating the foreground profile into a frontal view.",
          "state_cue_directive": "Carry transient marker 14, labeled \"Television under repair\", and marker 15, labeled \"Figure slumped over desk\", as scene-layer additions to the inherited structure. The staged collapsed upper body is supported by marker 10. Retain restrained ambience with sufficient tonal separation; changed subject placement, not a newly invented lighting shift, supplies the contrast.",
          "negative_continuity_directive": "Avoid relocating or duplicating markers 8–13 relative to L168B03, treating marker 15 as a second subject in addition to its staged realization, or converting markers 14 and 15 into permanent fixtures. Keep unit 6 and opening 7 out of the inward background view."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_matsuda_junk_shop",
          "prior_bg_ids": [
            "L168B03"
          ],
          "attached_ref_labels": [
            "bg:L168B03"
          ],
          "ref_used": "reused_plate",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L169B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L169",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L169B01.png",
        "t2i_prompt": "2069년 기후 재난 이후 한국의 생활 터전, 주거용 컨테이너 앞 흙 공터를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실제 미러리스 카메라와 35밀리미터 광각 렌즈를 사용해 서 있는 사람의 눈높이 약 1.6미터에서 바라본 현장 기록 사진처럼 표현한다. 공터 남쪽 경계의 관찰 자리 바로 뒤에서 북북동쪽을 향한다. 가까운 화면 왼쪽에는 남서쪽 관찰 자리의 빈 땅이, 중간 거리 오른쪽에는 야외 씻기 공간이, 그 뒤에는 컨테이너의 남향 정면이 보인다. 관찰 자리와 씻기 공간 사이의 흙 공터를 충분히 드러내 두 지점의 거리가 읽히게 한다.\n컨테이너는 공터 북쪽 가장자리에서 동서 방향으로 길게 놓여 있다. 남향 벽 중앙보다 조금 서쪽에 출입문이 있고, 문 바로 앞의 출입 경계는 공터와 높이가 이어진다. 서쪽 중앙의 열린 공터가 출입문 앞, 동쪽 중앙의 씻기 공간, 남쪽 가장자리를 끊김 없이 연결한다. 평면도는 이러한 배치 관계를 파악하는 용도로만 사용한다. 한국의 소박한 임시 주거용 컨테이너에 쓰이는 도장된 골강판의 실제 요철, 오래 사용한 도장의 마모와 이음매의 작은 부식, 다져진 흙의 입자와 생활 오염을 사실적으로 담는다. 과도하게 무너진 폐허가 아니라 계속 사용 중인 생활 공간이다.\n씻기 공간 안에는 유연한 물 호스가 바닥에 느슨하게 놓여 있고, 끝의 분사구는 씻기 공간을 가로지르는 방향으로 향한다. 분사구에서 실제 압력으로 뻗는 물줄기와 작은 물방울이 빈 씻기 공간 안으로 이어진다. 호스의 급수 연결 지점은 특정하지 않는다. 씻기 공간 바닥과 바로 남쪽 가장자리의 흙은 물을 먹어 짙어져 있으며, 씻겨 내려간 흙먼지가 얇은 흙물 흐름을 이루어 낮은 지면을 따라 가까운 범위로 번진다. 별도의 배수시설을 만들지 않고 흙 표면의 작은 굴곡을 따라 물이 흐르게 한다.\n평범한 낮의 자연광 아래 금속 벽과 젖은 흙의 반사 차이, 물방울의 작고 투명한 반짝임, 부드러운 실제 그림자를 보여 준다. 회색 금속의 차분한 색과 흙 고유의 갈색을 자연스럽게 유지하고, 과도한 대비나 후처리 없이 자연스러운 피사계 심도로 공간의 거리와 재료 질감을 담는다. 사람, 얼굴, 신체 일부, 사람 형태의 형상은 전혀 없는 배경 사진이다. 깨끗하게 정돈된 광고용 사진이 아닌 실제 생활 현장의 사진이며, 삽화나 컴퓨터 생성 영상, 건축 시각화가 아니다. 위에서 내려다본 구도나 평면도, 도해, 숫자 표시는 넣지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S16_Shot3",
            "guide_text": "남쪽 경계의 관찰 자리 뒤에서 북북동쪽을 바라보는 약 1.6미터 눈높이의 넓은 구도를 사용한다. 가까운 왼쪽의 관찰 자리, 중간 오른쪽의 씻기 공간, 뒤쪽 컨테이너 정면을 함께 담고 사이의 빈 흙 공터로 거리를 드러낸다. 호스의 물줄기와 씻기 공간 남쪽으로 번지는 국소적인 흙물 흐름이 보이게 하되 인물이나 신체 형상은 넣지 않는다."
          },
          {
            "shot_id": "S16_Shot6",
            "guide_text": "앞선 장면과 같은 관찰 방향, 눈높이와 넓은 화각을 유지한다. 출입문과 그 앞 공터, 오른쪽 씻기 공간, 가까운 왼쪽 관찰 자리의 상대 위치를 바꾸지 않는다. 낮의 자연광과 금속 표면의 색, 호스 위치, 물줄기 방향, 젖은 흙의 범위를 일관되게 이어 공간의 연속성을 확보한다. 배경만 담고 관찰자를 형상으로 추가하지 않는다."
          }
        ],
        "shot_ids": [
          "S16_Shot3",
          "S16_Shot6"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_2",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "At the southern boundary just behind number 6 (distant viewing margin), facing north-northeast across number 5 (connecting open yard) toward number 4 (outdoor washing area) and number 1 (container dwelling footprint).",
          "camera_height": "Eye-level standing, approximately 1.6 m",
          "lens_hint": "28–35 mm wide angle",
          "framing_notes": "Use the same establishing orientation for both shots. Keep the viewing margin in the near-left portion, the washing area in the middle-right, and the container frontage behind it. Retain visible intervening ground to communicate the observers' distance. Reference numbers 7, 8, and 9 only through the scene overlay; never display numbered markers in the finished background."
        },
        "reference_decision": {
          "bg_id": "L169B01",
          "fp_id": "fp_container_wash_yard",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L169B01 is readiness-approved and the sole supplied anchor candidate. Use the declared fallback candidate despite clean_background_expected=false and retain its committed transient markers. No reference catalog entries exist. Camera unit 4 with normal coverage toward unit 1 provides the partial exterior context requested by S16_Shot3; S16_Shot6 shares that exterior identity but commits a different subject framing, not a combined two-subject composition.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_container_wash_yard.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "not_applicable_no_prior_reference",
            "why_single_ref_or_two_refs": "This is the first and only node, establishing identity directly from the floor plan without prior references.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 4,
            "camera_cell": [
              5,
              7
            ],
            "look_at_unit": 1,
            "look_at_cell": [
              2,
              4
            ],
            "lens_enum": "normal",
            "fov_deg": 50,
            "framing_notes": "Neutral coverage from unit 4 toward the unit 1 frontage, with the exact permitted look-at cell at opening marker 2. Favor partial exterior context rather than an all-unit establishing view. This single background camera does not encode both consuming shots' distinct subject-camera arrangements."
          },
          "render_guidance": {
            "visible_space_directive": "From unit 4, retain the partial unit 1 frontage toward opening marker 2 and the adjacent unit 3 context where it enters the normal view. Preserve their base-plan positions. Units 5 and 6 are visibility-superset candidates, not required visible content; do not expand this frame to display every target marker. Opening marker 2 does not establish visibility through the opening.",
            "camera_framing_directive": "Use camera unit 4 at [5, 7], looking toward unit 1 at the permitted cell [2, 4], with normal lens coverage of 50 degrees. Keep the exterior context neutral and partial, consistent with S16_Shot3's medium framing. S16_Shot6 requires soft partial surroundings in its close framing; do not force its distinct subject viewpoint into this plate by relocating fixed structure.",
            "subject_position_directive": "Treat the staged subjects as separate consuming-shot cues, not simultaneous background occupants. S16_Shot3 places 찰리 centrally with both raised shoulders and face retained, receiving water laterally from an off-screen source; the distant observers remain outside that frame. S16_Shot6 places 현우's face on the left with the supporting hand readable below his chin and open space to the right toward off-screen 찰리. Do not bake both arrangements into one background composition.",
            "state_cue_directive": "Retain committed transient markers 7, 8, and 9 as scene-layer cues: Loose washing hose, Active water spray, and Wet earth and washed dirt. For S16_Shot3, the stream enters laterally from the off-screen source toward the torso; marker 7 need not be forced into view, and marker 9 is visible only where ground enters the framing. S16_Shot6 retains only soft partial exterior surroundings rather than forcing the washing action on-screen. Maintain the staged neutral daylight and controlled wet highlights; clean_background_expected is false.",
            "negative_continuity_directive": "No numbered elements or state-overlay markers are explicitly ignored. Avoid moving base markers 1, 2, and 3 to reconcile the consuming shots, promoting transient markers 7–9 into permanent fixtures, or forcing units 5 and 6 into the selected view. Do not treat visibility supersets as guaranteed co-visibility or infer an interior view through marker 2."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [5, 7]\n  - look_at_unit: 1\n  - look_at_cell: [2, 4]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: \"Neutral coverage from unit 4 toward the unit 1 frontage, with the exact permitted look-at cell at opening marker 2. Favor partial exterior context rather than an all-unit establishing view. This single background camera does not encode both consuming shots' distinct subject-camera arrangements.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 4, retain the partial unit 1 frontage toward opening marker 2 and the adjacent unit 3 context where it enters the normal view. Preserve their base-plan positions. Units 5 and 6 are visibility-superset candidates, not required visible content; do not expand this frame to display every target marker. Opening marker 2 does not establish visibility through the opening.\n  - camera_framing_directive: Use camera unit 4 at [5, 7], looking toward unit 1 at the permitted cell [2, 4], with normal lens coverage of 50 degrees. Keep the exterior context neutral and partial, consistent with S16_Shot3's medium framing. S16_Shot6 requires soft partial surroundings in its close framing; do not force its distinct subject viewpoint into this plate by relocating fixed structure.\n  - subject_position_directive: Treat the staged subjects as separate consuming-shot cues, not simultaneous background occupants. S16_Shot3 places 찰리 centrally with both raised shoulders and face retained, receiving water laterally from an off-screen source; the distant observers remain outside that frame. S16_Shot6 places 현우's face on the left with the supporting hand readable below his chin and open space to the right toward off-screen 찰리. Do not bake both arrangements into one background composition.\n  - state_cue_directive: Retain committed transient markers 7, 8, and 9 as scene-layer cues: Loose washing hose, Active water spray, and Wet earth and washed dirt. For S16_Shot3, the stream enters laterally from the off-screen source toward the torso; marker 7 need not be forced into view, and marker 9 is visible only where ground enters the framing. S16_Shot6 retains only soft partial exterior surroundings rather than forcing the washing action on-screen. Maintain the staged neutral daylight and controlled wet highlights; clean_background_expected is false.\n  - negative_continuity_directive: No numbered elements or state-overlay markers are explicitly ignored. Avoid moving base markers 1, 2, and 3 to reconcile the consuming shots, promoting transient markers 7–9 into permanent fixtures, or forcing units 5 and 6 into the selected view. Do not treat visibility supersets as guaranteed co-visibility or infer an interior view through marker 2.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [5, 7]\n  - look_at_unit: 1\n  - look_at_cell: [2, 4]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: \"Neutral coverage from unit 4 toward the unit 1 frontage, with the exact permitted look-at cell at opening marker 2. Favor partial exterior context rather than an all-unit establishing view. This single background camera does not encode both consuming shots' distinct subject-camera arrangements.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 4, retain the partial unit 1 frontage toward opening marker 2 and the adjacent unit 3 context where it enters the normal view. Preserve their base-plan positions. Units 5 and 6 are visibility-superset candidates, not required visible content; do not expand this frame to display every target marker. Opening marker 2 does not establish visibility through the opening.\n  - camera_framing_directive: Use camera unit 4 at [5, 7], looking toward unit 1 at the permitted cell [2, 4], with normal lens coverage of 50 degrees. Keep the exterior context neutral and partial, consistent with S16_Shot3's medium framing. S16_Shot6 requires soft partial surroundings in its close framing; do not force its distinct subject viewpoint into this plate by relocating fixed structure.\n  - subject_position_directive: Treat the staged subjects as separate consuming-shot cues, not simultaneous background occupants. S16_Shot3 places 찰리 centrally with both raised shoulders and face retained, receiving water laterally from an off-screen source; the distant observers remain outside that frame. S16_Shot6 places 현우's face on the left with the supporting hand readable below his chin and open space to the right toward off-screen 찰리. Do not bake both arrangements into one background composition.\n  - state_cue_directive: Retain committed transient markers 7, 8, and 9 as scene-layer cues: Loose washing hose, Active water spray, and Wet earth and washed dirt. For S16_Shot3, the stream enters laterally from the off-screen source toward the torso; marker 7 need not be forced into view, and marker 9 is visible only where ground enters the framing. S16_Shot6 retains only soft partial exterior surroundings rather than forcing the washing action on-screen. Maintain the staged neutral daylight and controlled wet highlights; clean_background_expected is false.\n  - negative_continuity_directive: No numbered elements or state-overlay markers are explicitly ignored. Avoid moving base markers 1, 2, and 3 to reconcile the consuming shots, promoting transient markers 7–9 into permanent fixtures, or forcing units 5 and 6 into the selected view. Do not treat visibility supersets as guaranteed co-visibility or infer an interior view through marker 2.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [5, 7]\n  - look_at_unit: 1\n  - look_at_cell: [2, 4]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: \"Neutral coverage from unit 4 toward the unit 1 frontage, with the exact permitted look-at cell at opening marker 2. Favor partial exterior context rather than an all-unit establishing view. This single background camera does not encode both consuming shots' distinct subject-camera arrangements.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 4, retain the partial unit 1 frontage toward opening marker 2 and the adjacent unit 3 context where it enters the normal view. Preserve their base-plan positions. Units 5 and 6 are visibility-superset candidates, not required visible content; do not expand this frame to display every target marker. Opening marker 2 does not establish visibility through the opening.\n  - camera_framing_directive: Use camera unit 4 at [5, 7], looking toward unit 1 at the permitted cell [2, 4], with normal lens coverage of 50 degrees. Keep the exterior context neutral and partial, consistent with S16_Shot3's medium framing. S16_Shot6 requires soft partial surroundings in its close framing; do not force its distinct subject viewpoint into this plate by relocating fixed structure.\n  - subject_position_directive: Treat the staged subjects as separate consuming-shot cues, not simultaneous background occupants. S16_Shot3 places 찰리 centrally with both raised shoulders and face retained, receiving water laterally from an off-screen source; the distant observers remain outside that frame. S16_Shot6 places 현우's face on the left with the supporting hand readable below his chin and open space to the right toward off-screen 찰리. Do not bake both arrangements into one background composition.\n  - state_cue_directive: Retain committed transient markers 7, 8, and 9 as scene-layer cues: Loose washing hose, Active water spray, and Wet earth and washed dirt. For S16_Shot3, the stream enters laterally from the off-screen source toward the torso; marker 7 need not be forced into view, and marker 9 is visible only where ground enters the framing. S16_Shot6 retains only soft partial exterior surroundings rather than forcing the washing action on-screen. Maintain the staged neutral daylight and controlled wet highlights; clean_background_expected is false.\n  - negative_continuity_directive: No numbered elements or state-overlay markers are explicitly ignored. Avoid moving base markers 1, 2, and 3 to reconcile the consuming shots, promoting transient markers 7–9 into permanent fixtures, or forcing units 5 and 6 into the selected view. Do not treat visibility supersets as guaranteed co-visibility or infer an interior view through marker 2.\n\n2069년 기후 재난 이후 한국의 생활 터전, 주거용 컨테이너 앞 흙 공터를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실제 미러리스 카메라와 35밀리미터 광각 렌즈를 사용해 서 있는 사람의 눈높이 약 1.6미터에서 바라본 현장 기록 사진처럼 표현한다. 공터 남쪽 경계의 관찰 자리 바로 뒤에서 북북동쪽을 향한다. 가까운 화면 왼쪽에는 남서쪽 관찰 자리의 빈 땅이, 중간 거리 오른쪽에는 야외 씻기 공간이, 그 뒤에는 컨테이너의 남향 정면이 보인다. 관찰 자리와 씻기 공간 사이의 흙 공터를 충분히 드러내 두 지점의 거리가 읽히게 한다.\n컨테이너는 공터 북쪽 가장자리에서 동서 방향으로 길게 놓여 있다. 남향 벽 중앙보다 조금 서쪽에 출입문이 있고, 문 바로 앞의 출입 경계는 공터와 높이가 이어진다. 서쪽 중앙의 열린 공터가 출입문 앞, 동쪽 중앙의 씻기 공간, 남쪽 가장자리를 끊김 없이 연결한다. 평면도는 이러한 배치 관계를 파악하는 용도로만 사용한다. 한국의 소박한 임시 주거용 컨테이너에 쓰이는 도장된 골강판의 실제 요철, 오래 사용한 도장의 마모와 이음매의 작은 부식, 다져진 흙의 입자와 생활 오염을 사실적으로 담는다. 과도하게 무너진 폐허가 아니라 계속 사용 중인 생활 공간이다.\n씻기 공간 안에는 유연한 물 호스가 바닥에 느슨하게 놓여 있고, 끝의 분사구는 씻기 공간을 가로지르는 방향으로 향한다. 분사구에서 실제 압력으로 뻗는 물줄기와 작은 물방울이 빈 씻기 공간 안으로 이어진다. 호스의 급수 연결 지점은 특정하지 않는다. 씻기 공간 바닥과 바로 남쪽 가장자리의 흙은 물을 먹어 짙어져 있으며, 씻겨 내려간 흙먼지가 얇은 흙물 흐름을 이루어 낮은 지면을 따라 가까운 범위로 번진다. 별도의 배수시설을 만들지 않고 흙 표면의 작은 굴곡을 따라 물이 흐르게 한다.\n평범한 낮의 자연광 아래 금속 벽과 젖은 흙의 반사 차이, 물방울의 작고 투명한 반짝임, 부드러운 실제 그림자를 보여 준다. 회색 금속의 차분한 색과 흙 고유의 갈색을 자연스럽게 유지하고, 과도한 대비나 후처리 없이 자연스러운 피사계 심도로 공간의 거리와 재료 질감을 담는다. 사람, 얼굴, 신체 일부, 사람 형태의 형상은 전혀 없는 배경 사진이다. 깨끗하게 정돈된 광고용 사진이 아닌 실제 생활 현장의 사진이며, 삽화나 컴퓨터 생성 영상, 건축 시각화가 아니다. 위에서 내려다본 구도나 평면도, 도해, 숫자 표시는 넣지 않는다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThe LAST attached image is a TOP-DOWN INTERIOR FLOOR PLAN of the building at this location — a STRUCTURAL REFERENCE ONLY, never content to draw. It defines the building's real scale: its footprint, room count, and the placement of its doors and windows. Render the scene so the building's exterior size, number of storeys, and the scale and placement of its doors and windows stay consistent with that plan. Do NOT draw the floor plan itself, its lines, text or numbers anywhere in the image.",
        "camera_decision": {
          "camera_unit": 4,
          "camera_cell": [
            5,
            7
          ],
          "look_at_unit": 1,
          "look_at_cell": [
            2,
            4
          ],
          "lens_enum": "normal",
          "fov_deg": 50,
          "framing_notes": "Neutral coverage from unit 4 toward the unit 1 frontage, with the exact permitted look-at cell at opening marker 2. Favor partial exterior context rather than an all-unit establishing view. This single background camera does not encode both consuming shots' distinct subject-camera arrangements."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "From unit 4, retain the partial unit 1 frontage toward opening marker 2 and the adjacent unit 3 context where it enters the normal view. Preserve their base-plan positions. Units 5 and 6 are visibility-superset candidates, not required visible content; do not expand this frame to display every target marker. Opening marker 2 does not establish visibility through the opening.",
          "camera_framing_directive": "Use camera unit 4 at [5, 7], looking toward unit 1 at the permitted cell [2, 4], with normal lens coverage of 50 degrees. Keep the exterior context neutral and partial, consistent with S16_Shot3's medium framing. S16_Shot6 requires soft partial surroundings in its close framing; do not force its distinct subject viewpoint into this plate by relocating fixed structure.",
          "subject_position_directive": "Treat the staged subjects as separate consuming-shot cues, not simultaneous background occupants. S16_Shot3 places 찰리 centrally with both raised shoulders and face retained, receiving water laterally from an off-screen source; the distant observers remain outside that frame. S16_Shot6 places 현우's face on the left with the supporting hand readable below his chin and open space to the right toward off-screen 찰리. Do not bake both arrangements into one background composition.",
          "state_cue_directive": "Retain committed transient markers 7, 8, and 9 as scene-layer cues: Loose washing hose, Active water spray, and Wet earth and washed dirt. For S16_Shot3, the stream enters laterally from the off-screen source toward the torso; marker 7 need not be forced into view, and marker 9 is visible only where ground enters the framing. S16_Shot6 retains only soft partial exterior surroundings rather than forcing the washing action on-screen. Maintain the staged neutral daylight and controlled wet highlights; clean_background_expected is false.",
          "negative_continuity_directive": "No numbered elements or state-overlay markers are explicitly ignored. Avoid moving base markers 1, 2, and 3 to reconcile the consuming shots, promoting transient markers 7–9 into permanent fixtures, or forcing units 5 and 6 into the selected view. Do not treat visibility supersets as guaranteed co-visibility or infer an interior view through marker 2."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_container_wash_yard",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_container_wash_yard",
            "building_fp:fp_container_interior"
          ],
          "ref_used": "refs_2",
          "db_write_policy": "checkpoint_only"
        },
        "building_fp_ref": {
          "fp_id": "fp_container_interior",
          "indoor_loc_sid": "L170",
          "group_id": "bg_container_home_wash_yard",
          "fp_asset_id": "2682dd65-72f3-4e88-b579-b37a23a859df"
        }
      },
      "L170B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L170",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L170B01.png",
        "t2i_prompt": "기후 재난 이후인 2069년 한국의 생활용 컨테이너 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 길쭉한 직사각형의 소박한 주거 공간으로, 기존 컨테이너를 생활 공간으로 사용하는 현실적인 구조와 재료를 보여 준다. 실제 장소 기록 사진처럼 담백하게 촬영하며, 지나치게 말끔한 광고 사진이나 컴퓨터 생성 영상, 삽화, 건축 조감도처럼 보이지 않게 한다.\n\n동쪽 끝 취침실의 남동쪽 모서리 부근에서 서쪽을 바라본다. 실제 미러리스 카메라와 약 35밀리미터 렌즈를 사용하고, 약 1.6미터의 서 있는 사람 눈높이에서 수평에 가까운 시선으로 촬영한다. 취침실을 나누는 가로 칸막이의 남쪽 끝 출입구 너머로, 공용 내부의 남쪽 통행 공간과 서쪽 짧은 벽의 남단 외부 출입구가 이어져 보인다. 취침실 북쪽 벽에 붙은 낮은 취침대는 화면 오른쪽 전경에 두고, 동쪽 끝의 베개와 취침대 옆 비어 있는 바닥을 함께 담는다. 문틀과 칸막이가 만들어 내는 자연스러운 원근으로 길고 좁은 내부의 깊이를 드러낸다.\n\n외부 출입구 쪽에서 들어오는 낮의 자연광이 통행 공간을 따라 퍼지고, 취침실 안쪽에는 부드러운 반사광과 현실적인 그늘이 남는다. 밝은 출입구와 어두운 실내 모두 실제 촬영에서 가능한 명암 범위로 표현한다. 컨테이너 금속 벽의 도장 표면과 접합부, 낮은 목재 취침대의 나뭇결, 베개 천의 직조감과 자연스러운 주름을 세밀하게 담는다. 재료에는 일상적인 사용감만 절제하여 반영하고, 회색 계열의 벽과 자연스러운 목재색을 별도의 색 보정 없이 유지한다. 공간은 정돈되어 있고 평온한 상태다. 사람, 얼굴, 사람 형태의 형상 없이 배경만 촬영한다. 자연스러운 피사계 심도를 유지하며 위에서 내려다보는 구도나 평면도 구도는 사용하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S21_Shot2",
            "guide_text": "취침실 남동쪽에서 서쪽을 향하는 시선을 사용한다. 오른쪽 전경의 낮은 취침대와 그 옆 빈 바닥을 확보하고, 칸막이 출입구 너머 남쪽 통행 공간과 외부 출입구까지 시선이 이어지게 한다. 낮빛이 들어오는 방향과 기존 가구 배치를 유지하며 인물이나 별도의 사건 흔적을 추가하지 않는다."
          },
          {
            "shot_id": "S21_Shot5",
            "guide_text": "같은 취침실 시점과 낮의 조명 상태를 유지한다. 취침대와 옆 바닥의 공간 관계가 분명히 읽히도록 화면을 잡되, 칸막이 출입구와 서쪽 출입구가 연결되는 깊이도 남긴다. 베개의 위치, 재료 질감과 실내 명암을 일관되게 유지하고 배경만 보여 준다."
          }
        ],
        "shot_ids": [
          "S21_Shot2",
          "S21_Shot5"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "Near the southeast corner of number 4, facing west through number 6 along number 3 toward number 5, with number 10 along the north side of the foreground.",
          "camera_height": "Low standing eye level, approximately 1.3m",
          "lens_hint": "24mm wide angle",
          "framing_notes": "Keep the sleeping place at number 10 and the empty floor beside it visible. Hold number 6 open for the sightline to the roughly opened exterior entrance at number 5, where daylight enters. The forceful opening does not imply a damaged door. Do not add an absent robot, displaced furnishings, or interior destruction."
        },
        "reference_decision": {
          "bg_id": "L170B01",
          "fp_id": "fp_container_interior",
          "node_index": 4,
          "mode": "related_style_new_space",
          "is_dwelling_identity_anchor": false,
          "rationale": "This BG targets unit 4 behind the transverse partition, rather than the unit 2 space established by L166B01. Shared enclosure unit 1 and circulation unit 3 do not make those partition-separated spaces identical. Camera unit 4 looking toward marker 6 at the unit 3 threshold supports the inside-facing entry staging of S21_Shot2. Use L166B01 for dwelling identity only; S21_Shot5's close reaction remains a separate shot-specific framing.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L166B01.png"
          ],
          "source_bg_ids": [
            "L166B01"
          ],
          "fp_included": false,
          "reference_decision": {
            "selected_refs": [
              {
                "ref_bg_id": "L166B01",
                "physical_space_id": "fp_container_interior_space_2",
                "space_description": "Unit 2 representative supplying shared dwelling identity, not unit 4 layout."
              }
            ],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "single_style_reference_for_distinct_space",
            "why_single_ref_or_two_refs": "One dwelling-identity reference suffices. The visibility supersets do not establish that two distinct referenced spaces are co-visible in either consuming shot.",
            "physical_space_id_per_ref": [
              "fp_container_interior_space_2"
            ],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 4,
            "camera_cell": [
              4,
              8
            ],
            "look_at_unit": 3,
            "look_at_cell": [
              5,
              7
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad oblique view from inside unit 4 toward opening marker 6 at the unit 3 threshold. This doorway-focused representative does not guarantee marker 10 or the more distant marker 5 is visible; S21_Shot5 requires its own close shot treatment."
          },
          "render_guidance": {
            "visible_space_directive": "Show the inside boundary of unit 4 and opening marker 6 toward unit 3 within enclosure 1. Preserve the transverse partition and marker 10's supplied north-wall position even when outside the view. Do not infer a clear sightline to marker 5 or unit 2 from the visibility supersets. Carry shared dwelling identity from L166B01 without copying its unit 2 furniture arrangement into unit 4.",
            "camera_framing_directive": "Use camera unit 4 at [4, 8], looking toward unit 3 at [5, 7], with wide 90-degree broad coverage centered on marker 6. Support an oblique full-height threshold composition for S21_Shot2. S21_Shot5's close reaction is a separate framing requirement, not evidence that this doorway-facing cone also shows every part of unit 4.",
            "subject_position_directive": "Keep subjects out of the clean representative background. S21_Shot2 commits 라울 entering at right-center, one foot inside and the trailing leg completing entry, with attention toward 앰버 beyond the left edge. S21_Shot5 commits 앰버 in the left two-thirds and only 라울's pointing hand entering at lower right, with his head and torso outside the crop. Do not combine the two arrangements or invent an occupant in the unoccupied attention space.",
            "state_cue_directive": "No committed background state cue beyond clean residential space applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Maintain neutral daytime ambient illumination; the abruptly opened entry in S21_Shot2 is a consuming-shot action, not structural damage or an added overlay.",
            "negative_continuity_directive": "Exclude markers 11, 12, 13, 14 and 15. Do not transplant markers 7, 8 or 9 from L166B01 into unit 4. Avoid removing the partition, relocating markers 6 or 10, or forcing markers 5 and 10 into the selected cone. Do not infer co-visibility solely from candidate supersets."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows a related part of the same dwelling, not the current room. Inherit the overall material and lighting identity only; the new space is its own architectural room and must read as the same home.\n\nREFERENCE PLAN: mode='related_style_new_space'\n  - selected_refs[0]: ref_bg_id='L166B01' physical_space_id='fp_container_interior_space_2'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [4, 8]\n  - look_at_unit: 3\n  - look_at_cell: [5, 7]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad oblique view from inside unit 4 toward opening marker 6 at the unit 3 threshold. This doorway-focused representative does not guarantee marker 10 or the more distant marker 5 is visible; S21_Shot5 requires its own close shot treatment.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the inside boundary of unit 4 and opening marker 6 toward unit 3 within enclosure 1. Preserve the transverse partition and marker 10's supplied north-wall position even when outside the view. Do not infer a clear sightline to marker 5 or unit 2 from the visibility supersets. Carry shared dwelling identity from L166B01 without copying its unit 2 furniture arrangement into unit 4.\n  - camera_framing_directive: Use camera unit 4 at [4, 8], looking toward unit 3 at [5, 7], with wide 90-degree broad coverage centered on marker 6. Support an oblique full-height threshold composition for S21_Shot2. S21_Shot5's close reaction is a separate framing requirement, not evidence that this doorway-facing cone also shows every part of unit 4.\n  - subject_position_directive: Keep subjects out of the clean representative background. S21_Shot2 commits 라울 entering at right-center, one foot inside and the trailing leg completing entry, with attention toward 앰버 beyond the left edge. S21_Shot5 commits 앰버 in the left two-thirds and only 라울's pointing hand entering at lower right, with his head and torso outside the crop. Do not combine the two arrangements or invent an occupant in the unoccupied attention space.\n  - state_cue_directive: No committed background state cue beyond clean residential space applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Maintain neutral daytime ambient illumination; the abruptly opened entry in S21_Shot2 is a consuming-shot action, not structural damage or an added overlay.\n  - negative_continuity_directive: Exclude markers 11, 12, 13, 14 and 15. Do not transplant markers 7, 8 or 9 from L166B01 into unit 4. Avoid removing the partition, relocating markers 6 or 10, or forcing markers 5 and 10 into the selected cone. Do not infer co-visibility solely from candidate supersets.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows a related part of the same dwelling, not the current room. Inherit the overall material and lighting identity only; the new space is its own architectural room and must read as the same home.\n\nREFERENCE PLAN: mode='related_style_new_space'\n  - selected_refs[0]: ref_bg_id='L166B01' physical_space_id='fp_container_interior_space_2'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [4, 8]\n  - look_at_unit: 3\n  - look_at_cell: [5, 7]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad oblique view from inside unit 4 toward opening marker 6 at the unit 3 threshold. This doorway-focused representative does not guarantee marker 10 or the more distant marker 5 is visible; S21_Shot5 requires its own close shot treatment.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the inside boundary of unit 4 and opening marker 6 toward unit 3 within enclosure 1. Preserve the transverse partition and marker 10's supplied north-wall position even when outside the view. Do not infer a clear sightline to marker 5 or unit 2 from the visibility supersets. Carry shared dwelling identity from L166B01 without copying its unit 2 furniture arrangement into unit 4.\n  - camera_framing_directive: Use camera unit 4 at [4, 8], looking toward unit 3 at [5, 7], with wide 90-degree broad coverage centered on marker 6. Support an oblique full-height threshold composition for S21_Shot2. S21_Shot5's close reaction is a separate framing requirement, not evidence that this doorway-facing cone also shows every part of unit 4.\n  - subject_position_directive: Keep subjects out of the clean representative background. S21_Shot2 commits 라울 entering at right-center, one foot inside and the trailing leg completing entry, with attention toward 앰버 beyond the left edge. S21_Shot5 commits 앰버 in the left two-thirds and only 라울's pointing hand entering at lower right, with his head and torso outside the crop. Do not combine the two arrangements or invent an occupant in the unoccupied attention space.\n  - state_cue_directive: No committed background state cue beyond clean residential space applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Maintain neutral daytime ambient illumination; the abruptly opened entry in S21_Shot2 is a consuming-shot action, not structural damage or an added overlay.\n  - negative_continuity_directive: Exclude markers 11, 12, 13, 14 and 15. Do not transplant markers 7, 8 or 9 from L166B01 into unit 4. Avoid removing the partition, relocating markers 6 or 10, or forcing markers 5 and 10 into the selected cone. Do not infer co-visibility solely from candidate supersets.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows a related part of the same dwelling, not the current room. Inherit the overall material and lighting identity only; the new space is its own architectural room and must read as the same home.\n\nREFERENCE PLAN: mode='related_style_new_space'\n  - selected_refs[0]: ref_bg_id='L166B01' physical_space_id='fp_container_interior_space_2'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [4, 8]\n  - look_at_unit: 3\n  - look_at_cell: [5, 7]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad oblique view from inside unit 4 toward opening marker 6 at the unit 3 threshold. This doorway-focused representative does not guarantee marker 10 or the more distant marker 5 is visible; S21_Shot5 requires its own close shot treatment.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the inside boundary of unit 4 and opening marker 6 toward unit 3 within enclosure 1. Preserve the transverse partition and marker 10's supplied north-wall position even when outside the view. Do not infer a clear sightline to marker 5 or unit 2 from the visibility supersets. Carry shared dwelling identity from L166B01 without copying its unit 2 furniture arrangement into unit 4.\n  - camera_framing_directive: Use camera unit 4 at [4, 8], looking toward unit 3 at [5, 7], with wide 90-degree broad coverage centered on marker 6. Support an oblique full-height threshold composition for S21_Shot2. S21_Shot5's close reaction is a separate framing requirement, not evidence that this doorway-facing cone also shows every part of unit 4.\n  - subject_position_directive: Keep subjects out of the clean representative background. S21_Shot2 commits 라울 entering at right-center, one foot inside and the trailing leg completing entry, with attention toward 앰버 beyond the left edge. S21_Shot5 commits 앰버 in the left two-thirds and only 라울's pointing hand entering at lower right, with his head and torso outside the crop. Do not combine the two arrangements or invent an occupant in the unoccupied attention space.\n  - state_cue_directive: No committed background state cue beyond clean residential space applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Maintain neutral daytime ambient illumination; the abruptly opened entry in S21_Shot2 is a consuming-shot action, not structural damage or an added overlay.\n  - negative_continuity_directive: Exclude markers 11, 12, 13, 14 and 15. Do not transplant markers 7, 8 or 9 from L166B01 into unit 4. Avoid removing the partition, relocating markers 6 or 10, or forcing markers 5 and 10 into the selected cone. Do not infer co-visibility solely from candidate supersets.\n\n기후 재난 이후인 2069년 한국의 생활용 컨테이너 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 길쭉한 직사각형의 소박한 주거 공간으로, 기존 컨테이너를 생활 공간으로 사용하는 현실적인 구조와 재료를 보여 준다. 실제 장소 기록 사진처럼 담백하게 촬영하며, 지나치게 말끔한 광고 사진이나 컴퓨터 생성 영상, 삽화, 건축 조감도처럼 보이지 않게 한다.\n\n동쪽 끝 취침실의 남동쪽 모서리 부근에서 서쪽을 바라본다. 실제 미러리스 카메라와 약 35밀리미터 렌즈를 사용하고, 약 1.6미터의 서 있는 사람 눈높이에서 수평에 가까운 시선으로 촬영한다. 취침실을 나누는 가로 칸막이의 남쪽 끝 출입구 너머로, 공용 내부의 남쪽 통행 공간과 서쪽 짧은 벽의 남단 외부 출입구가 이어져 보인다. 취침실 북쪽 벽에 붙은 낮은 취침대는 화면 오른쪽 전경에 두고, 동쪽 끝의 베개와 취침대 옆 비어 있는 바닥을 함께 담는다. 문틀과 칸막이가 만들어 내는 자연스러운 원근으로 길고 좁은 내부의 깊이를 드러낸다.\n\n외부 출입구 쪽에서 들어오는 낮의 자연광이 통행 공간을 따라 퍼지고, 취침실 안쪽에는 부드러운 반사광과 현실적인 그늘이 남는다. 밝은 출입구와 어두운 실내 모두 실제 촬영에서 가능한 명암 범위로 표현한다. 컨테이너 금속 벽의 도장 표면과 접합부, 낮은 목재 취침대의 나뭇결, 베개 천의 직조감과 자연스러운 주름을 세밀하게 담는다. 재료에는 일상적인 사용감만 절제하여 반영하고, 회색 계열의 벽과 자연스러운 목재색을 별도의 색 보정 없이 유지한다. 공간은 정돈되어 있고 평온한 상태다. 사람, 얼굴, 사람 형태의 형상 없이 배경만 촬영한다. 자연스러운 피사계 심도를 유지하며 위에서 내려다보는 구도나 평면도 구도는 사용하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 4,
          "camera_cell": [
            4,
            8
          ],
          "look_at_unit": 3,
          "look_at_cell": [
            5,
            7
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad oblique view from inside unit 4 toward opening marker 6 at the unit 3 threshold. This doorway-focused representative does not guarantee marker 10 or the more distant marker 5 is visible; S21_Shot5 requires its own close shot treatment."
        },
        "shot_aware_plan_node_index": 4,
        "shot_aware_plan_mode": "related_style_new_space",
        "render_guidance": {
          "visible_space_directive": "Show the inside boundary of unit 4 and opening marker 6 toward unit 3 within enclosure 1. Preserve the transverse partition and marker 10's supplied north-wall position even when outside the view. Do not infer a clear sightline to marker 5 or unit 2 from the visibility supersets. Carry shared dwelling identity from L166B01 without copying its unit 2 furniture arrangement into unit 4.",
          "camera_framing_directive": "Use camera unit 4 at [4, 8], looking toward unit 3 at [5, 7], with wide 90-degree broad coverage centered on marker 6. Support an oblique full-height threshold composition for S21_Shot2. S21_Shot5's close reaction is a separate framing requirement, not evidence that this doorway-facing cone also shows every part of unit 4.",
          "subject_position_directive": "Keep subjects out of the clean representative background. S21_Shot2 commits 라울 entering at right-center, one foot inside and the trailing leg completing entry, with attention toward 앰버 beyond the left edge. S21_Shot5 commits 앰버 in the left two-thirds and only 라울's pointing hand entering at lower right, with his head and torso outside the crop. Do not combine the two arrangements or invent an occupant in the unoccupied attention space.",
          "state_cue_directive": "No committed background state cue beyond clean residential space applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Maintain neutral daytime ambient illumination; the abruptly opened entry in S21_Shot2 is a consuming-shot action, not structural damage or an added overlay.",
          "negative_continuity_directive": "Exclude markers 11, 12, 13, 14 and 15. Do not transplant markers 7, 8 or 9 from L166B01 into unit 4. Avoid removing the partition, relocating markers 6 or 10, or forcing markers 5 and 10 into the selected cone. Do not infer co-visibility solely from candidate supersets."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_container_interior",
          "prior_bg_ids": [
            "L166B01"
          ],
          "attached_ref_labels": [
            "bg:L166B01"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L171B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L171",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L171B01.png",
        "t2i_prompt": "2069년 기후 재난 이후 대한민국에서 기존 사무 공간을 계속 사용하는 소박한 민병대 사무실 내부. 사람이 없는 공간을 실제 미러리스 카메라와 35밀리미터 환산 렌즈로 촬영한 다큐멘터리 풍 사진이다. 카메라는 책상 남쪽의 비어 있는 작업 공간 중 남동쪽 가장자리에 서 있는 사람의 눈높이인 약 1.6미터에 놓이고, 북서쪽을 향해 책상과 탁상형 스피커폰 너머의 빈 공간 및 북쪽 벽을 바라본다. 내려다보는 조감도가 아니라 실제 방 안에서 보는 자연스러운 시점이다.\n직사각형 방 중앙에는 긴 변이 동서 방향인 지휘용 책상이 있다. 책상 상판의 남쪽 절반에는 손이 닿기 쉬운 위치에 물리 버튼과 작은 스피커 구멍이 있는 탁상형 스피커폰이 놓여 있다. 책상 북쪽과 장식 없는 북쪽 벽 사이에는 사람이 설 수 있는 빈 바닥 공간이 확보되어 있다. 책상 남쪽의 작업 공간과 양 끝을 돌아가는 통로도 가구로 막지 않는다. 화면 전경의 책상, 중경의 비어 있는 공간, 후경의 북쪽 벽이 서로 구분되면서도 그 거리가 한눈에 읽히도록 담는다.\n북쪽 벽에는 단검 한 자루가 칼끝부터 박혀 있고 손잡이가 실내 쪽으로 돌출되어 있다. 위치는 책상에서 맞은편 빈 공간으로 이어지는 중심축에서 옆으로 조금 벗어난 지점이며, 서 있는 성인의 머리 높이 부근이다. 벽과 칼날이 맞닿은 작은 국소 자국만 보이고 나머지 실내는 평상시 상태를 유지한다.\n재난 이후에도 유지하여 사용하는 한국의 실용적인 사무실답게 회색 도장 콘크리트 벽, 오래 사용한 책상 상판의 실제 나뭇결과 모서리 마모, 금속 부분의 은은한 산화, 스피커폰 외장의 잔잔한 손때를 사실적으로 보여 준다. 미래라는 이유로 장비를 과장된 신형 기기로 바꾸지 않는다. 주간의 부드러운 자연광이 실내에 퍼지며 벽과 책상 아래에 물리적으로 자연스러운 그림자가 생긴다. 재료 고유의 차분한 회색과 목재색, 실제 노출과 화이트밸런스, 자연스러운 심도를 유지하여 책상 위 기기와 후경 벽의 단검을 모두 알아볼 수 있게 한다. 과도한 보정이나 광고 사진 같은 광택 없이 실제 장소 기록 사진과 구분되지 않는 질감으로 촬영한다. 사람, 얼굴, 인체 형상의 물체는 표현하지 않는다. 평면도나 건축 도해가 아닌 실제 카메라 촬영본, 16:9 가로 비율.",
        "shot_guides": [
          {
            "shot_id": "S18_Shot1",
            "guide_text": "투척 이전의 주간 상태다. 기본 생성 이미지와 책상, 스피커폰, 맞은편 빈 공간, 북쪽 벽의 배치 및 채광을 동일하게 유지하되, 벽의 단검과 삽입 자국을 제거한 별도 배경을 사용한다. 북쪽 벽은 기존 도장면이 연속되는 평상시 상태여야 한다. 배경에 사람이나 얼굴은 그리지 않는다."
          },
          {
            "shot_id": "S18_Shot5",
            "guide_text": "투척 이후 상태다. 북쪽 벽의 성인 머리 높이 부근, 책상과 맞은편 빈 공간을 연결하는 축에서 조금 옆으로 벗어난 위치에 박힌 단검을 분명하게 유지한다. 손잡이는 실내 쪽으로 돌출되며 벽의 손상은 삽입 지점에 국한한다. 책상 위 스피커폰과 후경 벽의 상대 위치가 바뀌지 않도록 하고, 사람이나 얼굴은 배경에 포함하지 않는다."
          },
          {
            "shot_id": "S18_Shot6",
            "guide_text": "앞선 투척 이후 상태의 연속이다. 북쪽 벽의 해당 부분이 화면에 보이면 단검의 위치, 높이, 방향과 삽입 자국을 그대로 유지한다. 해당 부분이 구도 밖이라면 단검을 보이게 하려고 옮기지 않는다. 남쪽 작업 공간과 책상 양 끝의 통로는 비워 두고 주간 채광과 재질을 일치시킨다. 사람이나 인체 형상은 포함하지 않는다."
          }
        ],
        "shot_ids": [
          "S18_Shot1",
          "S18_Shot5",
          "S18_Shot6"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Near the southeast edge of number 6, looking northwest across number 2 and number 3 toward number 4 and number 5.",
          "camera_height": "standing eye level, approximately 1.6 m",
          "lens_hint": "35mm equivalent, moderate wide angle",
          "framing_notes": "Use one stable camera orientation across all listed shots. Keep the speakerphone readable, the visitor's rear wall visible, and enough commander-side floor in frame for the bow. Marker 9 is a conditional overlay within this shared background ID: omit it entirely in S18_Shot1, depict it embedded beside the visitor's face in S18_Shot5, and retain it in S18_Shot6 whenever that wall position is visible. Its inclusion in use_numbered_elements identifies applicability to the post-throw shots, not permanent presence. No blood or widespread room damage. The provisional entrance can remain outside the frame."
        },
        "reference_decision": {
          "bg_id": "L171B01",
          "fp_id": "fp_militia_command_room",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L171B01 is the sole ready BG and the sole supplied anchor candidate; the catalog contains no prior references. Select it under the declared fallback, preserving clean_background_expected=false and transient marker 9 rather than treating it as a clean plate. Camera unit 1 at [4,9], aimed at marker 2 within unit 1 at [4,4], provides broad coverage of the fixed relationships needed across S18_Shot1, S18_Shot5 and S18_Shot6. This is a representative spatial plate: the three shots specify different heights, subject emphases and viewing sides that a single camera decision cannot reproduce simultaneously.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_militia_command_room.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "No reference is selected because this is the first and only node, establishing identity directly from the floor plan.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 1,
            "camera_cell": [
              4,
              9
            ],
            "look_at_unit": 1,
            "look_at_cell": [
              4,
              4
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad representative coverage from the east-side candidate toward marker 2 inside enclosing unit 1. The look-at coordinate is copied from the candidates for camera unit 1; it identifies furniture within the enclosing unit, not a separate unit center. Retain spatial context toward units 4, 5 and 6 without claiming this single plate matches every consuming shot's close or medium framing."
          },
          "render_guidance": {
            "visible_space_directive": "Establish unit 1 with marker 2 in its committed central east-west position and marker 3 on its southern desktop portion. From [4,9] toward [4,4], retain broad context toward unit 4 north of marker 2, unit 5 behind unit 4, and unit 6 south of marker 2. These are regions of the same enclosure, not distinct rooms. Opening 8 and unit 7 are only visibility-superset candidates; no opening adjacency or additional space is committed by this plan.",
            "camera_framing_directive": "Use camera unit 1 at [4,9], looking toward [4,4] within unit 1, with wide coverage at 90 degrees. Keep marker 2 as the central spatial reference and preserve realistic relative scale for marker 3 and the surrounding fixed structure. This broad plate establishes geometry; the differing heights and tighter framings in S18_Shot1, S18_Shot5 and S18_Shot6 remain shot-specific requirements rather than simultaneous properties of this camera.",
            "subject_position_directive": "Treat the committed subject cues separately by consuming shot, not as a combined tableau. S18_Shot1 places 박철진 leaning at center-right with marker 3 below his face near lower center and 윤성찬 outside the frame. S18_Shot5 places 윤성찬 recoiling at left-center, with the adjacent unit 5 wall section and marker 9 immediately right and behind his head, without overlap. S18_Shot6 places 박철진's lifted face upper-right while retaining his waist and horizontal bowed torso, addressing 윤성찬 outside the left edge. Preserve the corresponding spatial clearances; do not invent additional subjects or impose all three screen arrangements on this representative plate.",
            "state_cue_directive": "This BG is not marked clean. Carry the committed transient marker 9 lodged in the unit 5 wall, with its exposed handle projecting obliquely as specified by S18_Shot5; its precise grid position is not supplied. Preserve marker 3 on marker 2 for the ongoing-call state in S18_Shot1 without inventing device indicators. Maintain the supplied neutral office illumination and controlled contrast across shots, with no added specific fixture or color cast. Keep subject expression and posture changes shot-specific.",
            "negative_continuity_directive": "No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating markers 2 or 3, changing the relative arrangement of units 4, 5 and 6, or treating marker 9 as permanent base structure. Do not infer visibility of unit 7 or opening 8 merely from the supersets, invent an opening-to-unit connection, or add spaces outside the chosen view. Do not merge incompatible shot-specific screen positions into one composition."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [4, 9]\n  - look_at_unit: 1\n  - look_at_cell: [4, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad representative coverage from the east-side candidate toward marker 2 inside enclosing unit 1. The look-at coordinate is copied from the candidates for camera unit 1; it identifies furniture within the enclosing unit, not a separate unit center. Retain spatial context toward units 4, 5 and 6 without claiming this single plate matches every consuming shot's close or medium framing.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 1 with marker 2 in its committed central east-west position and marker 3 on its southern desktop portion. From [4,9] toward [4,4], retain broad context toward unit 4 north of marker 2, unit 5 behind unit 4, and unit 6 south of marker 2. These are regions of the same enclosure, not distinct rooms. Opening 8 and unit 7 are only visibility-superset candidates; no opening adjacency or additional space is committed by this plan.\n  - camera_framing_directive: Use camera unit 1 at [4,9], looking toward [4,4] within unit 1, with wide coverage at 90 degrees. Keep marker 2 as the central spatial reference and preserve realistic relative scale for marker 3 and the surrounding fixed structure. This broad plate establishes geometry; the differing heights and tighter framings in S18_Shot1, S18_Shot5 and S18_Shot6 remain shot-specific requirements rather than simultaneous properties of this camera.\n  - subject_position_directive: Treat the committed subject cues separately by consuming shot, not as a combined tableau. S18_Shot1 places 박철진 leaning at center-right with marker 3 below his face near lower center and 윤성찬 outside the frame. S18_Shot5 places 윤성찬 recoiling at left-center, with the adjacent unit 5 wall section and marker 9 immediately right and behind his head, without overlap. S18_Shot6 places 박철진's lifted face upper-right while retaining his waist and horizontal bowed torso, addressing 윤성찬 outside the left edge. Preserve the corresponding spatial clearances; do not invent additional subjects or impose all three screen arrangements on this representative plate.\n  - state_cue_directive: This BG is not marked clean. Carry the committed transient marker 9 lodged in the unit 5 wall, with its exposed handle projecting obliquely as specified by S18_Shot5; its precise grid position is not supplied. Preserve marker 3 on marker 2 for the ongoing-call state in S18_Shot1 without inventing device indicators. Maintain the supplied neutral office illumination and controlled contrast across shots, with no added specific fixture or color cast. Keep subject expression and posture changes shot-specific.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating markers 2 or 3, changing the relative arrangement of units 4, 5 and 6, or treating marker 9 as permanent base structure. Do not infer visibility of unit 7 or opening 8 merely from the supersets, invent an opening-to-unit connection, or add spaces outside the chosen view. Do not merge incompatible shot-specific screen positions into one composition.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [4, 9]\n  - look_at_unit: 1\n  - look_at_cell: [4, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad representative coverage from the east-side candidate toward marker 2 inside enclosing unit 1. The look-at coordinate is copied from the candidates for camera unit 1; it identifies furniture within the enclosing unit, not a separate unit center. Retain spatial context toward units 4, 5 and 6 without claiming this single plate matches every consuming shot's close or medium framing.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 1 with marker 2 in its committed central east-west position and marker 3 on its southern desktop portion. From [4,9] toward [4,4], retain broad context toward unit 4 north of marker 2, unit 5 behind unit 4, and unit 6 south of marker 2. These are regions of the same enclosure, not distinct rooms. Opening 8 and unit 7 are only visibility-superset candidates; no opening adjacency or additional space is committed by this plan.\n  - camera_framing_directive: Use camera unit 1 at [4,9], looking toward [4,4] within unit 1, with wide coverage at 90 degrees. Keep marker 2 as the central spatial reference and preserve realistic relative scale for marker 3 and the surrounding fixed structure. This broad plate establishes geometry; the differing heights and tighter framings in S18_Shot1, S18_Shot5 and S18_Shot6 remain shot-specific requirements rather than simultaneous properties of this camera.\n  - subject_position_directive: Treat the committed subject cues separately by consuming shot, not as a combined tableau. S18_Shot1 places 박철진 leaning at center-right with marker 3 below his face near lower center and 윤성찬 outside the frame. S18_Shot5 places 윤성찬 recoiling at left-center, with the adjacent unit 5 wall section and marker 9 immediately right and behind his head, without overlap. S18_Shot6 places 박철진's lifted face upper-right while retaining his waist and horizontal bowed torso, addressing 윤성찬 outside the left edge. Preserve the corresponding spatial clearances; do not invent additional subjects or impose all three screen arrangements on this representative plate.\n  - state_cue_directive: This BG is not marked clean. Carry the committed transient marker 9 lodged in the unit 5 wall, with its exposed handle projecting obliquely as specified by S18_Shot5; its precise grid position is not supplied. Preserve marker 3 on marker 2 for the ongoing-call state in S18_Shot1 without inventing device indicators. Maintain the supplied neutral office illumination and controlled contrast across shots, with no added specific fixture or color cast. Keep subject expression and posture changes shot-specific.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating markers 2 or 3, changing the relative arrangement of units 4, 5 and 6, or treating marker 9 as permanent base structure. Do not infer visibility of unit 7 or opening 8 merely from the supersets, invent an opening-to-unit connection, or add spaces outside the chosen view. Do not merge incompatible shot-specific screen positions into one composition.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [4, 9]\n  - look_at_unit: 1\n  - look_at_cell: [4, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad representative coverage from the east-side candidate toward marker 2 inside enclosing unit 1. The look-at coordinate is copied from the candidates for camera unit 1; it identifies furniture within the enclosing unit, not a separate unit center. Retain spatial context toward units 4, 5 and 6 without claiming this single plate matches every consuming shot's close or medium framing.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 1 with marker 2 in its committed central east-west position and marker 3 on its southern desktop portion. From [4,9] toward [4,4], retain broad context toward unit 4 north of marker 2, unit 5 behind unit 4, and unit 6 south of marker 2. These are regions of the same enclosure, not distinct rooms. Opening 8 and unit 7 are only visibility-superset candidates; no opening adjacency or additional space is committed by this plan.\n  - camera_framing_directive: Use camera unit 1 at [4,9], looking toward [4,4] within unit 1, with wide coverage at 90 degrees. Keep marker 2 as the central spatial reference and preserve realistic relative scale for marker 3 and the surrounding fixed structure. This broad plate establishes geometry; the differing heights and tighter framings in S18_Shot1, S18_Shot5 and S18_Shot6 remain shot-specific requirements rather than simultaneous properties of this camera.\n  - subject_position_directive: Treat the committed subject cues separately by consuming shot, not as a combined tableau. S18_Shot1 places 박철진 leaning at center-right with marker 3 below his face near lower center and 윤성찬 outside the frame. S18_Shot5 places 윤성찬 recoiling at left-center, with the adjacent unit 5 wall section and marker 9 immediately right and behind his head, without overlap. S18_Shot6 places 박철진's lifted face upper-right while retaining his waist and horizontal bowed torso, addressing 윤성찬 outside the left edge. Preserve the corresponding spatial clearances; do not invent additional subjects or impose all three screen arrangements on this representative plate.\n  - state_cue_directive: This BG is not marked clean. Carry the committed transient marker 9 lodged in the unit 5 wall, with its exposed handle projecting obliquely as specified by S18_Shot5; its precise grid position is not supplied. Preserve marker 3 on marker 2 for the ongoing-call state in S18_Shot1 without inventing device indicators. Maintain the supplied neutral office illumination and controlled contrast across shots, with no added specific fixture or color cast. Keep subject expression and posture changes shot-specific.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating markers 2 or 3, changing the relative arrangement of units 4, 5 and 6, or treating marker 9 as permanent base structure. Do not infer visibility of unit 7 or opening 8 merely from the supersets, invent an opening-to-unit connection, or add spaces outside the chosen view. Do not merge incompatible shot-specific screen positions into one composition.\n\n2069년 기후 재난 이후 대한민국에서 기존 사무 공간을 계속 사용하는 소박한 민병대 사무실 내부. 사람이 없는 공간을 실제 미러리스 카메라와 35밀리미터 환산 렌즈로 촬영한 다큐멘터리 풍 사진이다. 카메라는 책상 남쪽의 비어 있는 작업 공간 중 남동쪽 가장자리에 서 있는 사람의 눈높이인 약 1.6미터에 놓이고, 북서쪽을 향해 책상과 탁상형 스피커폰 너머의 빈 공간 및 북쪽 벽을 바라본다. 내려다보는 조감도가 아니라 실제 방 안에서 보는 자연스러운 시점이다.\n직사각형 방 중앙에는 긴 변이 동서 방향인 지휘용 책상이 있다. 책상 상판의 남쪽 절반에는 손이 닿기 쉬운 위치에 물리 버튼과 작은 스피커 구멍이 있는 탁상형 스피커폰이 놓여 있다. 책상 북쪽과 장식 없는 북쪽 벽 사이에는 사람이 설 수 있는 빈 바닥 공간이 확보되어 있다. 책상 남쪽의 작업 공간과 양 끝을 돌아가는 통로도 가구로 막지 않는다. 화면 전경의 책상, 중경의 비어 있는 공간, 후경의 북쪽 벽이 서로 구분되면서도 그 거리가 한눈에 읽히도록 담는다.\n북쪽 벽에는 단검 한 자루가 칼끝부터 박혀 있고 손잡이가 실내 쪽으로 돌출되어 있다. 위치는 책상에서 맞은편 빈 공간으로 이어지는 중심축에서 옆으로 조금 벗어난 지점이며, 서 있는 성인의 머리 높이 부근이다. 벽과 칼날이 맞닿은 작은 국소 자국만 보이고 나머지 실내는 평상시 상태를 유지한다.\n재난 이후에도 유지하여 사용하는 한국의 실용적인 사무실답게 회색 도장 콘크리트 벽, 오래 사용한 책상 상판의 실제 나뭇결과 모서리 마모, 금속 부분의 은은한 산화, 스피커폰 외장의 잔잔한 손때를 사실적으로 보여 준다. 미래라는 이유로 장비를 과장된 신형 기기로 바꾸지 않는다. 주간의 부드러운 자연광이 실내에 퍼지며 벽과 책상 아래에 물리적으로 자연스러운 그림자가 생긴다. 재료 고유의 차분한 회색과 목재색, 실제 노출과 화이트밸런스, 자연스러운 심도를 유지하여 책상 위 기기와 후경 벽의 단검을 모두 알아볼 수 있게 한다. 과도한 보정이나 광고 사진 같은 광택 없이 실제 장소 기록 사진과 구분되지 않는 질감으로 촬영한다. 사람, 얼굴, 인체 형상의 물체는 표현하지 않는다. 평면도나 건축 도해가 아닌 실제 카메라 촬영본, 16:9 가로 비율.",
        "camera_decision": {
          "camera_unit": 1,
          "camera_cell": [
            4,
            9
          ],
          "look_at_unit": 1,
          "look_at_cell": [
            4,
            4
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad representative coverage from the east-side candidate toward marker 2 inside enclosing unit 1. The look-at coordinate is copied from the candidates for camera unit 1; it identifies furniture within the enclosing unit, not a separate unit center. Retain spatial context toward units 4, 5 and 6 without claiming this single plate matches every consuming shot's close or medium framing."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Establish unit 1 with marker 2 in its committed central east-west position and marker 3 on its southern desktop portion. From [4,9] toward [4,4], retain broad context toward unit 4 north of marker 2, unit 5 behind unit 4, and unit 6 south of marker 2. These are regions of the same enclosure, not distinct rooms. Opening 8 and unit 7 are only visibility-superset candidates; no opening adjacency or additional space is committed by this plan.",
          "camera_framing_directive": "Use camera unit 1 at [4,9], looking toward [4,4] within unit 1, with wide coverage at 90 degrees. Keep marker 2 as the central spatial reference and preserve realistic relative scale for marker 3 and the surrounding fixed structure. This broad plate establishes geometry; the differing heights and tighter framings in S18_Shot1, S18_Shot5 and S18_Shot6 remain shot-specific requirements rather than simultaneous properties of this camera.",
          "subject_position_directive": "Treat the committed subject cues separately by consuming shot, not as a combined tableau. S18_Shot1 places 박철진 leaning at center-right with marker 3 below his face near lower center and 윤성찬 outside the frame. S18_Shot5 places 윤성찬 recoiling at left-center, with the adjacent unit 5 wall section and marker 9 immediately right and behind his head, without overlap. S18_Shot6 places 박철진's lifted face upper-right while retaining his waist and horizontal bowed torso, addressing 윤성찬 outside the left edge. Preserve the corresponding spatial clearances; do not invent additional subjects or impose all three screen arrangements on this representative plate.",
          "state_cue_directive": "This BG is not marked clean. Carry the committed transient marker 9 lodged in the unit 5 wall, with its exposed handle projecting obliquely as specified by S18_Shot5; its precise grid position is not supplied. Preserve marker 3 on marker 2 for the ongoing-call state in S18_Shot1 without inventing device indicators. Maintain the supplied neutral office illumination and controlled contrast across shots, with no added specific fixture or color cast. Keep subject expression and posture changes shot-specific.",
          "negative_continuity_directive": "No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating markers 2 or 3, changing the relative arrangement of units 4, 5 and 6, or treating marker 9 as permanent base structure. Do not infer visibility of unit 7 or opening 8 merely from the supersets, invent an opening-to-unit connection, or add spaces outside the chosen view. Do not merge incompatible shot-specific screen positions into one composition."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_militia_command_room",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_militia_command_room"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L173B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L173",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L173B01.png",
        "t2i_prompt": "실제 카메라로 촬영한 다큐멘터리 풍 사진. 기후 재난 이후 2069년 대한민국에서 계속 사용 중인 구치소의 넓고 한산한 직사각형 면회실을 낮에 촬영한다. 미래라는 이유로 시설을 첨단 장비로 채우지 않고, 한국 공공시설의 실용적인 마감과 오래 관리하며 사용한 공간의 현실감을 보여준다. 회색 도장 콘크리트 벽, 닳은 바닥 마감, 금속 표면의 미세한 산화와 손때, 테이블 상판 가장자리의 생활 마모를 실제 재질 그대로 담는다. 과도한 파손 없이 유지되는 시설이며, 차가운 회색 계열은 재료와 낮빛 자체에서 자연스럽게 드러난다.\n방 남동쪽 내부에서 북서쪽을 비스듬히 바라보는 위치에 실제 디지털 카메라를 놓는다. 높이는 서 있는 사람의 눈높이인 약 1.6미터, 렌즈는 35밀리미터급 광각이다. 중앙에는 긴 축이 동서 방향인 면담 테이블이 있고, 바로 북쪽의 남향 좌석과 바로 남쪽의 북향 좌석이 서로 마주한다. 두 좌석과 상판을 함께 읽을 수 있는 사선 구도로 촬영한다. 남쪽 벽의 남서쪽 모서리 가까이에 있는 출입문은 서쪽 벽을 향해 안으로 열리는 구조이며, 문과 서쪽 가장자리를 따라 테이블로 이어지는 접근 공간이 화면 왼쪽에서 드러나도록 한다. 테이블 주변의 넉넉한 빈 바닥과 서 있을 공간을 남기고 출입 동선을 가리지 않는다.\n이번 면담을 위해 테이블 상판 위에 임시로 놓인 신원 확인용 인화사진 한 장을 포함한다. 인화지의 얇은 가장자리와 표면 반사는 보이되, 비스듬한 시야와 작은 화면 점유율 때문에 인쇄된 내용은 식별되지 않게 한다. 사진의 내용은 인화지 표면 안에만 한정한다. 화면 전체에 사람, 얼굴, 인체 형태의 형상을 묘사하지 않는다.\n부드러운 낮의 자연광과 실내 반사광으로 빈 공간을 담담하게 밝힌다. 실제 노출의 명암과 자연스러운 심도를 유지하고, 테이블과 좌석, 출입 동선의 재료 질감이 함께 읽히게 한다. 과장된 보정이나 지나치게 매끈한 홍보사진 느낌 없이 실제 장소 답사 사진처럼 보이게 한다. 컴퓨터 생성 이미지나 삽화, 건축 시각화가 아닌 실제 사진이며, 위에서 내려다보는 시점이나 평면도 구도는 사용하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S23_Shot1",
            "guide_text": "남동쪽 내부에서 북서쪽을 바라보는 공통 눈높이 구도를 사용한다. 중앙 테이블과 마주 보는 두 좌석, 화면 왼쪽 출입문과 접근 동선, 넓은 빈 바닥을 함께 확보한다. 상판의 인화사진은 작게 보이고 인쇄 내용은 식별되지 않게 유지한다."
          },
          {
            "shot_id": "S23_Shot6",
            "guide_text": "공통 배경과 동일한 카메라 위치, 약 1.6미터 높이, 35밀리미터급 화각을 유지한다. 테이블과 좌석의 배치 및 왼쪽 출입 동선을 바꾸지 않고 낮빛과 재질의 연속성을 유지한다. 인화사진은 같은 상판 위치의 임시 소품으로만 남긴다."
          },
          {
            "shot_id": "S23_Shot11",
            "guide_text": "앞선 장면과 같은 사선 구도와 낮의 자연광을 유지한다. 두 좌석과 테이블 주변의 빈 공간을 그대로 확보하고 출입 동선을 가리지 않는다. 상판의 인화사진은 유지하되 내용을 확대하거나 사진 속 대상을 공간에 구현하지 않는다. 인물 없는 배경만 표현한다."
          }
        ],
        "shot_ids": [
          "S23_Shot1",
          "S23_Shot6",
          "S23_Shot11"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Inside the southeast portion of number 1, facing diagonally northwest toward number 4 and opposing seats 5 and 6, with number 3 and approach area 2 at frame left.",
          "camera_height": "eye-level standing, approximately 1.6 m",
          "lens_hint": "28–35mm equivalent wide angle",
          "framing_notes": "Keep the table and both opposing seats readable without obscuring the entry approach. Preserve generous surrounding empty floor and standing space for an accompanying visitor. Include photograph 7 as a tabletop overlay, not a permanent fixture; do not depict its subject as physically present. Use the same camera for all listed shots."
        },
        "reference_decision": {
          "bg_id": "L173B01",
          "fp_id": "fp_detention_visiting_room",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L173B01 is ready and is the sole permitted anchor candidate. Select it under the supplied widened fallback despite clean_background_expected=false and transient marker 7. No prior references are available. Camera unit 2 looking toward marker 4 in unit 1 provides a broad side-oriented view of markers 4, 5, and 6 for S23_Shot11, establishing the fixed arrangement also required by S23_Shot1 and S23_Shot6. This representative plate does not claim to reproduce all three shots' differing camera heights, distances, and scales.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_detention_visiting_room.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "Render the permitted identity anchor directly from the floor plan; the same-fp reference catalog is empty.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 2,
            "camera_cell": [
              4,
              1
            ],
            "look_at_unit": 1,
            "look_at_cell": [
              4,
              5
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad coverage from unit 2 toward marker 4 in unit 1, prioritizing the opposing seating arrangement and surrounding negative space required by S23_Shot11. Both coordinates are exact copies from unit 2's candidate arrays. The closer framings in S23_Shot1 and S23_Shot6 remain shot-specific requirements rather than additional camera positions in this node."
          },
          "render_guidance": {
            "visible_space_directive": "Show unit 1 from camera unit 2, centered on marker 4 at [4, 5], with markers 5 and 6 retained at [3, 5] and [6, 5]. Preserve marker 4's east-west long axis and the opposing north/south seating positions. Unit 2 supplies the camera-side circulation context. Marker 3 is only a visibility-superset candidate; its visibility and opening adjacency are not established for this selected aim, so do not force it into the composition.",
            "camera_framing_directive": "Use camera unit 2 at [4, 1], looking into unit 1 at [4, 5], with wide 90-degree coverage. Establish broad side coverage of markers 4, 5, and 6 with surrounding space, prioritizing S23_Shot11's head-to-foot opposing profiles and marker 4 occupying less than one-third of the image. Preserve this fixed arrangement for the narrower, oblique tabletop contexts specified by S23_Shot1 and S23_Shot6; do not combine their differing scales into one framing.",
            "subject_position_directive": "For the representative S23_Shot11 arrangement, preserve room for 현우 on the left in right-facing profile, seated forward with hands withdrawn, and 윤성찬 on the right in left-facing profile, seated back with chin lifted, with marker 4 between them and both bodies and feet unobscured. S23_Shot1 instead commits 현우 leaning forward with extended arms and 윤성찬 approaching outside the right edge; S23_Shot6 commits 현우 with lowered chin and 찰리 only as a partial printed likeness within marker 7. Keep these cues shot-specific rather than combining poses or introducing additional subjects.",
            "state_cue_directive": "This BG is not marked clean_background_expected. Carry transient marker 7 as the committed Identification photograph associated with marker 4; S23_Shot6 specifies it lying on the upper surface, angled upward and partially visible at the lower frame edge without additional readable text. Its precise lower-edge presentation belongs to that consuming shot. Retain the restrained ambient illumination and controlled contrast shared across the staged shots. Treat the restrained hands in S23_Shot1 and now-free hands in S23_Shot11 as separate shot-specific subject states, not permanent changes to the space.",
            "negative_continuity_directive": "No ignored numbered elements or ignored overlay markers are listed. Avoid relocating markers 4, 5, or 6 between consuming shots, promoting marker 7 to a fixed structural element, or duplicating marker 7's depicted content elsewhere in unit 1. Avoid forcing marker 3 or additional spaces into the selected view from visibility supersets alone. Do not merge incompatible subject states from S23_Shot1, S23_Shot6, and S23_Shot11 into a single background state."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [4, 1]\n  - look_at_unit: 1\n  - look_at_cell: [4, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad coverage from unit 2 toward marker 4 in unit 1, prioritizing the opposing seating arrangement and surrounding negative space required by S23_Shot11. Both coordinates are exact copies from unit 2's candidate arrays. The closer framings in S23_Shot1 and S23_Shot6 remain shot-specific requirements rather than additional camera positions in this node.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 1 from camera unit 2, centered on marker 4 at [4, 5], with markers 5 and 6 retained at [3, 5] and [6, 5]. Preserve marker 4's east-west long axis and the opposing north/south seating positions. Unit 2 supplies the camera-side circulation context. Marker 3 is only a visibility-superset candidate; its visibility and opening adjacency are not established for this selected aim, so do not force it into the composition.\n  - camera_framing_directive: Use camera unit 2 at [4, 1], looking into unit 1 at [4, 5], with wide 90-degree coverage. Establish broad side coverage of markers 4, 5, and 6 with surrounding space, prioritizing S23_Shot11's head-to-foot opposing profiles and marker 4 occupying less than one-third of the image. Preserve this fixed arrangement for the narrower, oblique tabletop contexts specified by S23_Shot1 and S23_Shot6; do not combine their differing scales into one framing.\n  - subject_position_directive: For the representative S23_Shot11 arrangement, preserve room for 현우 on the left in right-facing profile, seated forward with hands withdrawn, and 윤성찬 on the right in left-facing profile, seated back with chin lifted, with marker 4 between them and both bodies and feet unobscured. S23_Shot1 instead commits 현우 leaning forward with extended arms and 윤성찬 approaching outside the right edge; S23_Shot6 commits 현우 with lowered chin and 찰리 only as a partial printed likeness within marker 7. Keep these cues shot-specific rather than combining poses or introducing additional subjects.\n  - state_cue_directive: This BG is not marked clean_background_expected. Carry transient marker 7 as the committed Identification photograph associated with marker 4; S23_Shot6 specifies it lying on the upper surface, angled upward and partially visible at the lower frame edge without additional readable text. Its precise lower-edge presentation belongs to that consuming shot. Retain the restrained ambient illumination and controlled contrast shared across the staged shots. Treat the restrained hands in S23_Shot1 and now-free hands in S23_Shot11 as separate shot-specific subject states, not permanent changes to the space.\n  - negative_continuity_directive: No ignored numbered elements or ignored overlay markers are listed. Avoid relocating markers 4, 5, or 6 between consuming shots, promoting marker 7 to a fixed structural element, or duplicating marker 7's depicted content elsewhere in unit 1. Avoid forcing marker 3 or additional spaces into the selected view from visibility supersets alone. Do not merge incompatible subject states from S23_Shot1, S23_Shot6, and S23_Shot11 into a single background state.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [4, 1]\n  - look_at_unit: 1\n  - look_at_cell: [4, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad coverage from unit 2 toward marker 4 in unit 1, prioritizing the opposing seating arrangement and surrounding negative space required by S23_Shot11. Both coordinates are exact copies from unit 2's candidate arrays. The closer framings in S23_Shot1 and S23_Shot6 remain shot-specific requirements rather than additional camera positions in this node.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 1 from camera unit 2, centered on marker 4 at [4, 5], with markers 5 and 6 retained at [3, 5] and [6, 5]. Preserve marker 4's east-west long axis and the opposing north/south seating positions. Unit 2 supplies the camera-side circulation context. Marker 3 is only a visibility-superset candidate; its visibility and opening adjacency are not established for this selected aim, so do not force it into the composition.\n  - camera_framing_directive: Use camera unit 2 at [4, 1], looking into unit 1 at [4, 5], with wide 90-degree coverage. Establish broad side coverage of markers 4, 5, and 6 with surrounding space, prioritizing S23_Shot11's head-to-foot opposing profiles and marker 4 occupying less than one-third of the image. Preserve this fixed arrangement for the narrower, oblique tabletop contexts specified by S23_Shot1 and S23_Shot6; do not combine their differing scales into one framing.\n  - subject_position_directive: For the representative S23_Shot11 arrangement, preserve room for 현우 on the left in right-facing profile, seated forward with hands withdrawn, and 윤성찬 on the right in left-facing profile, seated back with chin lifted, with marker 4 between them and both bodies and feet unobscured. S23_Shot1 instead commits 현우 leaning forward with extended arms and 윤성찬 approaching outside the right edge; S23_Shot6 commits 현우 with lowered chin and 찰리 only as a partial printed likeness within marker 7. Keep these cues shot-specific rather than combining poses or introducing additional subjects.\n  - state_cue_directive: This BG is not marked clean_background_expected. Carry transient marker 7 as the committed Identification photograph associated with marker 4; S23_Shot6 specifies it lying on the upper surface, angled upward and partially visible at the lower frame edge without additional readable text. Its precise lower-edge presentation belongs to that consuming shot. Retain the restrained ambient illumination and controlled contrast shared across the staged shots. Treat the restrained hands in S23_Shot1 and now-free hands in S23_Shot11 as separate shot-specific subject states, not permanent changes to the space.\n  - negative_continuity_directive: No ignored numbered elements or ignored overlay markers are listed. Avoid relocating markers 4, 5, or 6 between consuming shots, promoting marker 7 to a fixed structural element, or duplicating marker 7's depicted content elsewhere in unit 1. Avoid forcing marker 3 or additional spaces into the selected view from visibility supersets alone. Do not merge incompatible subject states from S23_Shot1, S23_Shot6, and S23_Shot11 into a single background state.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [4, 1]\n  - look_at_unit: 1\n  - look_at_cell: [4, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad coverage from unit 2 toward marker 4 in unit 1, prioritizing the opposing seating arrangement and surrounding negative space required by S23_Shot11. Both coordinates are exact copies from unit 2's candidate arrays. The closer framings in S23_Shot1 and S23_Shot6 remain shot-specific requirements rather than additional camera positions in this node.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 1 from camera unit 2, centered on marker 4 at [4, 5], with markers 5 and 6 retained at [3, 5] and [6, 5]. Preserve marker 4's east-west long axis and the opposing north/south seating positions. Unit 2 supplies the camera-side circulation context. Marker 3 is only a visibility-superset candidate; its visibility and opening adjacency are not established for this selected aim, so do not force it into the composition.\n  - camera_framing_directive: Use camera unit 2 at [4, 1], looking into unit 1 at [4, 5], with wide 90-degree coverage. Establish broad side coverage of markers 4, 5, and 6 with surrounding space, prioritizing S23_Shot11's head-to-foot opposing profiles and marker 4 occupying less than one-third of the image. Preserve this fixed arrangement for the narrower, oblique tabletop contexts specified by S23_Shot1 and S23_Shot6; do not combine their differing scales into one framing.\n  - subject_position_directive: For the representative S23_Shot11 arrangement, preserve room for 현우 on the left in right-facing profile, seated forward with hands withdrawn, and 윤성찬 on the right in left-facing profile, seated back with chin lifted, with marker 4 between them and both bodies and feet unobscured. S23_Shot1 instead commits 현우 leaning forward with extended arms and 윤성찬 approaching outside the right edge; S23_Shot6 commits 현우 with lowered chin and 찰리 only as a partial printed likeness within marker 7. Keep these cues shot-specific rather than combining poses or introducing additional subjects.\n  - state_cue_directive: This BG is not marked clean_background_expected. Carry transient marker 7 as the committed Identification photograph associated with marker 4; S23_Shot6 specifies it lying on the upper surface, angled upward and partially visible at the lower frame edge without additional readable text. Its precise lower-edge presentation belongs to that consuming shot. Retain the restrained ambient illumination and controlled contrast shared across the staged shots. Treat the restrained hands in S23_Shot1 and now-free hands in S23_Shot11 as separate shot-specific subject states, not permanent changes to the space.\n  - negative_continuity_directive: No ignored numbered elements or ignored overlay markers are listed. Avoid relocating markers 4, 5, or 6 between consuming shots, promoting marker 7 to a fixed structural element, or duplicating marker 7's depicted content elsewhere in unit 1. Avoid forcing marker 3 or additional spaces into the selected view from visibility supersets alone. Do not merge incompatible subject states from S23_Shot1, S23_Shot6, and S23_Shot11 into a single background state.\n\n실제 카메라로 촬영한 다큐멘터리 풍 사진. 기후 재난 이후 2069년 대한민국에서 계속 사용 중인 구치소의 넓고 한산한 직사각형 면회실을 낮에 촬영한다. 미래라는 이유로 시설을 첨단 장비로 채우지 않고, 한국 공공시설의 실용적인 마감과 오래 관리하며 사용한 공간의 현실감을 보여준다. 회색 도장 콘크리트 벽, 닳은 바닥 마감, 금속 표면의 미세한 산화와 손때, 테이블 상판 가장자리의 생활 마모를 실제 재질 그대로 담는다. 과도한 파손 없이 유지되는 시설이며, 차가운 회색 계열은 재료와 낮빛 자체에서 자연스럽게 드러난다.\n방 남동쪽 내부에서 북서쪽을 비스듬히 바라보는 위치에 실제 디지털 카메라를 놓는다. 높이는 서 있는 사람의 눈높이인 약 1.6미터, 렌즈는 35밀리미터급 광각이다. 중앙에는 긴 축이 동서 방향인 면담 테이블이 있고, 바로 북쪽의 남향 좌석과 바로 남쪽의 북향 좌석이 서로 마주한다. 두 좌석과 상판을 함께 읽을 수 있는 사선 구도로 촬영한다. 남쪽 벽의 남서쪽 모서리 가까이에 있는 출입문은 서쪽 벽을 향해 안으로 열리는 구조이며, 문과 서쪽 가장자리를 따라 테이블로 이어지는 접근 공간이 화면 왼쪽에서 드러나도록 한다. 테이블 주변의 넉넉한 빈 바닥과 서 있을 공간을 남기고 출입 동선을 가리지 않는다.\n이번 면담을 위해 테이블 상판 위에 임시로 놓인 신원 확인용 인화사진 한 장을 포함한다. 인화지의 얇은 가장자리와 표면 반사는 보이되, 비스듬한 시야와 작은 화면 점유율 때문에 인쇄된 내용은 식별되지 않게 한다. 사진의 내용은 인화지 표면 안에만 한정한다. 화면 전체에 사람, 얼굴, 인체 형태의 형상을 묘사하지 않는다.\n부드러운 낮의 자연광과 실내 반사광으로 빈 공간을 담담하게 밝힌다. 실제 노출의 명암과 자연스러운 심도를 유지하고, 테이블과 좌석, 출입 동선의 재료 질감이 함께 읽히게 한다. 과장된 보정이나 지나치게 매끈한 홍보사진 느낌 없이 실제 장소 답사 사진처럼 보이게 한다. 컴퓨터 생성 이미지나 삽화, 건축 시각화가 아닌 실제 사진이며, 위에서 내려다보는 시점이나 평면도 구도는 사용하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "camera_decision": {
          "camera_unit": 2,
          "camera_cell": [
            4,
            1
          ],
          "look_at_unit": 1,
          "look_at_cell": [
            4,
            5
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad coverage from unit 2 toward marker 4 in unit 1, prioritizing the opposing seating arrangement and surrounding negative space required by S23_Shot11. Both coordinates are exact copies from unit 2's candidate arrays. The closer framings in S23_Shot1 and S23_Shot6 remain shot-specific requirements rather than additional camera positions in this node."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Show unit 1 from camera unit 2, centered on marker 4 at [4, 5], with markers 5 and 6 retained at [3, 5] and [6, 5]. Preserve marker 4's east-west long axis and the opposing north/south seating positions. Unit 2 supplies the camera-side circulation context. Marker 3 is only a visibility-superset candidate; its visibility and opening adjacency are not established for this selected aim, so do not force it into the composition.",
          "camera_framing_directive": "Use camera unit 2 at [4, 1], looking into unit 1 at [4, 5], with wide 90-degree coverage. Establish broad side coverage of markers 4, 5, and 6 with surrounding space, prioritizing S23_Shot11's head-to-foot opposing profiles and marker 4 occupying less than one-third of the image. Preserve this fixed arrangement for the narrower, oblique tabletop contexts specified by S23_Shot1 and S23_Shot6; do not combine their differing scales into one framing.",
          "subject_position_directive": "For the representative S23_Shot11 arrangement, preserve room for 현우 on the left in right-facing profile, seated forward with hands withdrawn, and 윤성찬 on the right in left-facing profile, seated back with chin lifted, with marker 4 between them and both bodies and feet unobscured. S23_Shot1 instead commits 현우 leaning forward with extended arms and 윤성찬 approaching outside the right edge; S23_Shot6 commits 현우 with lowered chin and 찰리 only as a partial printed likeness within marker 7. Keep these cues shot-specific rather than combining poses or introducing additional subjects.",
          "state_cue_directive": "This BG is not marked clean_background_expected. Carry transient marker 7 as the committed Identification photograph associated with marker 4; S23_Shot6 specifies it lying on the upper surface, angled upward and partially visible at the lower frame edge without additional readable text. Its precise lower-edge presentation belongs to that consuming shot. Retain the restrained ambient illumination and controlled contrast shared across the staged shots. Treat the restrained hands in S23_Shot1 and now-free hands in S23_Shot11 as separate shot-specific subject states, not permanent changes to the space.",
          "negative_continuity_directive": "No ignored numbered elements or ignored overlay markers are listed. Avoid relocating markers 4, 5, or 6 between consuming shots, promoting marker 7 to a fixed structural element, or duplicating marker 7's depicted content elsewhere in unit 1. Avoid forcing marker 3 or additional spaces into the selected view from visibility supersets alone. Do not merge incompatible subject states from S23_Shot1, S23_Shot6, and S23_Shot11 into a single background state."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_detention_visiting_room",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_detention_visiting_room"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L175B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L175",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L175B01.png",
        "t2i_prompt": "2069년 무렵 재난 이후 한국에 남아 있는 지하 하수도 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 한국의 기존 토목 기반시설에서 볼 수 있는 실용적인 콘크리트 통로와 벽면 고정식 금속 사다리를 담는다. 미래 시대라도 시설의 재료와 시공 방식은 현실적인 기존 하수도와 같다. 사람이 없는 공간이며, 얼굴이나 사람 형태의 형상도 넣지 않는다.\n진입 발판의 남쪽 가장자리에서 고정 사다리보다 약간 동쪽에 서서, 북쪽으로 이어지는 주 통로와 그 끝의 두 갈래 분기를 바라본다. 촬영 높이는 바닥에서 약 1.6미터, 실제 35밀리미터 규격의 미러리스 카메라와 28밀리미터 광각 렌즈를 사용한 눈높이 구도다. 사다리는 왼쪽 전경 가장자리에 걸리고, 주 통로의 바닥은 화면 중앙에서 멀리까지 자연스럽게 이어진다. 먼 쪽 분기점에서 왼쪽 통로는 북서쪽으로, 오른쪽 통로는 북동쪽으로 갈라지며 두 입구의 방향과 윤곽이 모두 읽힌다. 사다리 위 출입 개구부는 화면 상단 밖에 두어도 된다. 내려다보는 시점이 아니라 실제로 통로 안에 서서 보는 원근감으로 담는다.\n밤의 지하 공간답게 전체 조도는 낮다. 위쪽 출입 개구부로 들어오는 희미한 외부 자연광과 콘크리트 표면의 약한 반사광으로 가까운 발판과 사다리가 드러나고, 안쪽은 점차 어두워지되 분기 구조를 식별할 정도의 명암은 남긴다. 자연스러운 저조도 노출과 차가운 회색의 실제 재료색을 유지한다. 콘크리트의 골재감과 시공 이음, 오랜 사용으로 무뎌진 금속 표면의 결을 사실적으로 표현한다. 공간은 정돈되어 있으며 평온하고 온전한 상태다. 전경부터 먼 분기까지 거리감이 읽히는 자연스러운 심도를 유지하고, 과도한 선명화나 색 보정 없이 실제 현장 기록 사진처럼 보이게 한다. 컴퓨터로 만든 입체 영상이나 삽화, 건축 조감도가 아닌 실제 장소의 사진이어야 한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S26_Shot7",
            "guide_text": "다른 두 샷과 동일한 하수도 카메라 위치와 구도를 사용한다. 왼쪽 전경의 사다리, 중앙 주 통로, 먼 쪽의 두 분기 입구를 유지한다. 이 샷은 피로연장 인물 묘사와 배경 위치 배정이 불일치하므로 확인이 필요하다. 그 묘사를 근거로 하수도 안에 피로연장 구조나 집기를 추가하지 않으며, 배경에는 인물을 넣지 않는다."
          },
          {
            "shot_id": "S26_Shot9",
            "guide_text": "발판 남쪽에서 북쪽을 바라보는 약 1.6미터 눈높이의 공통 구도를 유지한다. 사다리는 왼쪽 전경 가장자리에 두고 중앙 통로의 깊이와 좌우 분기 입구를 함께 읽히게 한다. 낮은 야간 조도와 온전하고 정돈된 공간 상태를 유지하며 인물이나 추가 사건 요소를 넣지 않는다."
          },
          {
            "shot_id": "S26_Shot11",
            "guide_text": "동일한 카메라 위치와 광각 원근을 유지해 주 통로에서 두 갈래로 이어지는 공간 관계가 앞선 샷과 일치하게 한다. 가까운 콘크리트와 사다리의 질감, 먼 분기점으로 갈수록 약해지는 빛을 유지한다. 배경은 비어 있고 온전한 공통 상태로 사용하며 별도의 일시적 변화를 추가하지 않는다."
          }
        ],
        "shot_ids": [
          "S26_Shot7",
          "S26_Shot9",
          "S26_Shot11"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "At the south edge of number 1 (access landing), slightly east of number 2 (fixed access ladder), facing north along number 4 (main running tunnel) toward number 5 (two-way fork junction) and the mouths of numbers 6 and 7 (branches).",
          "camera_height": "eye-level standing, approximately 1.6 m",
          "lens_hint": "24–28mm wide angle",
          "framing_notes": "Keep the ladder at the left foreground edge and the unobstructed running passage central. Make both branch mouths legible in the distance. The overhead opening may remain above the frame. Preserve the intact pre-surge state without floodwater or event debris. Use the same sewer camera for all assigned shots; the reception-content mismatch requires review, not additional sewer architecture."
        },
        "reference_decision": {
          "bg_id": "L175B01",
          "fp_id": "fp_l175_sewer",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L175B01 is the sole ready BG and sole clean anchor candidate; the reference catalog is empty. Seed its fixed identity from the floor plan. Camera unit 5 retains the camera locality requested by S26_Shot9, while the mandatory coordinate candidates constrain the aim toward marker 2 in unit 1. This is a constrained anchor view, not full coverage of every consuming shot: units 6 and 7 lie behind this aim, S26_Shot11 does not identify its chosen unit, and S26_Shot7 supplies staging not grounded in this floor plan. These staging and geometry discrepancies require upstream reconciliation rather than invented spaces or altered coordinates.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_l175_sewer.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The first node establishes the same-fp identity directly from the floor plan; no prior reference is available or required.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 5,
            "camera_cell": [
              3,
              4
            ],
            "look_at_unit": 1,
            "look_at_cell": [
              8,
              3
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad coverage from unit 5 toward marker 2 within unit 1, with unit 4 along the viewing direction. Both coordinates are exact copies of unit 5's candidate entries. The supplied direction records do not describe this exact fixture-targeted aim; their wide-lens FOV is 90 degrees. Do not substitute the unit-center look-at coordinate or claim this aim shows units 6 and 7."
          },
          "render_guidance": {
            "visible_space_directive": "Establish the visible portion of unit 5 looking through unit 4 toward unit 1, targeting base marker 2. Preserve marker 2 at the west edge of unit 1 and marker 3's supplied relationship to it if that opening is visible. Treat the visibility lists as supersets, not proof of unobstructed sightlines. Units 6 and 7 remain part of the fixed plan but are not visible targets of this southward view; their requested co-visibility in S26_Shot9 is unresolved.",
            "camera_framing_directive": "Use camera unit 5 at [3, 4], looking toward unit 1 at [8, 3], with wide 90-degree broad coverage. This establishes a fixed anchor plate rather than reproducing the mutually different medium and close shot framings. Keep this exact aim; do not introduce camera movement or rotate toward units 6 and 7 to conceal the staging mismatch.",
            "subject_position_directive": "Keep the clean anchor plate free of rendered subjects while preserving the supplied shot-layer cues for downstream staging: S26_Shot9 places an over-shoulder subject lower-left and the interacting upper body center-right; S26_Shot11 places the leading face and shoulder center-left and the carried face upper-right; S26_Shot7 places its leading upper body left, a foreground fragment near the lower edge, and another subject farther back at right. These are separate consuming-shot arrangements, not a combined crowd or committed unit assignments. Do not invent unit positions to reconcile them.",
            "state_cue_directive": "No committed state cue beyond \"clean residential space\" applies to this clean background: transient_marker_numbers_to_describe is empty. Retain the fixed structure represented by use markers 1, 2, 4, 5, 6 and 7, subject to this view's visibility. Refrain from inventing additional cues. The darkness and controlled contrast stated by S26_Shot9 and S26_Shot11 do not authorize a new light source; the incompatible illumination context in S26_Shot7 requires upstream reconciliation.",
            "negative_continuity_directive": "The ignore and ignored-state-overlay marker lists are empty. Avoid relocating marker 2 or marker 3, reversing the relationships among units 1, 4 and 5, pulling units 6 and 7 into this view, or treating visibility supersets as guaranteed visibility. Do not add unnumbered structure or transient overlays to reconcile the consuming shots. There is no reference plate whose transient content should be inherited."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 5\n  - camera_cell: [3, 4]\n  - look_at_unit: 1\n  - look_at_cell: [8, 3]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad coverage from unit 5 toward marker 2 within unit 1, with unit 4 along the viewing direction. Both coordinates are exact copies of unit 5's candidate entries. The supplied direction records do not describe this exact fixture-targeted aim; their wide-lens FOV is 90 degrees. Do not substitute the unit-center look-at coordinate or claim this aim shows units 6 and 7.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish the visible portion of unit 5 looking through unit 4 toward unit 1, targeting base marker 2. Preserve marker 2 at the west edge of unit 1 and marker 3's supplied relationship to it if that opening is visible. Treat the visibility lists as supersets, not proof of unobstructed sightlines. Units 6 and 7 remain part of the fixed plan but are not visible targets of this southward view; their requested co-visibility in S26_Shot9 is unresolved.\n  - camera_framing_directive: Use camera unit 5 at [3, 4], looking toward unit 1 at [8, 3], with wide 90-degree broad coverage. This establishes a fixed anchor plate rather than reproducing the mutually different medium and close shot framings. Keep this exact aim; do not introduce camera movement or rotate toward units 6 and 7 to conceal the staging mismatch.\n  - subject_position_directive: Keep the clean anchor plate free of rendered subjects while preserving the supplied shot-layer cues for downstream staging: S26_Shot9 places an over-shoulder subject lower-left and the interacting upper body center-right; S26_Shot11 places the leading face and shoulder center-left and the carried face upper-right; S26_Shot7 places its leading upper body left, a foreground fragment near the lower edge, and another subject farther back at right. These are separate consuming-shot arrangements, not a combined crowd or committed unit assignments. Do not invent unit positions to reconcile them.\n  - state_cue_directive: No committed state cue beyond \"clean residential space\" applies to this clean background: transient_marker_numbers_to_describe is empty. Retain the fixed structure represented by use markers 1, 2, 4, 5, 6 and 7, subject to this view's visibility. Refrain from inventing additional cues. The darkness and controlled contrast stated by S26_Shot9 and S26_Shot11 do not authorize a new light source; the incompatible illumination context in S26_Shot7 requires upstream reconciliation.\n  - negative_continuity_directive: The ignore and ignored-state-overlay marker lists are empty. Avoid relocating marker 2 or marker 3, reversing the relationships among units 1, 4 and 5, pulling units 6 and 7 into this view, or treating visibility supersets as guaranteed visibility. Do not add unnumbered structure or transient overlays to reconcile the consuming shots. There is no reference plate whose transient content should be inherited.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 5\n  - camera_cell: [3, 4]\n  - look_at_unit: 1\n  - look_at_cell: [8, 3]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad coverage from unit 5 toward marker 2 within unit 1, with unit 4 along the viewing direction. Both coordinates are exact copies of unit 5's candidate entries. The supplied direction records do not describe this exact fixture-targeted aim; their wide-lens FOV is 90 degrees. Do not substitute the unit-center look-at coordinate or claim this aim shows units 6 and 7.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish the visible portion of unit 5 looking through unit 4 toward unit 1, targeting base marker 2. Preserve marker 2 at the west edge of unit 1 and marker 3's supplied relationship to it if that opening is visible. Treat the visibility lists as supersets, not proof of unobstructed sightlines. Units 6 and 7 remain part of the fixed plan but are not visible targets of this southward view; their requested co-visibility in S26_Shot9 is unresolved.\n  - camera_framing_directive: Use camera unit 5 at [3, 4], looking toward unit 1 at [8, 3], with wide 90-degree broad coverage. This establishes a fixed anchor plate rather than reproducing the mutually different medium and close shot framings. Keep this exact aim; do not introduce camera movement or rotate toward units 6 and 7 to conceal the staging mismatch.\n  - subject_position_directive: Keep the clean anchor plate free of rendered subjects while preserving the supplied shot-layer cues for downstream staging: S26_Shot9 places an over-shoulder subject lower-left and the interacting upper body center-right; S26_Shot11 places the leading face and shoulder center-left and the carried face upper-right; S26_Shot7 places its leading upper body left, a foreground fragment near the lower edge, and another subject farther back at right. These are separate consuming-shot arrangements, not a combined crowd or committed unit assignments. Do not invent unit positions to reconcile them.\n  - state_cue_directive: No committed state cue beyond \"clean residential space\" applies to this clean background: transient_marker_numbers_to_describe is empty. Retain the fixed structure represented by use markers 1, 2, 4, 5, 6 and 7, subject to this view's visibility. Refrain from inventing additional cues. The darkness and controlled contrast stated by S26_Shot9 and S26_Shot11 do not authorize a new light source; the incompatible illumination context in S26_Shot7 requires upstream reconciliation.\n  - negative_continuity_directive: The ignore and ignored-state-overlay marker lists are empty. Avoid relocating marker 2 or marker 3, reversing the relationships among units 1, 4 and 5, pulling units 6 and 7 into this view, or treating visibility supersets as guaranteed visibility. Do not add unnumbered structure or transient overlays to reconcile the consuming shots. There is no reference plate whose transient content should be inherited.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 5\n  - camera_cell: [3, 4]\n  - look_at_unit: 1\n  - look_at_cell: [8, 3]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad coverage from unit 5 toward marker 2 within unit 1, with unit 4 along the viewing direction. Both coordinates are exact copies of unit 5's candidate entries. The supplied direction records do not describe this exact fixture-targeted aim; their wide-lens FOV is 90 degrees. Do not substitute the unit-center look-at coordinate or claim this aim shows units 6 and 7.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish the visible portion of unit 5 looking through unit 4 toward unit 1, targeting base marker 2. Preserve marker 2 at the west edge of unit 1 and marker 3's supplied relationship to it if that opening is visible. Treat the visibility lists as supersets, not proof of unobstructed sightlines. Units 6 and 7 remain part of the fixed plan but are not visible targets of this southward view; their requested co-visibility in S26_Shot9 is unresolved.\n  - camera_framing_directive: Use camera unit 5 at [3, 4], looking toward unit 1 at [8, 3], with wide 90-degree broad coverage. This establishes a fixed anchor plate rather than reproducing the mutually different medium and close shot framings. Keep this exact aim; do not introduce camera movement or rotate toward units 6 and 7 to conceal the staging mismatch.\n  - subject_position_directive: Keep the clean anchor plate free of rendered subjects while preserving the supplied shot-layer cues for downstream staging: S26_Shot9 places an over-shoulder subject lower-left and the interacting upper body center-right; S26_Shot11 places the leading face and shoulder center-left and the carried face upper-right; S26_Shot7 places its leading upper body left, a foreground fragment near the lower edge, and another subject farther back at right. These are separate consuming-shot arrangements, not a combined crowd or committed unit assignments. Do not invent unit positions to reconcile them.\n  - state_cue_directive: No committed state cue beyond \"clean residential space\" applies to this clean background: transient_marker_numbers_to_describe is empty. Retain the fixed structure represented by use markers 1, 2, 4, 5, 6 and 7, subject to this view's visibility. Refrain from inventing additional cues. The darkness and controlled contrast stated by S26_Shot9 and S26_Shot11 do not authorize a new light source; the incompatible illumination context in S26_Shot7 requires upstream reconciliation.\n  - negative_continuity_directive: The ignore and ignored-state-overlay marker lists are empty. Avoid relocating marker 2 or marker 3, reversing the relationships among units 1, 4 and 5, pulling units 6 and 7 into this view, or treating visibility supersets as guaranteed visibility. Do not add unnumbered structure or transient overlays to reconcile the consuming shots. There is no reference plate whose transient content should be inherited.\n\n2069년 무렵 재난 이후 한국에 남아 있는 지하 하수도 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 한국의 기존 토목 기반시설에서 볼 수 있는 실용적인 콘크리트 통로와 벽면 고정식 금속 사다리를 담는다. 미래 시대라도 시설의 재료와 시공 방식은 현실적인 기존 하수도와 같다. 사람이 없는 공간이며, 얼굴이나 사람 형태의 형상도 넣지 않는다.\n진입 발판의 남쪽 가장자리에서 고정 사다리보다 약간 동쪽에 서서, 북쪽으로 이어지는 주 통로와 그 끝의 두 갈래 분기를 바라본다. 촬영 높이는 바닥에서 약 1.6미터, 실제 35밀리미터 규격의 미러리스 카메라와 28밀리미터 광각 렌즈를 사용한 눈높이 구도다. 사다리는 왼쪽 전경 가장자리에 걸리고, 주 통로의 바닥은 화면 중앙에서 멀리까지 자연스럽게 이어진다. 먼 쪽 분기점에서 왼쪽 통로는 북서쪽으로, 오른쪽 통로는 북동쪽으로 갈라지며 두 입구의 방향과 윤곽이 모두 읽힌다. 사다리 위 출입 개구부는 화면 상단 밖에 두어도 된다. 내려다보는 시점이 아니라 실제로 통로 안에 서서 보는 원근감으로 담는다.\n밤의 지하 공간답게 전체 조도는 낮다. 위쪽 출입 개구부로 들어오는 희미한 외부 자연광과 콘크리트 표면의 약한 반사광으로 가까운 발판과 사다리가 드러나고, 안쪽은 점차 어두워지되 분기 구조를 식별할 정도의 명암은 남긴다. 자연스러운 저조도 노출과 차가운 회색의 실제 재료색을 유지한다. 콘크리트의 골재감과 시공 이음, 오랜 사용으로 무뎌진 금속 표면의 결을 사실적으로 표현한다. 공간은 정돈되어 있으며 평온하고 온전한 상태다. 전경부터 먼 분기까지 거리감이 읽히는 자연스러운 심도를 유지하고, 과도한 선명화나 색 보정 없이 실제 현장 기록 사진처럼 보이게 한다. 컴퓨터로 만든 입체 영상이나 삽화, 건축 조감도가 아닌 실제 장소의 사진이어야 한다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 5,
          "camera_cell": [
            3,
            4
          ],
          "look_at_unit": 1,
          "look_at_cell": [
            8,
            3
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad coverage from unit 5 toward marker 2 within unit 1, with unit 4 along the viewing direction. Both coordinates are exact copies of unit 5's candidate entries. The supplied direction records do not describe this exact fixture-targeted aim; their wide-lens FOV is 90 degrees. Do not substitute the unit-center look-at coordinate or claim this aim shows units 6 and 7."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Establish the visible portion of unit 5 looking through unit 4 toward unit 1, targeting base marker 2. Preserve marker 2 at the west edge of unit 1 and marker 3's supplied relationship to it if that opening is visible. Treat the visibility lists as supersets, not proof of unobstructed sightlines. Units 6 and 7 remain part of the fixed plan but are not visible targets of this southward view; their requested co-visibility in S26_Shot9 is unresolved.",
          "camera_framing_directive": "Use camera unit 5 at [3, 4], looking toward unit 1 at [8, 3], with wide 90-degree broad coverage. This establishes a fixed anchor plate rather than reproducing the mutually different medium and close shot framings. Keep this exact aim; do not introduce camera movement or rotate toward units 6 and 7 to conceal the staging mismatch.",
          "subject_position_directive": "Keep the clean anchor plate free of rendered subjects while preserving the supplied shot-layer cues for downstream staging: S26_Shot9 places an over-shoulder subject lower-left and the interacting upper body center-right; S26_Shot11 places the leading face and shoulder center-left and the carried face upper-right; S26_Shot7 places its leading upper body left, a foreground fragment near the lower edge, and another subject farther back at right. These are separate consuming-shot arrangements, not a combined crowd or committed unit assignments. Do not invent unit positions to reconcile them.",
          "state_cue_directive": "No committed state cue beyond \"clean residential space\" applies to this clean background: transient_marker_numbers_to_describe is empty. Retain the fixed structure represented by use markers 1, 2, 4, 5, 6 and 7, subject to this view's visibility. Refrain from inventing additional cues. The darkness and controlled contrast stated by S26_Shot9 and S26_Shot11 do not authorize a new light source; the incompatible illumination context in S26_Shot7 requires upstream reconciliation.",
          "negative_continuity_directive": "The ignore and ignored-state-overlay marker lists are empty. Avoid relocating marker 2 or marker 3, reversing the relationships among units 1, 4 and 5, pulling units 6 and 7 into this view, or treating visibility supersets as guaranteed visibility. Do not add unnumbered structure or transient overlays to reconcile the consuming shots. There is no reference plate whose transient content should be inherited."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_l175_sewer",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_l175_sewer"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L176B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L176",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L176B01.png",
        "t2i_prompt": "기후 재난 이후인 2069년 대한민국의 노후 하수도에 밤중 해수가 밀려드는 현장을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 배경만 담는다. 국내 도시 기반시설에서 볼 수 있는 철근콘크리트 하수 통로의 실제 표면 질감, 거푸집 이음선, 오래된 습기 얼룩과 금속 사다리의 부식을 사실적으로 보여준다. 미래라는 이유로 새로운 장비나 발광 장식을 추가하지 않는다.\n\n참조 평면도는 구조물과 개구부의 위치를 파악하는 데만 사용한다. 카메라는 남쪽 하수도 출구 바로 바깥, 외부 수용 공간의 북쪽 가장자리에 놓고 중앙 주 통로를 따라 북쪽을 바라본다. 먼 정면에는 뒤쪽 터널로 이어지는 개구부가 있고, 그 앞 합류 지점의 좌우 벽에는 서쪽과 동쪽 지선의 입구가 마주한다. 합류 지점보다 가까운 오른쪽 동쪽 벽에는 고정 사다리가 있으며, 그 위로 천장 쪽 유지관리용 개구부가 연결된다. 출구와 외부 공간은 전경에 자연스럽게 걸치고 통로의 깊이가 화면 안쪽으로 이어진다. 기존 구조와 사다리의 위치를 바꾸거나 별도 소품처럼 부각하지 않는다.\n\n전면형 감지기를 갖춘 실제 미러리스 카메라와 약 28밀리미터 광각 렌즈로 촬영한다. 시점은 통로 바닥에서 약 1.5미터인 서 있는 사람의 눈높이에 고정하며, 수위가 올라가면 카메라를 높이지 않고 같은 시점이 물속에 잠기게 한다. 위에서 내려다보는 구도나 평면도 표현이 아니라 수평 방향으로 깊게 이어지는 현장 사진이다. 자연스러운 원근과 피사계 심도, 실제 저조도 촬영에 맞는 밝기 차이를 유지한다.\n\n해수가 뒤쪽 터널과 양옆 지선 입구에서 주 통로로 유입되어 남쪽 출구와 외부 공간까지 이어진다. 급류 단계에서는 뒤쪽 터널에서 쏟아지는 거대한 물덩이가 합류 지점의 측면 유입수와 만나 전경 쪽으로 밀려오며, 실제 물의 무게가 느껴지는 불규칙한 수면과 포말, 물보라를 보여준다. 침수 단계에서는 같은 높이의 시점 전체가 해수 아래에 놓이며, 탁한 물을 통과하면서 구조물의 윤곽과 대비가 점차 약해지고 흐름을 따라 기포가 이동한다. 해당 촬영 단계 하나만 단일 사진으로 표현하며 두 단계를 한 화면에 나누어 넣지 않는다.\n\n출구와 상부 개구부를 통해 들어오는 약한 야간 자연광이 젖은 콘크리트와 물에 제한적으로 반사되고, 깊은 터널 안쪽은 실제 밤의 어둠에 묻힌다. 수중에서는 동일한 빛이 물에 흡수되고 산란되어 가시거리가 짧아진다. 차분한 회색 계열은 실제 재료와 야간 조명에서 비롯되며, 과도한 보정 없이 현실적인 색과 명암을 유지한다. 사람, 얼굴, 인체 형태의 형상은 전혀 넣지 않는다. 매끈하게 정돈된 광고 사진이나 컴퓨터 생성 이미지, 삽화, 건축 시각화가 아닌 실제 장소 기록 사진. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S36_Shot4",
            "guide_text": "남쪽 출구 바로 바깥에서 북쪽 후방 터널을 바라보는 고정 구도. 통로 바닥 기준 약 1.5미터 높이의 카메라는 아직 수면 위에 둔다. 뒤쪽 터널에서 거대한 급류가 터져 나와 양옆 지선의 유입수와 합쳐지고 출구 쪽으로 밀려오는 순간을 포착한다. 물의 선단과 포말은 실제 난류처럼 불규칙하며, 물보라 사이로 후방 개구부와 좌우 합류 구조가 읽히도록 한다. 오른쪽 벽의 사다리와 상부 개구부는 기존 위치를 유지한다. 약한 야간 자연광 아래 실제 저조도 사진에 맞는 물의 움직임과 질감을 보여주며 인물은 넣지 않는다."
          },
          {
            "shot_id": "S36_Shot7",
            "guide_text": "앞선 장면과 같은 위치, 같은 북향 구도, 같은 통로 바닥 기준 약 1.5미터 높이를 유지하되 상승한 해수에 카메라가 완전히 잠긴 수중 사진으로 전환한다. 실제 미러리스 카메라를 방수 하우징에 넣어 촬영한 것처럼 물에 의한 빛의 흡수와 산란, 낮아진 대비, 거리별 윤곽 손실을 자연스럽게 표현한다. 흐름은 후방과 측면에서 출구 쪽으로 이어지고 기포도 그 흐름을 따른다. 가까운 벽과 오른쪽 사다리는 상대적으로 읽히지만 먼 합류 지점은 탁한 물속으로 희미해진다. 구조를 바꾸거나 별도 수중 조명을 추가하지 않으며 사람이나 인체 형태의 실루엣은 넣지 않는다."
          }
        ],
        "shot_ids": [
          "S36_Shot4",
          "S36_Shot7"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "At the northern edge of number 5, immediately outside number 9, looking north along number 1 toward number 6 and number 2, with numbers 7 and 8 flanking the distant junction.",
          "camera_height": "Fixed approximately standing eye-level above the passage floor, nominally around 1.5 m; the rising water submerges this same viewpoint.",
          "lens_hint": "24–28mm wide angle",
          "framing_notes": "Keep number 9 at the foreground edges and the rear junction centered. Show the accessible portions of numbers 3 and 4 through their mouths, with numbers 10 and 11 along the right side. Retain the same camera and geometry for both shots. In S36_Shot4, overlay number 12 as the rear surge and converging entry flows; in S36_Shot7, evolve the same overlay into a filled, submerged view. Adjust water level, movement, and underwater visibility rather than relocating the camera. Number circles belong only to the reference plan, not the downstream backgrounds."
        },
        "reference_decision": {
          "bg_id": "L176B01",
          "fp_id": "fp_l176_flooded_sewer",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L176B01 is the only ready BG and the only supplied anchor candidate. Use the explicitly widened fallback candidate set: clean_background_expected is false and marker 12 remains required. With no reference catalog, seed directly from the floor plan. Camera unit 1 looking toward unit 2 provides broad background coverage for S36_Shot4. S36_Shot7 instead commits an exterior underwater close framing; one fixed camera cannot satisfy both staged views. This node establishes the S36_Shot4 structural view and surfaces that coverage limitation without inventing another BG or treating either staged shot as omitted.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_l176_flooded_sewer.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "No earlier same-fp reference exists; the sole eligible anchor is seeded from the supplied floor plan.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 1,
            "camera_cell": [
              4,
              4
            ],
            "look_at_unit": 2,
            "look_at_cell": [
              0,
              4
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad northward coverage from unit 1 toward unit 2, using the listed look-at candidate at opening 6. Preserve the middle-right background exposure required by S36_Shot4. The discrete geometry does not encode the staged low height or lateral offset; do not invent an alternative grid coordinate. This view does not establish the exterior close framing of S36_Shot7."
          },
          "render_guidance": {
            "visible_space_directive": "Establish unit 1 receding toward unit 2 and opening 6 from the selected northward view. Preserve the base-plan relationships of markers 1–11, including portions outside the image. Treat visible-unit and visible-opening lists as supersets, not permission to display every marker. Unit 5 and opening 9 are behind this camera direction and are not part of this plate's visible coverage.",
            "camera_framing_directive": "Use camera_unit 1 at camera_cell [4, 4], looking toward look_at_unit 2 through look_at_cell [0, 4], with wide lens coverage at 90 degrees. Keep the central and right background exposed for S36_Shot4 rather than blocked by the foreground subject. Maintain these exact grid coordinates; the exterior underwater close framing in S36_Shot7 is not achievable as a crop of this committed interior view.",
            "subject_position_directive": "For S36_Shot4, respect the committed left-edge forward-stride placement, three_quarter_right angle and off-screen attention, leaving the middle-right background unobstructed. Do not invent additional subjects. S36_Shot7 separately commits a small wrist through lower center, a larger metal hand at center, forearms toward opposite edges and faces outside the crop; those placements belong to its exterior underwater framing and must not be transplanted into this interior plate.",
            "state_cue_directive": "Carry transient marker 12, Seawater inundation. For the selected S36_Shot4 view, show the committed seawater eruption in the central and right background before it reaches the subject, with subdued illumination and readable separation without an invented source. clean_background_expected is false. S36_Shot7 commits surrounding underwater seawater, subdued illumination and no unsupported color, bubbles or visible light source, but its exterior state is not a reason to relocate this camera or merge the two views.",
            "negative_continuity_directive": "No ignored numbered elements or ignored state-overlay markers are listed. Avoid moving base markers 6–11 to force them into frame, duplicating marker 11 because it shares a grid cell with marker 10, or treating visibility supersets as guaranteed sightlines. Keep unit 5 and marker 9 outside this northward view. Do not merge the incompatible camera coverage of S36_Shot4 and S36_Shot7 or invent reference continuity where no reference exists."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [4, 4]\n  - look_at_unit: 2\n  - look_at_cell: [0, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad northward coverage from unit 1 toward unit 2, using the listed look-at candidate at opening 6. Preserve the middle-right background exposure required by S36_Shot4. The discrete geometry does not encode the staged low height or lateral offset; do not invent an alternative grid coordinate. This view does not establish the exterior close framing of S36_Shot7.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 1 receding toward unit 2 and opening 6 from the selected northward view. Preserve the base-plan relationships of markers 1–11, including portions outside the image. Treat visible-unit and visible-opening lists as supersets, not permission to display every marker. Unit 5 and opening 9 are behind this camera direction and are not part of this plate's visible coverage.\n  - camera_framing_directive: Use camera_unit 1 at camera_cell [4, 4], looking toward look_at_unit 2 through look_at_cell [0, 4], with wide lens coverage at 90 degrees. Keep the central and right background exposed for S36_Shot4 rather than blocked by the foreground subject. Maintain these exact grid coordinates; the exterior underwater close framing in S36_Shot7 is not achievable as a crop of this committed interior view.\n  - subject_position_directive: For S36_Shot4, respect the committed left-edge forward-stride placement, three_quarter_right angle and off-screen attention, leaving the middle-right background unobstructed. Do not invent additional subjects. S36_Shot7 separately commits a small wrist through lower center, a larger metal hand at center, forearms toward opposite edges and faces outside the crop; those placements belong to its exterior underwater framing and must not be transplanted into this interior plate.\n  - state_cue_directive: Carry transient marker 12, Seawater inundation. For the selected S36_Shot4 view, show the committed seawater eruption in the central and right background before it reaches the subject, with subdued illumination and readable separation without an invented source. clean_background_expected is false. S36_Shot7 commits surrounding underwater seawater, subdued illumination and no unsupported color, bubbles or visible light source, but its exterior state is not a reason to relocate this camera or merge the two views.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are listed. Avoid moving base markers 6–11 to force them into frame, duplicating marker 11 because it shares a grid cell with marker 10, or treating visibility supersets as guaranteed sightlines. Keep unit 5 and marker 9 outside this northward view. Do not merge the incompatible camera coverage of S36_Shot4 and S36_Shot7 or invent reference continuity where no reference exists.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [4, 4]\n  - look_at_unit: 2\n  - look_at_cell: [0, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad northward coverage from unit 1 toward unit 2, using the listed look-at candidate at opening 6. Preserve the middle-right background exposure required by S36_Shot4. The discrete geometry does not encode the staged low height or lateral offset; do not invent an alternative grid coordinate. This view does not establish the exterior close framing of S36_Shot7.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 1 receding toward unit 2 and opening 6 from the selected northward view. Preserve the base-plan relationships of markers 1–11, including portions outside the image. Treat visible-unit and visible-opening lists as supersets, not permission to display every marker. Unit 5 and opening 9 are behind this camera direction and are not part of this plate's visible coverage.\n  - camera_framing_directive: Use camera_unit 1 at camera_cell [4, 4], looking toward look_at_unit 2 through look_at_cell [0, 4], with wide lens coverage at 90 degrees. Keep the central and right background exposed for S36_Shot4 rather than blocked by the foreground subject. Maintain these exact grid coordinates; the exterior underwater close framing in S36_Shot7 is not achievable as a crop of this committed interior view.\n  - subject_position_directive: For S36_Shot4, respect the committed left-edge forward-stride placement, three_quarter_right angle and off-screen attention, leaving the middle-right background unobstructed. Do not invent additional subjects. S36_Shot7 separately commits a small wrist through lower center, a larger metal hand at center, forearms toward opposite edges and faces outside the crop; those placements belong to its exterior underwater framing and must not be transplanted into this interior plate.\n  - state_cue_directive: Carry transient marker 12, Seawater inundation. For the selected S36_Shot4 view, show the committed seawater eruption in the central and right background before it reaches the subject, with subdued illumination and readable separation without an invented source. clean_background_expected is false. S36_Shot7 commits surrounding underwater seawater, subdued illumination and no unsupported color, bubbles or visible light source, but its exterior state is not a reason to relocate this camera or merge the two views.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are listed. Avoid moving base markers 6–11 to force them into frame, duplicating marker 11 because it shares a grid cell with marker 10, or treating visibility supersets as guaranteed sightlines. Keep unit 5 and marker 9 outside this northward view. Do not merge the incompatible camera coverage of S36_Shot4 and S36_Shot7 or invent reference continuity where no reference exists.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [4, 4]\n  - look_at_unit: 2\n  - look_at_cell: [0, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad northward coverage from unit 1 toward unit 2, using the listed look-at candidate at opening 6. Preserve the middle-right background exposure required by S36_Shot4. The discrete geometry does not encode the staged low height or lateral offset; do not invent an alternative grid coordinate. This view does not establish the exterior close framing of S36_Shot7.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 1 receding toward unit 2 and opening 6 from the selected northward view. Preserve the base-plan relationships of markers 1–11, including portions outside the image. Treat visible-unit and visible-opening lists as supersets, not permission to display every marker. Unit 5 and opening 9 are behind this camera direction and are not part of this plate's visible coverage.\n  - camera_framing_directive: Use camera_unit 1 at camera_cell [4, 4], looking toward look_at_unit 2 through look_at_cell [0, 4], with wide lens coverage at 90 degrees. Keep the central and right background exposed for S36_Shot4 rather than blocked by the foreground subject. Maintain these exact grid coordinates; the exterior underwater close framing in S36_Shot7 is not achievable as a crop of this committed interior view.\n  - subject_position_directive: For S36_Shot4, respect the committed left-edge forward-stride placement, three_quarter_right angle and off-screen attention, leaving the middle-right background unobstructed. Do not invent additional subjects. S36_Shot7 separately commits a small wrist through lower center, a larger metal hand at center, forearms toward opposite edges and faces outside the crop; those placements belong to its exterior underwater framing and must not be transplanted into this interior plate.\n  - state_cue_directive: Carry transient marker 12, Seawater inundation. For the selected S36_Shot4 view, show the committed seawater eruption in the central and right background before it reaches the subject, with subdued illumination and readable separation without an invented source. clean_background_expected is false. S36_Shot7 commits surrounding underwater seawater, subdued illumination and no unsupported color, bubbles or visible light source, but its exterior state is not a reason to relocate this camera or merge the two views.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are listed. Avoid moving base markers 6–11 to force them into frame, duplicating marker 11 because it shares a grid cell with marker 10, or treating visibility supersets as guaranteed sightlines. Keep unit 5 and marker 9 outside this northward view. Do not merge the incompatible camera coverage of S36_Shot4 and S36_Shot7 or invent reference continuity where no reference exists.\n\n기후 재난 이후인 2069년 대한민국의 노후 하수도에 밤중 해수가 밀려드는 현장을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 배경만 담는다. 국내 도시 기반시설에서 볼 수 있는 철근콘크리트 하수 통로의 실제 표면 질감, 거푸집 이음선, 오래된 습기 얼룩과 금속 사다리의 부식을 사실적으로 보여준다. 미래라는 이유로 새로운 장비나 발광 장식을 추가하지 않는다.\n\n참조 평면도는 구조물과 개구부의 위치를 파악하는 데만 사용한다. 카메라는 남쪽 하수도 출구 바로 바깥, 외부 수용 공간의 북쪽 가장자리에 놓고 중앙 주 통로를 따라 북쪽을 바라본다. 먼 정면에는 뒤쪽 터널로 이어지는 개구부가 있고, 그 앞 합류 지점의 좌우 벽에는 서쪽과 동쪽 지선의 입구가 마주한다. 합류 지점보다 가까운 오른쪽 동쪽 벽에는 고정 사다리가 있으며, 그 위로 천장 쪽 유지관리용 개구부가 연결된다. 출구와 외부 공간은 전경에 자연스럽게 걸치고 통로의 깊이가 화면 안쪽으로 이어진다. 기존 구조와 사다리의 위치를 바꾸거나 별도 소품처럼 부각하지 않는다.\n\n전면형 감지기를 갖춘 실제 미러리스 카메라와 약 28밀리미터 광각 렌즈로 촬영한다. 시점은 통로 바닥에서 약 1.5미터인 서 있는 사람의 눈높이에 고정하며, 수위가 올라가면 카메라를 높이지 않고 같은 시점이 물속에 잠기게 한다. 위에서 내려다보는 구도나 평면도 표현이 아니라 수평 방향으로 깊게 이어지는 현장 사진이다. 자연스러운 원근과 피사계 심도, 실제 저조도 촬영에 맞는 밝기 차이를 유지한다.\n\n해수가 뒤쪽 터널과 양옆 지선 입구에서 주 통로로 유입되어 남쪽 출구와 외부 공간까지 이어진다. 급류 단계에서는 뒤쪽 터널에서 쏟아지는 거대한 물덩이가 합류 지점의 측면 유입수와 만나 전경 쪽으로 밀려오며, 실제 물의 무게가 느껴지는 불규칙한 수면과 포말, 물보라를 보여준다. 침수 단계에서는 같은 높이의 시점 전체가 해수 아래에 놓이며, 탁한 물을 통과하면서 구조물의 윤곽과 대비가 점차 약해지고 흐름을 따라 기포가 이동한다. 해당 촬영 단계 하나만 단일 사진으로 표현하며 두 단계를 한 화면에 나누어 넣지 않는다.\n\n출구와 상부 개구부를 통해 들어오는 약한 야간 자연광이 젖은 콘크리트와 물에 제한적으로 반사되고, 깊은 터널 안쪽은 실제 밤의 어둠에 묻힌다. 수중에서는 동일한 빛이 물에 흡수되고 산란되어 가시거리가 짧아진다. 차분한 회색 계열은 실제 재료와 야간 조명에서 비롯되며, 과도한 보정 없이 현실적인 색과 명암을 유지한다. 사람, 얼굴, 인체 형태의 형상은 전혀 넣지 않는다. 매끈하게 정돈된 광고 사진이나 컴퓨터 생성 이미지, 삽화, 건축 시각화가 아닌 실제 장소 기록 사진. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 1,
          "camera_cell": [
            4,
            4
          ],
          "look_at_unit": 2,
          "look_at_cell": [
            0,
            4
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad northward coverage from unit 1 toward unit 2, using the listed look-at candidate at opening 6. Preserve the middle-right background exposure required by S36_Shot4. The discrete geometry does not encode the staged low height or lateral offset; do not invent an alternative grid coordinate. This view does not establish the exterior close framing of S36_Shot7."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Establish unit 1 receding toward unit 2 and opening 6 from the selected northward view. Preserve the base-plan relationships of markers 1–11, including portions outside the image. Treat visible-unit and visible-opening lists as supersets, not permission to display every marker. Unit 5 and opening 9 are behind this camera direction and are not part of this plate's visible coverage.",
          "camera_framing_directive": "Use camera_unit 1 at camera_cell [4, 4], looking toward look_at_unit 2 through look_at_cell [0, 4], with wide lens coverage at 90 degrees. Keep the central and right background exposed for S36_Shot4 rather than blocked by the foreground subject. Maintain these exact grid coordinates; the exterior underwater close framing in S36_Shot7 is not achievable as a crop of this committed interior view.",
          "subject_position_directive": "For S36_Shot4, respect the committed left-edge forward-stride placement, three_quarter_right angle and off-screen attention, leaving the middle-right background unobstructed. Do not invent additional subjects. S36_Shot7 separately commits a small wrist through lower center, a larger metal hand at center, forearms toward opposite edges and faces outside the crop; those placements belong to its exterior underwater framing and must not be transplanted into this interior plate.",
          "state_cue_directive": "Carry transient marker 12, Seawater inundation. For the selected S36_Shot4 view, show the committed seawater eruption in the central and right background before it reaches the subject, with subdued illumination and readable separation without an invented source. clean_background_expected is false. S36_Shot7 commits surrounding underwater seawater, subdued illumination and no unsupported color, bubbles or visible light source, but its exterior state is not a reason to relocate this camera or merge the two views.",
          "negative_continuity_directive": "No ignored numbered elements or ignored state-overlay markers are listed. Avoid moving base markers 6–11 to force them into frame, duplicating marker 11 because it shares a grid cell with marker 10, or treating visibility supersets as guaranteed sightlines. Keep unit 5 and marker 9 outside this northward view. Do not merge the incompatible camera coverage of S36_Shot4 and S36_Shot7 or invent reference continuity where no reference exists."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_l176_flooded_sewer",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_l176_flooded_sewer"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L177B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L177",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L177B01.png",
        "t2i_prompt": "2069년 기후 재난 이후 한국의 오래된 도로와 인접 골목을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 야간 현장 기록 사진으로, 35밀리미터 풀프레임 미러리스 카메라와 28밀리미터 광각 렌즈를 사용하고 지면에서 약 1.6미터 높이의 서 있는 눈높이로 촬영한다. 골목 입구 바로 안쪽, 동쪽 모퉁이 건물의 남서쪽 모서리 가까이에서 남동쪽 도로와 차량 진입 방향을 바라본다. 동쪽 건물 모서리가 화면 전경 일부를 가리며, 그 너머로 차량 접근 구간과 정차 공간이 충분히 보인다. 내려다보는 시점이나 평면도, 건축 도해가 아닌 실제 거리의 수평 시점이다.\n\n배치 참고 이미지에 있는 동서 방향 도로, 양쪽의 좁은 도로 가장자리, 북쪽으로 이어지는 골목과 입구 양옆 건물의 공간 관계를 따른다. 북쪽 도로 가장자리는 골목 입구에서 끊기고 남쪽 가장자리는 이어진다. 맨홀 진입부는 골목 입구 서쪽의 도로 북측에 있으며, 화각에 들어오는 범위에서 화면 왼쪽 가장자리에 둔다. 가로등은 맨홀 서쪽, 골목 입구 바로 동쪽, 더 동쪽의 직선 진입 구간에 놓인 기존 위치를 유지한다. 한국의 기존 생활 도로가 오래 사용된 현실적인 환경으로, 아스팔트의 거친 골재, 건물 콘크리트의 미세한 표면 차이와 생활 얼룩, 금속 가로등의 자연스러운 산화와 마모를 선명하되 과장 없이 표현한다. 임의의 전면 붕괴나 과도한 미래 장식을 추가하지 않는다.\n\n대형 차량 한 대가 동쪽에서 서쪽을 향해 들어와 골목 입구 연장선 바로 동쪽에서 급히 멈추는 순간을 담는다. 차량과 도로 가장자리 사이에는 하차와 승차에 필요한 빈 공간을 확보한다. 차량은 이 순간 도착한 대상으로 보이며 영구 주차 시설처럼 취급하지 않는다. 전조등의 강한 빛이 서쪽으로 도로 표면을 가로질러 카메라 쪽에 역광과 실제 렌즈에서 생기는 제한적인 눈부심을 만든다. 골목 안쪽은 건물에 가려 상대적으로 어둡게 남는다. 도로를 따라 놓인 세 가로등의 점멸은 한 장의 사진에서 서로 다른 점등 강도와 켜지거나 꺼지는 중간 밝기로 포착하며, 조명 기구 자체의 위치는 바꾸지 않는다. 야간의 실제 주변광과 전조등, 가로등만으로 납득되는 노출과 그림자를 만들고, 차가운 회색 계열의 재료 본색과 자연스러운 명암을 유지한다. 자연스러운 피사계 심도와 실제 금속 차체의 반사를 살린다. 사람, 얼굴, 인체 형태의 형상은 차량 내부와 반사면을 포함해 어디에도 보이지 않는다. 과도한 보정이나 인위적인 미화 없이 실제 장소 참고 사진과 구별되지 않는 질감으로 표현한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S27_Shot12",
            "guide_text": "골목 입구 안쪽에서 남동쪽을 보는 고정 눈높이 구도를 사용한다. 동쪽 건물 모서리를 전경 가림 요소로 유지하고 차량 접근 구간과 정차 공간을 확보한다. 차량의 정확한 진행 단계는 해당 장면 지시에 따르며, 배경만으로 별도의 동작 순서를 확정하지 않는다."
          },
          {
            "shot_id": "S27_Shot18",
            "guide_text": "동일한 카메라 위치와 광각 화각, 건물 모서리의 가림 정도를 유지한다. 차량 옆 도로 가장자리의 빈 공간이 읽히게 하되 사람이나 인체 형상은 그리지 않는다. 차량 위치와 전조등의 영향만 해당 순간에 맞추고 도로와 맨홀, 가로등 배치는 바꾸지 않는다."
          },
          {
            "shot_id": "S27_Shot21",
            "guide_text": "앞선 장면과 같은 골목 안쪽 관찰 구도를 유지한다. 어두운 골목 전경과 전조등이 가로지르는 도로의 밝기 차이를 보존한다. 차량 진행 상태와 세 가로등의 점등 강도는 장면에 따라 달라질 수 있지만 건물, 도로 가장자리, 맨홀의 공간 관계는 그대로 유지한다."
          }
        ],
        "shot_ids": [
          "S27_Shot12",
          "S27_Shot18",
          "S27_Shot21"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_2",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Just inside number 4 (adjoining alley), near number 8 (alley mouth) and the southwest corner of number 6 (eastern corner building), looking southeast across number 1 (roadway) toward the eastern vehicle approach.",
          "camera_height": "Standing eye level, approximately 1.6 m",
          "lens_hint": "28mm wide angle",
          "framing_notes": "Maintain one fixed viewpoint across the referenced shots. Keep the eastern building corner as a foreground occluder, the vehicle approach and stopping space prominent, and the manhole toward the left edge where framing permits. Reserve clear space beside the vehicle for exit and boarding. Apply nighttime headlight backlighting and changing streetlight states only through overlays; keep the alley recess dark. Vehicle progression is shot-dependent rather than a permanent parked position."
        },
        "reference_decision": {
          "bg_id": "L177B01",
          "fp_id": "fp_l177_road_manhole",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L177B01 is the only ready BG and the only supplied anchor candidate. Select it under the dossier's explicit fallback despite clean_background_expected=false. No prior references exist. The wide view from unit 3 toward opening 8 establishes the fixed relationships needed by S27_Shot12 and S27_Shot18. S27_Shot21 commits a different close view inside unit 4; this representative camera does not reproduce that shot's framing, and its offscreen and lighting requirements must remain shot-specific rather than being combined into the wide view.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_l177_road_manhole.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The catalog is empty and this is the first and only node; establish identity directly from the supplied floor plan.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 3,
            "camera_cell": [
              7,
              4
            ],
            "look_at_unit": 4,
            "look_at_cell": [
              4,
              4
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Use broad coverage from unit 3 toward unit 4 at opening 8. Both coordinates are exact copies from the unit-3 candidate arrays. This is the representative wide establishing geometry, not the separate close framing committed by S27_Shot21."
          },
          "render_guidance": {
            "visible_space_directive": "From unit 3, show unit 1 across the foreground and middle distance, the visible portion of unit 2, and unit 4 through opening 8 at [4,4], with portions of units 5 and 6 flanking it. Retain opening 7 at [5,3], fixture 10 at [4,6], and fixture 9 at [4,1] where the frame boundary permits. Keep these fixed relationships tied to the base plan. Visibility candidates are supersets, not a requirement to show every unit or marker.",
            "camera_framing_directive": "Place the camera in unit 3 at [7,4], looking toward unit 4 through [4,4], using wide coverage at 90 degrees. Preserve broad ground separation for the staged wide views. Do not treat this camera as the static eye-height close view inside unit 4 specified for S27_Shot21.",
            "subject_position_directive": "Keep the consuming-shot arrangements separate. S27_Shot12 commits 찰리 in the right midground, fully visible with one foot airborne, and the entire approaching element in the left foreground occupying no more than one third of the frame. S27_Shot18 instead commits 찰리's head and shoulder small at the lower-left edge and 신부's full silhouette center-right, with the stopped element behind him occupying less than one third. S27_Shot21 commits 구도환 center-right behind the corner within unit 4, with 찰리 and marker 12 offscreen; do not insert that close-view arrangement into this wide representative composition.",
            "state_cue_directive": "clean_background_expected=false; retain transient markers 12, 13, and 14 as shot-dependent cues rather than permanent structure. S27_Shot12 uses marker 12 approaching rapidly and the established switching behavior associated with marker 14, without added atmospheric effects. S27_Shot18 uses marker 12 stopped after braking and marker 13 backlighting the full silhouette. S27_Shot21 preserves darkness within unit 4 and neutral tonal separation without transferring marker 13 onto the face. These are separate temporal states, not simultaneous cues.",
            "negative_continuity_directive": "No ignored marker numbers are supplied. Avoid relocating openings 7 and 8 or fixtures 9, 10, and 11 to satisfy framing. Do not force marker 11 into this selected cone or interpret the visibility supersets as committed coverage. Do not bake markers 12–14 into permanent base identity. For S27_Shot21, avoid displaying marker 12 or carrying marker 13 into its subject treatment. Avoid merging the distinct staged camera positions and subject arrangements into one simultaneous view."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [7, 4]\n  - look_at_unit: 4\n  - look_at_cell: [4, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Use broad coverage from unit 3 toward unit 4 at opening 8. Both coordinates are exact copies from the unit-3 candidate arrays. This is the representative wide establishing geometry, not the separate close framing committed by S27_Shot21.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 3, show unit 1 across the foreground and middle distance, the visible portion of unit 2, and unit 4 through opening 8 at [4,4], with portions of units 5 and 6 flanking it. Retain opening 7 at [5,3], fixture 10 at [4,6], and fixture 9 at [4,1] where the frame boundary permits. Keep these fixed relationships tied to the base plan. Visibility candidates are supersets, not a requirement to show every unit or marker.\n  - camera_framing_directive: Place the camera in unit 3 at [7,4], looking toward unit 4 through [4,4], using wide coverage at 90 degrees. Preserve broad ground separation for the staged wide views. Do not treat this camera as the static eye-height close view inside unit 4 specified for S27_Shot21.\n  - subject_position_directive: Keep the consuming-shot arrangements separate. S27_Shot12 commits 찰리 in the right midground, fully visible with one foot airborne, and the entire approaching element in the left foreground occupying no more than one third of the frame. S27_Shot18 instead commits 찰리's head and shoulder small at the lower-left edge and 신부's full silhouette center-right, with the stopped element behind him occupying less than one third. S27_Shot21 commits 구도환 center-right behind the corner within unit 4, with 찰리 and marker 12 offscreen; do not insert that close-view arrangement into this wide representative composition.\n  - state_cue_directive: clean_background_expected=false; retain transient markers 12, 13, and 14 as shot-dependent cues rather than permanent structure. S27_Shot12 uses marker 12 approaching rapidly and the established switching behavior associated with marker 14, without added atmospheric effects. S27_Shot18 uses marker 12 stopped after braking and marker 13 backlighting the full silhouette. S27_Shot21 preserves darkness within unit 4 and neutral tonal separation without transferring marker 13 onto the face. These are separate temporal states, not simultaneous cues.\n  - negative_continuity_directive: No ignored marker numbers are supplied. Avoid relocating openings 7 and 8 or fixtures 9, 10, and 11 to satisfy framing. Do not force marker 11 into this selected cone or interpret the visibility supersets as committed coverage. Do not bake markers 12–14 into permanent base identity. For S27_Shot21, avoid displaying marker 12 or carrying marker 13 into its subject treatment. Avoid merging the distinct staged camera positions and subject arrangements into one simultaneous view.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [7, 4]\n  - look_at_unit: 4\n  - look_at_cell: [4, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Use broad coverage from unit 3 toward unit 4 at opening 8. Both coordinates are exact copies from the unit-3 candidate arrays. This is the representative wide establishing geometry, not the separate close framing committed by S27_Shot21.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 3, show unit 1 across the foreground and middle distance, the visible portion of unit 2, and unit 4 through opening 8 at [4,4], with portions of units 5 and 6 flanking it. Retain opening 7 at [5,3], fixture 10 at [4,6], and fixture 9 at [4,1] where the frame boundary permits. Keep these fixed relationships tied to the base plan. Visibility candidates are supersets, not a requirement to show every unit or marker.\n  - camera_framing_directive: Place the camera in unit 3 at [7,4], looking toward unit 4 through [4,4], using wide coverage at 90 degrees. Preserve broad ground separation for the staged wide views. Do not treat this camera as the static eye-height close view inside unit 4 specified for S27_Shot21.\n  - subject_position_directive: Keep the consuming-shot arrangements separate. S27_Shot12 commits 찰리 in the right midground, fully visible with one foot airborne, and the entire approaching element in the left foreground occupying no more than one third of the frame. S27_Shot18 instead commits 찰리's head and shoulder small at the lower-left edge and 신부's full silhouette center-right, with the stopped element behind him occupying less than one third. S27_Shot21 commits 구도환 center-right behind the corner within unit 4, with 찰리 and marker 12 offscreen; do not insert that close-view arrangement into this wide representative composition.\n  - state_cue_directive: clean_background_expected=false; retain transient markers 12, 13, and 14 as shot-dependent cues rather than permanent structure. S27_Shot12 uses marker 12 approaching rapidly and the established switching behavior associated with marker 14, without added atmospheric effects. S27_Shot18 uses marker 12 stopped after braking and marker 13 backlighting the full silhouette. S27_Shot21 preserves darkness within unit 4 and neutral tonal separation without transferring marker 13 onto the face. These are separate temporal states, not simultaneous cues.\n  - negative_continuity_directive: No ignored marker numbers are supplied. Avoid relocating openings 7 and 8 or fixtures 9, 10, and 11 to satisfy framing. Do not force marker 11 into this selected cone or interpret the visibility supersets as committed coverage. Do not bake markers 12–14 into permanent base identity. For S27_Shot21, avoid displaying marker 12 or carrying marker 13 into its subject treatment. Avoid merging the distinct staged camera positions and subject arrangements into one simultaneous view.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [7, 4]\n  - look_at_unit: 4\n  - look_at_cell: [4, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Use broad coverage from unit 3 toward unit 4 at opening 8. Both coordinates are exact copies from the unit-3 candidate arrays. This is the representative wide establishing geometry, not the separate close framing committed by S27_Shot21.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 3, show unit 1 across the foreground and middle distance, the visible portion of unit 2, and unit 4 through opening 8 at [4,4], with portions of units 5 and 6 flanking it. Retain opening 7 at [5,3], fixture 10 at [4,6], and fixture 9 at [4,1] where the frame boundary permits. Keep these fixed relationships tied to the base plan. Visibility candidates are supersets, not a requirement to show every unit or marker.\n  - camera_framing_directive: Place the camera in unit 3 at [7,4], looking toward unit 4 through [4,4], using wide coverage at 90 degrees. Preserve broad ground separation for the staged wide views. Do not treat this camera as the static eye-height close view inside unit 4 specified for S27_Shot21.\n  - subject_position_directive: Keep the consuming-shot arrangements separate. S27_Shot12 commits 찰리 in the right midground, fully visible with one foot airborne, and the entire approaching element in the left foreground occupying no more than one third of the frame. S27_Shot18 instead commits 찰리's head and shoulder small at the lower-left edge and 신부's full silhouette center-right, with the stopped element behind him occupying less than one third. S27_Shot21 commits 구도환 center-right behind the corner within unit 4, with 찰리 and marker 12 offscreen; do not insert that close-view arrangement into this wide representative composition.\n  - state_cue_directive: clean_background_expected=false; retain transient markers 12, 13, and 14 as shot-dependent cues rather than permanent structure. S27_Shot12 uses marker 12 approaching rapidly and the established switching behavior associated with marker 14, without added atmospheric effects. S27_Shot18 uses marker 12 stopped after braking and marker 13 backlighting the full silhouette. S27_Shot21 preserves darkness within unit 4 and neutral tonal separation without transferring marker 13 onto the face. These are separate temporal states, not simultaneous cues.\n  - negative_continuity_directive: No ignored marker numbers are supplied. Avoid relocating openings 7 and 8 or fixtures 9, 10, and 11 to satisfy framing. Do not force marker 11 into this selected cone or interpret the visibility supersets as committed coverage. Do not bake markers 12–14 into permanent base identity. For S27_Shot21, avoid displaying marker 12 or carrying marker 13 into its subject treatment. Avoid merging the distinct staged camera positions and subject arrangements into one simultaneous view.\n\n2069년 기후 재난 이후 한국의 오래된 도로와 인접 골목을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 야간 현장 기록 사진으로, 35밀리미터 풀프레임 미러리스 카메라와 28밀리미터 광각 렌즈를 사용하고 지면에서 약 1.6미터 높이의 서 있는 눈높이로 촬영한다. 골목 입구 바로 안쪽, 동쪽 모퉁이 건물의 남서쪽 모서리 가까이에서 남동쪽 도로와 차량 진입 방향을 바라본다. 동쪽 건물 모서리가 화면 전경 일부를 가리며, 그 너머로 차량 접근 구간과 정차 공간이 충분히 보인다. 내려다보는 시점이나 평면도, 건축 도해가 아닌 실제 거리의 수평 시점이다.\n\n배치 참고 이미지에 있는 동서 방향 도로, 양쪽의 좁은 도로 가장자리, 북쪽으로 이어지는 골목과 입구 양옆 건물의 공간 관계를 따른다. 북쪽 도로 가장자리는 골목 입구에서 끊기고 남쪽 가장자리는 이어진다. 맨홀 진입부는 골목 입구 서쪽의 도로 북측에 있으며, 화각에 들어오는 범위에서 화면 왼쪽 가장자리에 둔다. 가로등은 맨홀 서쪽, 골목 입구 바로 동쪽, 더 동쪽의 직선 진입 구간에 놓인 기존 위치를 유지한다. 한국의 기존 생활 도로가 오래 사용된 현실적인 환경으로, 아스팔트의 거친 골재, 건물 콘크리트의 미세한 표면 차이와 생활 얼룩, 금속 가로등의 자연스러운 산화와 마모를 선명하되 과장 없이 표현한다. 임의의 전면 붕괴나 과도한 미래 장식을 추가하지 않는다.\n\n대형 차량 한 대가 동쪽에서 서쪽을 향해 들어와 골목 입구 연장선 바로 동쪽에서 급히 멈추는 순간을 담는다. 차량과 도로 가장자리 사이에는 하차와 승차에 필요한 빈 공간을 확보한다. 차량은 이 순간 도착한 대상으로 보이며 영구 주차 시설처럼 취급하지 않는다. 전조등의 강한 빛이 서쪽으로 도로 표면을 가로질러 카메라 쪽에 역광과 실제 렌즈에서 생기는 제한적인 눈부심을 만든다. 골목 안쪽은 건물에 가려 상대적으로 어둡게 남는다. 도로를 따라 놓인 세 가로등의 점멸은 한 장의 사진에서 서로 다른 점등 강도와 켜지거나 꺼지는 중간 밝기로 포착하며, 조명 기구 자체의 위치는 바꾸지 않는다. 야간의 실제 주변광과 전조등, 가로등만으로 납득되는 노출과 그림자를 만들고, 차가운 회색 계열의 재료 본색과 자연스러운 명암을 유지한다. 자연스러운 피사계 심도와 실제 금속 차체의 반사를 살린다. 사람, 얼굴, 인체 형태의 형상은 차량 내부와 반사면을 포함해 어디에도 보이지 않는다. 과도한 보정이나 인위적인 미화 없이 실제 장소 참고 사진과 구별되지 않는 질감으로 표현한다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThe LAST attached image is a TOP-DOWN INTERIOR FLOOR PLAN of the building at this location — a STRUCTURAL REFERENCE ONLY, never content to draw. It defines the building's real scale: its footprint, room count, and the placement of its doors and windows. Render the scene so the building's exterior size, number of storeys, and the scale and placement of its doors and windows stay consistent with that plan. Do NOT draw the floor plan itself, its lines, text or numbers anywhere in the image.",
        "camera_decision": {
          "camera_unit": 3,
          "camera_cell": [
            7,
            4
          ],
          "look_at_unit": 4,
          "look_at_cell": [
            4,
            4
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Use broad coverage from unit 3 toward unit 4 at opening 8. Both coordinates are exact copies from the unit-3 candidate arrays. This is the representative wide establishing geometry, not the separate close framing committed by S27_Shot21."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "From unit 3, show unit 1 across the foreground and middle distance, the visible portion of unit 2, and unit 4 through opening 8 at [4,4], with portions of units 5 and 6 flanking it. Retain opening 7 at [5,3], fixture 10 at [4,6], and fixture 9 at [4,1] where the frame boundary permits. Keep these fixed relationships tied to the base plan. Visibility candidates are supersets, not a requirement to show every unit or marker.",
          "camera_framing_directive": "Place the camera in unit 3 at [7,4], looking toward unit 4 through [4,4], using wide coverage at 90 degrees. Preserve broad ground separation for the staged wide views. Do not treat this camera as the static eye-height close view inside unit 4 specified for S27_Shot21.",
          "subject_position_directive": "Keep the consuming-shot arrangements separate. S27_Shot12 commits 찰리 in the right midground, fully visible with one foot airborne, and the entire approaching element in the left foreground occupying no more than one third of the frame. S27_Shot18 instead commits 찰리's head and shoulder small at the lower-left edge and 신부's full silhouette center-right, with the stopped element behind him occupying less than one third. S27_Shot21 commits 구도환 center-right behind the corner within unit 4, with 찰리 and marker 12 offscreen; do not insert that close-view arrangement into this wide representative composition.",
          "state_cue_directive": "clean_background_expected=false; retain transient markers 12, 13, and 14 as shot-dependent cues rather than permanent structure. S27_Shot12 uses marker 12 approaching rapidly and the established switching behavior associated with marker 14, without added atmospheric effects. S27_Shot18 uses marker 12 stopped after braking and marker 13 backlighting the full silhouette. S27_Shot21 preserves darkness within unit 4 and neutral tonal separation without transferring marker 13 onto the face. These are separate temporal states, not simultaneous cues.",
          "negative_continuity_directive": "No ignored marker numbers are supplied. Avoid relocating openings 7 and 8 or fixtures 9, 10, and 11 to satisfy framing. Do not force marker 11 into this selected cone or interpret the visibility supersets as committed coverage. Do not bake markers 12–14 into permanent base identity. For S27_Shot21, avoid displaying marker 12 or carrying marker 13 into its subject treatment. Avoid merging the distinct staged camera positions and subject arrangements into one simultaneous view."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_l177_road_manhole",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_l177_road_manhole",
            "building_fp:fp_l175_sewer"
          ],
          "ref_used": "refs_2",
          "db_write_policy": "checkpoint_only"
        },
        "building_fp_ref": {
          "fp_id": "fp_l175_sewer",
          "indoor_loc_sid": "L175",
          "group_id": "bg_sewer_and_manhole",
          "fp_asset_id": "8299506a-271b-4287-98a4-da378d3ff9bc"
        }
      },
      "L179B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L179",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L179B01.png",
        "t2i_prompt": "2069년 기후 재난 이후 대한민국에서 계속 사용되는 낡은 밴의 야간 실내를 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 실제 장소 답사 사진과 구별되지 않는 물리적 질감과 자연스러운 노출로 표현한다. 미래라는 이유로 실내를 신형 장비로 바꾸지 않고, 한국에서 사용하던 좌측 운전석 밴의 실용적인 구조와 오래 사용한 내장재를 보여 준다.\n카메라는 뒷좌석 벤치의 오른쪽 끝 가까운 뒷공간에 두고 앞쪽 왼편을 비스듬히 바라본다. 차량 바닥에서 약 1.2미터인 앉은 눈높이, 35밀리미터 규격 카메라의 28밀리미터 광각 렌즈로 촬영하며 어안 왜곡 없이 좁은 실내의 깊이를 담는다. 운전석과 열린 운전석 창문, 앞유리가 함께 읽히고 가까운 화면 가장자리에는 뒷좌석과 적재 공간 일부가 들어온다. 내려다보는 평면도나 구조 도해가 아닌 실제 실내 투시 사진이다.\n앞쪽에는 왼쪽 운전석과 오른쪽 조수석이 나란히 있고, 앞유리 바로 아래로 대시보드가 가로지른다. 운전대는 운전석 바로 앞에 있으며 운전석 문에 창문이 통합되어 있다. 앞좌석 뒤로 이어지는 뒷공간에는 앞유리 쪽을 향한 벤치 좌석이 있다. 이 구조와 고정 가구의 상대 위치는 배치 참고 자료에서 읽어 유지한다.\n뒷좌석 위와 바로 옆 바닥에는 낡은 종이상자가 듬성듬성 놓여 있다. 상자를 촘촘히 쌓지 않고, 세 사람이 몸을 숨길 만한 빈 공간이 상자 사이와 좌석 주변에 나뉘어 남도록 한다. 빈틈은 실제로 비어 있으며 상자는 자연스러운 직육면체 형태다. 모든 촬영 범위에서 같은 상자 배치를 유지한다.\n밤의 희미한 외부 주변광이 앞유리와 열린 옆 창문을 통해 들어와 운전대 가장자리와 좌석 표면을 약하게 드러내고, 뒷공간은 더 어둡지만 상자와 빈틈의 구분이 가능하다. 유리 밖은 어두운 야간 공간으로 절제한다. 회색빛 내장재의 실제 요철, 좌석 직물의 짜임, 손이 닿아 닳은 운전대, 금속 부품의 가벼운 사용감, 종이상자의 섬유질과 접힌 모서리를 사실적으로 담는다. 일상적인 마모와 옅은 생활 얼룩은 있으나 실내 구조는 온전하고 적재 상태도 그대로다. 자연스러운 피사계 심도와 눈으로 보는 듯한 명암을 유지하며 과도한 보정이나 광고 사진처럼 말끔한 표면은 피한다. 삽화나 컴퓨터 생성 영상, 건축 시각화가 아니라 실제 카메라 촬영 사진이다. 차 안과 유리 너머 어디에도 사람, 얼굴, 사람 모양의 형체를 넣지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S28_Shot2",
            "guide_text": "뒷공간 오른쪽에서 앞쪽 왼편을 바라보는 기본 구도를 사용한다. 운전석, 열린 운전석 창문, 앞유리의 관계가 읽히게 하고 화면 가까운 가장자리에 종이상자와 뒷좌석 일부를 남겨 공간의 연결을 보여 준다. 차 안팎은 비워 둔다."
          },
          {
            "shot_id": "S28_Shot5",
            "guide_text": "기본 배경의 시점과 야간 노출을 유지한다. 운전석 쪽을 중심으로 범위를 좁힐 경우 운전대, 운전석 문과 열린 창문의 상대 위치를 보존하고, 창밖에 인물이나 별도의 사건 소품을 추가하지 않는다. 종이상자의 배치는 바꾸지 않는다."
          },
          {
            "shot_id": "S28_Shot7",
            "guide_text": "같은 배경의 뒷좌석과 인접 바닥을 활용할 때 낡은 종이상자 사이의 빈틈이 읽히도록 한다. 빈 공간에 사람이나 사람 형태의 물체를 채우지 않는다. 앞좌석과 이어지는 깊이, 고정된 상자 배치, 앞쪽보다 어두운 뒷공간의 밝기를 유지한다."
          }
        ],
        "shot_ids": [
          "S28_Shot2",
          "S28_Shot5",
          "S28_Shot7"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Inside number 2 near the right end of number 12, looking forward and diagonally left toward number 8, number 4, and number 3.",
          "camera_height": "Approximately seated eye level, typically 1.1–1.3 m above the vehicle floor.",
          "lens_hint": "24–28mm wide angle, avoiding fisheye distortion",
          "framing_notes": "Keep number 14 and a portion of number 12 in the foreground, with the driver position and dashboard in the middle distance. Preserve readable views through number 3 toward the external checkpoint and through the lowered window at number 4 toward the checking personnel. Exterior people are separate scene subjects, not floor-plan fixtures. Maintain the undamaged interior and unchanged cargo arrangement. Do not reveal concealed occupants through opaque seats or boxes, and do not force the roof decoration into this interior view."
        },
        "reference_decision": {
          "bg_id": "L179B01",
          "fp_id": "fp_rescue_van_interior",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L179B01 is the sole ready BG and sole eligible anchor in the explicitly widened fallback candidate set. Render it fresh without references, retaining its committed transient marker 14 rather than treating it as clean. Select a wide rearward representative view from unit 1 toward marker 12 in unit 2 to support S28_Shot2. The supplied camera candidates cannot reproduce that shot's passenger-side diagonal placement exactly. S28_Shot5 requires a forward view and S28_Shot7 a close lateral view; this single fixed camera does not satisfy those alternate framings, and they must not be combined into an invented composite view.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_rescue_van_interior.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The same-fp reference catalog is empty and this is the first and only graph node; the eligible fallback anchor must establish identity without a prior reference.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 1,
            "camera_cell": [
              3,
              4
            ],
            "look_at_unit": 2,
            "look_at_cell": [
              8,
              4
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad rearward coverage from the exact unit-1 camera candidate toward the exact permitted look-at cell occupied by marker 12. This retains the advertised rearward direction and wide field of view. Height and passenger-side offset are not encoded by the available coordinates; do not claim an exact reconstruction of the diagonal staging or of the other two shots' opposing views."
          },
          "render_guidance": {
            "visible_space_directive": "Show unit 2 ahead of the camera in unit 1, with marker 12 at its supplied rear position and transient marker 14 distributed through the visible area. Preserve the base-plan positions of visible fixed elements. Marker 13 is a possible peripheral opening within the broad rearward view, not a guaranteed unobstructed aperture: the visibility lists are supersets and establish no opening adjacency. Markers 3, 4, 5, 8, 9, 10 and 11 lie behind this rearward camera direction and must not be forced into the image merely because they appear in the BG's reference inventory.",
            "camera_framing_directive": "Use camera_unit 1 at camera_cell [3, 4], looking toward look_at_unit 2 at look_at_cell [8, 4], with wide coverage at 90 degrees. Frame the visible rear area broadly enough to preserve the separate concealment gaps required by S28_Shot2. Treat this as a fixed representative view; the forward framing of S28_Shot5 and close lateral framing of S28_Shot7 are not simultaneously visible from this decision.",
            "subject_position_directive": "For the S28_Shot2 staging supported by this view, preserve separate gaps for 현우 left, 앰버 center and 찰리 right, with staggered knees and shoulders and readable complete crouched poses. Their attention remains downward; 현우 lowers one shoulder, 앰버 folds over bent knees and 찰리 remains compressed between boxes. No individual box should occupy more than a quarter of the image. Do not relocate the subjects committed only to S28_Shot5 or S28_Shot7 into this rearward composition.",
            "state_cue_directive": "This BG is not marked clean. Carry transient marker 14, Scattered cargo boxes, using the S28_Shot2 state: worn paper boxes distributed through the rear seating area with separate occupied concealment gaps. Use the committed subdued nighttime ambient illumination with readable bodies and boxes, without introducing a cabin light or exterior color cast. The lowered marker-4 state belongs to S28_Shot7 and is outside this representative rearward view.",
            "negative_continuity_directive": "The ignore-numbered and ignored-overlay lists are empty. Avoid relocating fixed markers to satisfy incompatible shot directions, projecting markers 3, 4, 5, 8, 9, 10 or 11 into the rearward cone, or treating the visibility supersets as proof that every opening is exposed. Do not remove committed marker 14 to make L179B01 appear clean, and do not invent additional overlay markers or reference-derived state."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [3, 4]\n  - look_at_unit: 2\n  - look_at_cell: [8, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad rearward coverage from the exact unit-1 camera candidate toward the exact permitted look-at cell occupied by marker 12. This retains the advertised rearward direction and wide field of view. Height and passenger-side offset are not encoded by the available coordinates; do not claim an exact reconstruction of the diagonal staging or of the other two shots' opposing views.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 2 ahead of the camera in unit 1, with marker 12 at its supplied rear position and transient marker 14 distributed through the visible area. Preserve the base-plan positions of visible fixed elements. Marker 13 is a possible peripheral opening within the broad rearward view, not a guaranteed unobstructed aperture: the visibility lists are supersets and establish no opening adjacency. Markers 3, 4, 5, 8, 9, 10 and 11 lie behind this rearward camera direction and must not be forced into the image merely because they appear in the BG's reference inventory.\n  - camera_framing_directive: Use camera_unit 1 at camera_cell [3, 4], looking toward look_at_unit 2 at look_at_cell [8, 4], with wide coverage at 90 degrees. Frame the visible rear area broadly enough to preserve the separate concealment gaps required by S28_Shot2. Treat this as a fixed representative view; the forward framing of S28_Shot5 and close lateral framing of S28_Shot7 are not simultaneously visible from this decision.\n  - subject_position_directive: For the S28_Shot2 staging supported by this view, preserve separate gaps for 현우 left, 앰버 center and 찰리 right, with staggered knees and shoulders and readable complete crouched poses. Their attention remains downward; 현우 lowers one shoulder, 앰버 folds over bent knees and 찰리 remains compressed between boxes. No individual box should occupy more than a quarter of the image. Do not relocate the subjects committed only to S28_Shot5 or S28_Shot7 into this rearward composition.\n  - state_cue_directive: This BG is not marked clean. Carry transient marker 14, Scattered cargo boxes, using the S28_Shot2 state: worn paper boxes distributed through the rear seating area with separate occupied concealment gaps. Use the committed subdued nighttime ambient illumination with readable bodies and boxes, without introducing a cabin light or exterior color cast. The lowered marker-4 state belongs to S28_Shot7 and is outside this representative rearward view.\n  - negative_continuity_directive: The ignore-numbered and ignored-overlay lists are empty. Avoid relocating fixed markers to satisfy incompatible shot directions, projecting markers 3, 4, 5, 8, 9, 10 or 11 into the rearward cone, or treating the visibility supersets as proof that every opening is exposed. Do not remove committed marker 14 to make L179B01 appear clean, and do not invent additional overlay markers or reference-derived state.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [3, 4]\n  - look_at_unit: 2\n  - look_at_cell: [8, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad rearward coverage from the exact unit-1 camera candidate toward the exact permitted look-at cell occupied by marker 12. This retains the advertised rearward direction and wide field of view. Height and passenger-side offset are not encoded by the available coordinates; do not claim an exact reconstruction of the diagonal staging or of the other two shots' opposing views.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 2 ahead of the camera in unit 1, with marker 12 at its supplied rear position and transient marker 14 distributed through the visible area. Preserve the base-plan positions of visible fixed elements. Marker 13 is a possible peripheral opening within the broad rearward view, not a guaranteed unobstructed aperture: the visibility lists are supersets and establish no opening adjacency. Markers 3, 4, 5, 8, 9, 10 and 11 lie behind this rearward camera direction and must not be forced into the image merely because they appear in the BG's reference inventory.\n  - camera_framing_directive: Use camera_unit 1 at camera_cell [3, 4], looking toward look_at_unit 2 at look_at_cell [8, 4], with wide coverage at 90 degrees. Frame the visible rear area broadly enough to preserve the separate concealment gaps required by S28_Shot2. Treat this as a fixed representative view; the forward framing of S28_Shot5 and close lateral framing of S28_Shot7 are not simultaneously visible from this decision.\n  - subject_position_directive: For the S28_Shot2 staging supported by this view, preserve separate gaps for 현우 left, 앰버 center and 찰리 right, with staggered knees and shoulders and readable complete crouched poses. Their attention remains downward; 현우 lowers one shoulder, 앰버 folds over bent knees and 찰리 remains compressed between boxes. No individual box should occupy more than a quarter of the image. Do not relocate the subjects committed only to S28_Shot5 or S28_Shot7 into this rearward composition.\n  - state_cue_directive: This BG is not marked clean. Carry transient marker 14, Scattered cargo boxes, using the S28_Shot2 state: worn paper boxes distributed through the rear seating area with separate occupied concealment gaps. Use the committed subdued nighttime ambient illumination with readable bodies and boxes, without introducing a cabin light or exterior color cast. The lowered marker-4 state belongs to S28_Shot7 and is outside this representative rearward view.\n  - negative_continuity_directive: The ignore-numbered and ignored-overlay lists are empty. Avoid relocating fixed markers to satisfy incompatible shot directions, projecting markers 3, 4, 5, 8, 9, 10 or 11 into the rearward cone, or treating the visibility supersets as proof that every opening is exposed. Do not remove committed marker 14 to make L179B01 appear clean, and do not invent additional overlay markers or reference-derived state.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [3, 4]\n  - look_at_unit: 2\n  - look_at_cell: [8, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad rearward coverage from the exact unit-1 camera candidate toward the exact permitted look-at cell occupied by marker 12. This retains the advertised rearward direction and wide field of view. Height and passenger-side offset are not encoded by the available coordinates; do not claim an exact reconstruction of the diagonal staging or of the other two shots' opposing views.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 2 ahead of the camera in unit 1, with marker 12 at its supplied rear position and transient marker 14 distributed through the visible area. Preserve the base-plan positions of visible fixed elements. Marker 13 is a possible peripheral opening within the broad rearward view, not a guaranteed unobstructed aperture: the visibility lists are supersets and establish no opening adjacency. Markers 3, 4, 5, 8, 9, 10 and 11 lie behind this rearward camera direction and must not be forced into the image merely because they appear in the BG's reference inventory.\n  - camera_framing_directive: Use camera_unit 1 at camera_cell [3, 4], looking toward look_at_unit 2 at look_at_cell [8, 4], with wide coverage at 90 degrees. Frame the visible rear area broadly enough to preserve the separate concealment gaps required by S28_Shot2. Treat this as a fixed representative view; the forward framing of S28_Shot5 and close lateral framing of S28_Shot7 are not simultaneously visible from this decision.\n  - subject_position_directive: For the S28_Shot2 staging supported by this view, preserve separate gaps for 현우 left, 앰버 center and 찰리 right, with staggered knees and shoulders and readable complete crouched poses. Their attention remains downward; 현우 lowers one shoulder, 앰버 folds over bent knees and 찰리 remains compressed between boxes. No individual box should occupy more than a quarter of the image. Do not relocate the subjects committed only to S28_Shot5 or S28_Shot7 into this rearward composition.\n  - state_cue_directive: This BG is not marked clean. Carry transient marker 14, Scattered cargo boxes, using the S28_Shot2 state: worn paper boxes distributed through the rear seating area with separate occupied concealment gaps. Use the committed subdued nighttime ambient illumination with readable bodies and boxes, without introducing a cabin light or exterior color cast. The lowered marker-4 state belongs to S28_Shot7 and is outside this representative rearward view.\n  - negative_continuity_directive: The ignore-numbered and ignored-overlay lists are empty. Avoid relocating fixed markers to satisfy incompatible shot directions, projecting markers 3, 4, 5, 8, 9, 10 or 11 into the rearward cone, or treating the visibility supersets as proof that every opening is exposed. Do not remove committed marker 14 to make L179B01 appear clean, and do not invent additional overlay markers or reference-derived state.\n\n2069년 기후 재난 이후 대한민국에서 계속 사용되는 낡은 밴의 야간 실내를 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 실제 장소 답사 사진과 구별되지 않는 물리적 질감과 자연스러운 노출로 표현한다. 미래라는 이유로 실내를 신형 장비로 바꾸지 않고, 한국에서 사용하던 좌측 운전석 밴의 실용적인 구조와 오래 사용한 내장재를 보여 준다.\n카메라는 뒷좌석 벤치의 오른쪽 끝 가까운 뒷공간에 두고 앞쪽 왼편을 비스듬히 바라본다. 차량 바닥에서 약 1.2미터인 앉은 눈높이, 35밀리미터 규격 카메라의 28밀리미터 광각 렌즈로 촬영하며 어안 왜곡 없이 좁은 실내의 깊이를 담는다. 운전석과 열린 운전석 창문, 앞유리가 함께 읽히고 가까운 화면 가장자리에는 뒷좌석과 적재 공간 일부가 들어온다. 내려다보는 평면도나 구조 도해가 아닌 실제 실내 투시 사진이다.\n앞쪽에는 왼쪽 운전석과 오른쪽 조수석이 나란히 있고, 앞유리 바로 아래로 대시보드가 가로지른다. 운전대는 운전석 바로 앞에 있으며 운전석 문에 창문이 통합되어 있다. 앞좌석 뒤로 이어지는 뒷공간에는 앞유리 쪽을 향한 벤치 좌석이 있다. 이 구조와 고정 가구의 상대 위치는 배치 참고 자료에서 읽어 유지한다.\n뒷좌석 위와 바로 옆 바닥에는 낡은 종이상자가 듬성듬성 놓여 있다. 상자를 촘촘히 쌓지 않고, 세 사람이 몸을 숨길 만한 빈 공간이 상자 사이와 좌석 주변에 나뉘어 남도록 한다. 빈틈은 실제로 비어 있으며 상자는 자연스러운 직육면체 형태다. 모든 촬영 범위에서 같은 상자 배치를 유지한다.\n밤의 희미한 외부 주변광이 앞유리와 열린 옆 창문을 통해 들어와 운전대 가장자리와 좌석 표면을 약하게 드러내고, 뒷공간은 더 어둡지만 상자와 빈틈의 구분이 가능하다. 유리 밖은 어두운 야간 공간으로 절제한다. 회색빛 내장재의 실제 요철, 좌석 직물의 짜임, 손이 닿아 닳은 운전대, 금속 부품의 가벼운 사용감, 종이상자의 섬유질과 접힌 모서리를 사실적으로 담는다. 일상적인 마모와 옅은 생활 얼룩은 있으나 실내 구조는 온전하고 적재 상태도 그대로다. 자연스러운 피사계 심도와 눈으로 보는 듯한 명암을 유지하며 과도한 보정이나 광고 사진처럼 말끔한 표면은 피한다. 삽화나 컴퓨터 생성 영상, 건축 시각화가 아니라 실제 카메라 촬영 사진이다. 차 안과 유리 너머 어디에도 사람, 얼굴, 사람 모양의 형체를 넣지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "camera_decision": {
          "camera_unit": 1,
          "camera_cell": [
            3,
            4
          ],
          "look_at_unit": 2,
          "look_at_cell": [
            8,
            4
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad rearward coverage from the exact unit-1 camera candidate toward the exact permitted look-at cell occupied by marker 12. This retains the advertised rearward direction and wide field of view. Height and passenger-side offset are not encoded by the available coordinates; do not claim an exact reconstruction of the diagonal staging or of the other two shots' opposing views."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Show unit 2 ahead of the camera in unit 1, with marker 12 at its supplied rear position and transient marker 14 distributed through the visible area. Preserve the base-plan positions of visible fixed elements. Marker 13 is a possible peripheral opening within the broad rearward view, not a guaranteed unobstructed aperture: the visibility lists are supersets and establish no opening adjacency. Markers 3, 4, 5, 8, 9, 10 and 11 lie behind this rearward camera direction and must not be forced into the image merely because they appear in the BG's reference inventory.",
          "camera_framing_directive": "Use camera_unit 1 at camera_cell [3, 4], looking toward look_at_unit 2 at look_at_cell [8, 4], with wide coverage at 90 degrees. Frame the visible rear area broadly enough to preserve the separate concealment gaps required by S28_Shot2. Treat this as a fixed representative view; the forward framing of S28_Shot5 and close lateral framing of S28_Shot7 are not simultaneously visible from this decision.",
          "subject_position_directive": "For the S28_Shot2 staging supported by this view, preserve separate gaps for 현우 left, 앰버 center and 찰리 right, with staggered knees and shoulders and readable complete crouched poses. Their attention remains downward; 현우 lowers one shoulder, 앰버 folds over bent knees and 찰리 remains compressed between boxes. No individual box should occupy more than a quarter of the image. Do not relocate the subjects committed only to S28_Shot5 or S28_Shot7 into this rearward composition.",
          "state_cue_directive": "This BG is not marked clean. Carry transient marker 14, Scattered cargo boxes, using the S28_Shot2 state: worn paper boxes distributed through the rear seating area with separate occupied concealment gaps. Use the committed subdued nighttime ambient illumination with readable bodies and boxes, without introducing a cabin light or exterior color cast. The lowered marker-4 state belongs to S28_Shot7 and is outside this representative rearward view.",
          "negative_continuity_directive": "The ignore-numbered and ignored-overlay lists are empty. Avoid relocating fixed markers to satisfy incompatible shot directions, projecting markers 3, 4, 5, 8, 9, 10 or 11 into the rearward cone, or treating the visibility supersets as proof that every opening is exposed. Do not remove committed marker 14 to make L179B01 appear clean, and do not invent additional overlay markers or reference-derived state."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_rescue_van_interior",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_rescue_van_interior"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L180B02": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L180",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L180B02.png",
        "t2i_prompt": "기후 재난 이후인 2069년 대한민국의 소박한 지하 기도실을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 야간의 은신 공간을 실제 장소 기록 사진처럼 담는다. 35mm 풀프레임 미러리스 카메라와 28mm 광각 렌즈를 사용하며, 방의 남서쪽 안쪽에서 약 1.6m의 서 있는 눈높이로 북동쪽을 바라본다. 원근은 자연스럽고 수직선은 안정적이며, 위에서 내려다보는 구도가 아니다.\n참조 평면도는 공간 구성과 기존 물품의 위치를 이해하는 데만 사용한다. 직사각형 기도실의 북쪽 벽 중앙에 소박한 십자가가 있고, 그 아래 방 중심보다 조금 북쪽에 작은 나무 책상이 있다. 의자는 책상 서쪽과 남쪽에 각각 하나씩 놓여 있다. 동쪽 벽의 중앙보다 북쪽에는 건반이 서쪽을 향한 작은 풍금이 있으며, 그보다 북쪽인 북동쪽 모서리의 동쪽 벽에는 비밀 통로 입구가 있다. 서쪽 가장자리의 랜턴과 풍금 및 남동쪽 모서리 사이의 동쪽 가장자리 랜턴은 기존 위치에 유지한다. 책상과 십자가, 풍금이 한 화면에서 읽히고 남동쪽의 라디오 보관 구역은 화면 오른쪽 가장자리에 걸린다.\n이 순간 낡은 휴대용 라디오 한 대는 원래 보관하던 남동쪽 모서리에서 책상 주변의 대화 영역으로 옮겨져 잠시 들고 사용되는 상태다. 사람이 없는 배경 사진이므로 휴대 중인 라디오와 이를 드는 동작은 촬영 범위 밖으로 처리한다. 원래 라디오 자리에는 기기를 남겨 두지 않으며, 책상 위에도 같은 기기를 중복해서 놓지 않는다.\n한국의 소규모 지하 기도 공간다운 실용적인 마감과 오래 사용한 생활 장비의 물성을 살린다. 회색 콘크리트와 미장 벽의 미세한 표면 요철, 오래된 습기 얼룩, 책상과 의자 및 풍금의 실제 나뭇결과 닳은 모서리, 랜턴 금속의 얕은 산화 흔적이 보인다. 과장된 붕괴나 장식 없이 단출하고 계속 사용되어 온 공간이다. 밤의 어둠 속에서 기존 랜턴의 약한 따뜻한 생활광과 벽에 되비치는 간접광으로 물체의 윤곽을 읽을 수 있게 한다. 빛의 감쇠와 그림자는 물리적으로 자연스럽고, 회색 재료의 고유색과 작은 범위의 따뜻한 빛이 그대로 드러난다. 자연스러운 피사계 심도와 실제 저조도 촬영의 노출을 유지하며 과도한 후보정이나 광고 사진 같은 매끈한 정리는 하지 않는다. 사람, 얼굴, 신체 일부, 사람 모양의 형상은 전혀 담지 않는다. 그림이나 컴퓨터 생성 이미지, 건축 시각화가 아닌 실제 장소의 사진이다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S29_Shot6",
            "guide_text": "눈높이의 북동향 구도에서 책상과 십자가, 동쪽 풍금의 위치 관계를 유지한다. 남동쪽 보관 자리에 라디오를 남기지 않으며, 책상 주변에서 휴대 중인 라디오는 인물과 함께 화면 밖으로 처리한다. 약한 야간 생활광을 유지한다."
          },
          {
            "shot_id": "S30_Shot5",
            "guide_text": "공통 배경의 책상과 두 의자, 풍금, 양쪽 랜턴 배치를 그대로 연결한다. 휴대 중인 라디오를 책상 위에 임의로 놓거나 원래 모서리에 중복 배치하지 않는다. 사람이나 손은 묘사하지 않으며 별도의 조명 변화는 추가하지 않는다."
          },
          {
            "shot_id": "S30_Shot10",
            "guide_text": "북쪽 십자가와 책상, 동쪽 풍금이 만드는 공간 방향을 유지한다. 라디오가 책상 대화 영역으로 이동한 순간의 배경을 사용하되 휴대 상태 자체는 화면 밖에 둔다. 벽과 목재의 질감, 랜턴의 낮은 밝기를 공통 배경과 일치시킨다."
          },
          {
            "shot_id": "S30_Shot17",
            "guide_text": "고정 가구와 통로 입구의 위치를 바꾸지 않고 같은 야간 기도실로 연결한다. 남동쪽의 라디오 보관 자리는 비어 있으며 휴대 중인 라디오나 사용자의 신체를 배경 안에 추가하지 않는다. 근거 없는 발광 및 밝기 변화 없이 기존 노출을 유지한다."
          },
          {
            "shot_id": "S32_Shot5",
            "guide_text": "동일한 눈높이와 재료 질감, 약한 랜턴 조명을 기준으로 공간의 연속성을 유지한다. 라디오는 여전히 원래 보관 자리가 아닌 책상 대화 영역에서 휴대되는 상태로 해석하며, 인물 없는 배경에서는 화면 밖에 둔다. 가구 재배치나 추가 장비는 만들지 않는다."
          }
        ],
        "shot_ids": [
          "S29_Shot6",
          "S30_Shot5",
          "S30_Shot10",
          "S30_Shot17",
          "S32_Shot5"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Inside number 1, just northeast of number 3, facing diagonally northeast toward number 5, number 4, and number 8, with number 9 at the right edge.",
          "camera_height": "eye-level standing, approximately 1.6 m",
          "lens_hint": "24–28mm wide angle",
          "framing_notes": "Maintain one camera setup across this background's shots. Establish the table, cross, organ, radio corner, and lantern anchors together; keep number 13 unobtrusive but structurally consistent. Apply changing illumination per shot, never as a floor-plan feature. Number 16 applies only when the radio is explicitly held during the discussion; then remove the radio from its number 10 home position without changing the corner layout or creating a duplicate."
        },
        "reference_decision": {
          "bg_id": "L180B02",
          "fp_id": "fp_basement_prayer_room",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L180B02 is in the supplied fallback anchor candidate set and has readiness ok=true. Its staged wide view in S29_Shot6 provides the broadest basis for establishing unit 1 and its persistent fixtures. Choose camera unit 2 looking into unit 1 with wide coverage. The fallback does not change clean_background_expected=false; marker 16 and the differing shot-specific illumination remain scene-layer cues rather than permanent identity.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_basement_prayer_room.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The first node establishes dwelling identity directly from the supplied floor plan; the reference catalog is empty.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 2,
            "camera_cell": [
              7,
              1
            ],
            "look_at_unit": 1,
            "look_at_cell": [
              4,
              7
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad reference coverage from unit 2 across unit 1 toward base marker 12, retaining the north-side fixed elements and the unit 9 side within the angular coverage. This is the shared structural plate, not a claim that every consuming close or insert shot has this framing."
          },
          "render_guidance": {
            "visible_space_directive": "Establish unit 1 from camera unit 2 through opening 3, with the unit 2 edge in the left foreground. Use broad coverage toward [4,7] to retain base markers 4, 5, 6, 7 and 8 and the unit 9 side with marker 10 where unobstructed. Keep markers 11, 12 and 13 at their supplied positions when visible. The visibility candidate lists are supersets, not proof of unobstructed sightlines; do not extend the view into unit 14 beyond opening 13.",
            "camera_framing_directive": "Use camera unit 2 at [7,1], looking into unit 1 at [4,7], with a wide lens and 90-degree field of view. Preserve broad spatial coverage for S29_Shot6, including its left foreground access edge and background fixed elements. Treat the other shots' tighter compositions as shot-specific uses of this established layout, without relocating fixtures to fit their crops.",
            "subject_position_directive": "Apply subject cues separately by consuming shot, not as one combined tableau. S29_Shot6 places 신부 at left nearest the access base, 현우 center-left, 앰버 center-right and 찰리 farther right, with full bodies and upward attention. S30_Shot5 shows only C04's torso, excluding the face and other subjects. S30_Shot10 places C17 center-left beside C04's torso on the right, with C04's head outside the crop. S30_Shot17 places 앰버 center-left, 신부 center-right and only C17's turned shoulder and a sliver of head at the far-left foreground. S32_Shot5 places C01 left of center against the wall, with look-space right. Do not invent additional subjects or resolve unspecified floor positions.",
            "state_cue_directive": "Marker 16 is the committed transient overlay; its runtime state is Radio temporarily held. Preserve marker 10 as the home-position anchor without creating a second instance of the temporarily held equipment. Keep illumination shot-specific: selective warmth for S29_Shot6, the committed blue emission for S30_Shot5, bright illumination associated with the staged lantern cues for S30_Shot10 and S30_Shot17, and neutral ambient illumination for S32_Shot5. Do not combine these temporal states into a permanent room condition.",
            "negative_continuity_directive": "Exclude overlay marker 15. Do not duplicate marker 16 at marker 10 or convert marker 16 into a fixed fixture. Do not merge markers 5 and 7 merely because their coarse grid cells coincide. Avoid adding geometry beyond opening 13 or treating all candidate units and openings as simultaneously visible. Keep shot-specific subject and illumination states from becoming permanent structural features."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [7, 1]\n  - look_at_unit: 1\n  - look_at_cell: [4, 7]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad reference coverage from unit 2 across unit 1 toward base marker 12, retaining the north-side fixed elements and the unit 9 side within the angular coverage. This is the shared structural plate, not a claim that every consuming close or insert shot has this framing.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 1 from camera unit 2 through opening 3, with the unit 2 edge in the left foreground. Use broad coverage toward [4,7] to retain base markers 4, 5, 6, 7 and 8 and the unit 9 side with marker 10 where unobstructed. Keep markers 11, 12 and 13 at their supplied positions when visible. The visibility candidate lists are supersets, not proof of unobstructed sightlines; do not extend the view into unit 14 beyond opening 13.\n  - camera_framing_directive: Use camera unit 2 at [7,1], looking into unit 1 at [4,7], with a wide lens and 90-degree field of view. Preserve broad spatial coverage for S29_Shot6, including its left foreground access edge and background fixed elements. Treat the other shots' tighter compositions as shot-specific uses of this established layout, without relocating fixtures to fit their crops.\n  - subject_position_directive: Apply subject cues separately by consuming shot, not as one combined tableau. S29_Shot6 places 신부 at left nearest the access base, 현우 center-left, 앰버 center-right and 찰리 farther right, with full bodies and upward attention. S30_Shot5 shows only C04's torso, excluding the face and other subjects. S30_Shot10 places C17 center-left beside C04's torso on the right, with C04's head outside the crop. S30_Shot17 places 앰버 center-left, 신부 center-right and only C17's turned shoulder and a sliver of head at the far-left foreground. S32_Shot5 places C01 left of center against the wall, with look-space right. Do not invent additional subjects or resolve unspecified floor positions.\n  - state_cue_directive: Marker 16 is the committed transient overlay; its runtime state is Radio temporarily held. Preserve marker 10 as the home-position anchor without creating a second instance of the temporarily held equipment. Keep illumination shot-specific: selective warmth for S29_Shot6, the committed blue emission for S30_Shot5, bright illumination associated with the staged lantern cues for S30_Shot10 and S30_Shot17, and neutral ambient illumination for S32_Shot5. Do not combine these temporal states into a permanent room condition.\n  - negative_continuity_directive: Exclude overlay marker 15. Do not duplicate marker 16 at marker 10 or convert marker 16 into a fixed fixture. Do not merge markers 5 and 7 merely because their coarse grid cells coincide. Avoid adding geometry beyond opening 13 or treating all candidate units and openings as simultaneously visible. Keep shot-specific subject and illumination states from becoming permanent structural features.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [7, 1]\n  - look_at_unit: 1\n  - look_at_cell: [4, 7]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad reference coverage from unit 2 across unit 1 toward base marker 12, retaining the north-side fixed elements and the unit 9 side within the angular coverage. This is the shared structural plate, not a claim that every consuming close or insert shot has this framing.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 1 from camera unit 2 through opening 3, with the unit 2 edge in the left foreground. Use broad coverage toward [4,7] to retain base markers 4, 5, 6, 7 and 8 and the unit 9 side with marker 10 where unobstructed. Keep markers 11, 12 and 13 at their supplied positions when visible. The visibility candidate lists are supersets, not proof of unobstructed sightlines; do not extend the view into unit 14 beyond opening 13.\n  - camera_framing_directive: Use camera unit 2 at [7,1], looking into unit 1 at [4,7], with a wide lens and 90-degree field of view. Preserve broad spatial coverage for S29_Shot6, including its left foreground access edge and background fixed elements. Treat the other shots' tighter compositions as shot-specific uses of this established layout, without relocating fixtures to fit their crops.\n  - subject_position_directive: Apply subject cues separately by consuming shot, not as one combined tableau. S29_Shot6 places 신부 at left nearest the access base, 현우 center-left, 앰버 center-right and 찰리 farther right, with full bodies and upward attention. S30_Shot5 shows only C04's torso, excluding the face and other subjects. S30_Shot10 places C17 center-left beside C04's torso on the right, with C04's head outside the crop. S30_Shot17 places 앰버 center-left, 신부 center-right and only C17's turned shoulder and a sliver of head at the far-left foreground. S32_Shot5 places C01 left of center against the wall, with look-space right. Do not invent additional subjects or resolve unspecified floor positions.\n  - state_cue_directive: Marker 16 is the committed transient overlay; its runtime state is Radio temporarily held. Preserve marker 10 as the home-position anchor without creating a second instance of the temporarily held equipment. Keep illumination shot-specific: selective warmth for S29_Shot6, the committed blue emission for S30_Shot5, bright illumination associated with the staged lantern cues for S30_Shot10 and S30_Shot17, and neutral ambient illumination for S32_Shot5. Do not combine these temporal states into a permanent room condition.\n  - negative_continuity_directive: Exclude overlay marker 15. Do not duplicate marker 16 at marker 10 or convert marker 16 into a fixed fixture. Do not merge markers 5 and 7 merely because their coarse grid cells coincide. Avoid adding geometry beyond opening 13 or treating all candidate units and openings as simultaneously visible. Keep shot-specific subject and illumination states from becoming permanent structural features.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [7, 1]\n  - look_at_unit: 1\n  - look_at_cell: [4, 7]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad reference coverage from unit 2 across unit 1 toward base marker 12, retaining the north-side fixed elements and the unit 9 side within the angular coverage. This is the shared structural plate, not a claim that every consuming close or insert shot has this framing.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 1 from camera unit 2 through opening 3, with the unit 2 edge in the left foreground. Use broad coverage toward [4,7] to retain base markers 4, 5, 6, 7 and 8 and the unit 9 side with marker 10 where unobstructed. Keep markers 11, 12 and 13 at their supplied positions when visible. The visibility candidate lists are supersets, not proof of unobstructed sightlines; do not extend the view into unit 14 beyond opening 13.\n  - camera_framing_directive: Use camera unit 2 at [7,1], looking into unit 1 at [4,7], with a wide lens and 90-degree field of view. Preserve broad spatial coverage for S29_Shot6, including its left foreground access edge and background fixed elements. Treat the other shots' tighter compositions as shot-specific uses of this established layout, without relocating fixtures to fit their crops.\n  - subject_position_directive: Apply subject cues separately by consuming shot, not as one combined tableau. S29_Shot6 places 신부 at left nearest the access base, 현우 center-left, 앰버 center-right and 찰리 farther right, with full bodies and upward attention. S30_Shot5 shows only C04's torso, excluding the face and other subjects. S30_Shot10 places C17 center-left beside C04's torso on the right, with C04's head outside the crop. S30_Shot17 places 앰버 center-left, 신부 center-right and only C17's turned shoulder and a sliver of head at the far-left foreground. S32_Shot5 places C01 left of center against the wall, with look-space right. Do not invent additional subjects or resolve unspecified floor positions.\n  - state_cue_directive: Marker 16 is the committed transient overlay; its runtime state is Radio temporarily held. Preserve marker 10 as the home-position anchor without creating a second instance of the temporarily held equipment. Keep illumination shot-specific: selective warmth for S29_Shot6, the committed blue emission for S30_Shot5, bright illumination associated with the staged lantern cues for S30_Shot10 and S30_Shot17, and neutral ambient illumination for S32_Shot5. Do not combine these temporal states into a permanent room condition.\n  - negative_continuity_directive: Exclude overlay marker 15. Do not duplicate marker 16 at marker 10 or convert marker 16 into a fixed fixture. Do not merge markers 5 and 7 merely because their coarse grid cells coincide. Avoid adding geometry beyond opening 13 or treating all candidate units and openings as simultaneously visible. Keep shot-specific subject and illumination states from becoming permanent structural features.\n\n기후 재난 이후인 2069년 대한민국의 소박한 지하 기도실을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 야간의 은신 공간을 실제 장소 기록 사진처럼 담는다. 35mm 풀프레임 미러리스 카메라와 28mm 광각 렌즈를 사용하며, 방의 남서쪽 안쪽에서 약 1.6m의 서 있는 눈높이로 북동쪽을 바라본다. 원근은 자연스럽고 수직선은 안정적이며, 위에서 내려다보는 구도가 아니다.\n참조 평면도는 공간 구성과 기존 물품의 위치를 이해하는 데만 사용한다. 직사각형 기도실의 북쪽 벽 중앙에 소박한 십자가가 있고, 그 아래 방 중심보다 조금 북쪽에 작은 나무 책상이 있다. 의자는 책상 서쪽과 남쪽에 각각 하나씩 놓여 있다. 동쪽 벽의 중앙보다 북쪽에는 건반이 서쪽을 향한 작은 풍금이 있으며, 그보다 북쪽인 북동쪽 모서리의 동쪽 벽에는 비밀 통로 입구가 있다. 서쪽 가장자리의 랜턴과 풍금 및 남동쪽 모서리 사이의 동쪽 가장자리 랜턴은 기존 위치에 유지한다. 책상과 십자가, 풍금이 한 화면에서 읽히고 남동쪽의 라디오 보관 구역은 화면 오른쪽 가장자리에 걸린다.\n이 순간 낡은 휴대용 라디오 한 대는 원래 보관하던 남동쪽 모서리에서 책상 주변의 대화 영역으로 옮겨져 잠시 들고 사용되는 상태다. 사람이 없는 배경 사진이므로 휴대 중인 라디오와 이를 드는 동작은 촬영 범위 밖으로 처리한다. 원래 라디오 자리에는 기기를 남겨 두지 않으며, 책상 위에도 같은 기기를 중복해서 놓지 않는다.\n한국의 소규모 지하 기도 공간다운 실용적인 마감과 오래 사용한 생활 장비의 물성을 살린다. 회색 콘크리트와 미장 벽의 미세한 표면 요철, 오래된 습기 얼룩, 책상과 의자 및 풍금의 실제 나뭇결과 닳은 모서리, 랜턴 금속의 얕은 산화 흔적이 보인다. 과장된 붕괴나 장식 없이 단출하고 계속 사용되어 온 공간이다. 밤의 어둠 속에서 기존 랜턴의 약한 따뜻한 생활광과 벽에 되비치는 간접광으로 물체의 윤곽을 읽을 수 있게 한다. 빛의 감쇠와 그림자는 물리적으로 자연스럽고, 회색 재료의 고유색과 작은 범위의 따뜻한 빛이 그대로 드러난다. 자연스러운 피사계 심도와 실제 저조도 촬영의 노출을 유지하며 과도한 후보정이나 광고 사진 같은 매끈한 정리는 하지 않는다. 사람, 얼굴, 신체 일부, 사람 모양의 형상은 전혀 담지 않는다. 그림이나 컴퓨터 생성 이미지, 건축 시각화가 아닌 실제 장소의 사진이다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 2,
          "camera_cell": [
            7,
            1
          ],
          "look_at_unit": 1,
          "look_at_cell": [
            4,
            7
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad reference coverage from unit 2 across unit 1 toward base marker 12, retaining the north-side fixed elements and the unit 9 side within the angular coverage. This is the shared structural plate, not a claim that every consuming close or insert shot has this framing."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Establish unit 1 from camera unit 2 through opening 3, with the unit 2 edge in the left foreground. Use broad coverage toward [4,7] to retain base markers 4, 5, 6, 7 and 8 and the unit 9 side with marker 10 where unobstructed. Keep markers 11, 12 and 13 at their supplied positions when visible. The visibility candidate lists are supersets, not proof of unobstructed sightlines; do not extend the view into unit 14 beyond opening 13.",
          "camera_framing_directive": "Use camera unit 2 at [7,1], looking into unit 1 at [4,7], with a wide lens and 90-degree field of view. Preserve broad spatial coverage for S29_Shot6, including its left foreground access edge and background fixed elements. Treat the other shots' tighter compositions as shot-specific uses of this established layout, without relocating fixtures to fit their crops.",
          "subject_position_directive": "Apply subject cues separately by consuming shot, not as one combined tableau. S29_Shot6 places 신부 at left nearest the access base, 현우 center-left, 앰버 center-right and 찰리 farther right, with full bodies and upward attention. S30_Shot5 shows only C04's torso, excluding the face and other subjects. S30_Shot10 places C17 center-left beside C04's torso on the right, with C04's head outside the crop. S30_Shot17 places 앰버 center-left, 신부 center-right and only C17's turned shoulder and a sliver of head at the far-left foreground. S32_Shot5 places C01 left of center against the wall, with look-space right. Do not invent additional subjects or resolve unspecified floor positions.",
          "state_cue_directive": "Marker 16 is the committed transient overlay; its runtime state is Radio temporarily held. Preserve marker 10 as the home-position anchor without creating a second instance of the temporarily held equipment. Keep illumination shot-specific: selective warmth for S29_Shot6, the committed blue emission for S30_Shot5, bright illumination associated with the staged lantern cues for S30_Shot10 and S30_Shot17, and neutral ambient illumination for S32_Shot5. Do not combine these temporal states into a permanent room condition.",
          "negative_continuity_directive": "Exclude overlay marker 15. Do not duplicate marker 16 at marker 10 or convert marker 16 into a fixed fixture. Do not merge markers 5 and 7 merely because their coarse grid cells coincide. Avoid adding geometry beyond opening 13 or treating all candidate units and openings as simultaneously visible. Keep shot-specific subject and illumination states from becoming permanent structural features."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_basement_prayer_room",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_basement_prayer_room"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L182B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L182",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L182B01.png",
        "t2i_prompt": "실제 카메라로 촬영한 다큐멘터리 풍 사진. 기후 재난 이후인 2069년 무렵 한국의 오래된 건물 1층 현관에서 밤에 바깥을 내다보는 빈 공간이다. 현관 안쪽에 서서 약 1.6미터 높이의 눈높이로, 출입문에 달린 개폐식 확인창과 대략 같은 높이에서 촬영한다. 35밀리미터 규격의 풀프레임 미러리스 카메라와 50밀리미터 표준 렌즈를 사용한 듯한 좁고 자연스러운 시야다. 가까운 문틀과 두꺼운 출입문 면이 전경의 상당 부분을 가리고, 문턱 너머 외부 진입 공간은 제한적으로만 보인다. 출입문은 경첩 반대쪽 가장자리에 좁은 틈이 생길 정도로 살짝 열려 있다. 그 틈을 통해 실내 바닥에서 문턱을 지나 문밖 바닥으로 이어지는 짧은 공간의 깊이가 읽히게 한다. 문밖의 보이는 영역은 비워 두고, 시야를 넓히려고 문을 더 크게 열지 않는다. 출입문에 붙은 개폐식 확인창은 문짝의 실제 부속 구조로 표현하며, 바깥을 보는 주된 통로는 문 가장자리의 좁은 틈이다.\n참조 평면도는 현관 내부, 문턱, 외부 진입 공간, 출입구 양옆 벽과 문틀, 경첩식 출입문과 확인창의 위치 관계만 판단하는 데 사용한다. 한국의 기존 건물을 오래 사용한 현실적인 재료감으로, 미장 벽의 거친 표면, 문턱 콘크리트의 마모와 오래된 얼룩, 도장된 금속 문과 문틀의 잔잔한 긁힘 및 산화 흔적을 담는다. 미래라는 이유로 외형을 새 기계 장치처럼 바꾸지 않는다. 밤의 희미한 외부 주변광이 문틈과 문턱의 윤곽을 드러내고, 실내는 그보다 어둡게 남는다. 차가운 회색 계열의 실제 재료색과 자연스러운 명암을 유지하되 가까운 문 표면의 질감이 구분될 만큼 노출한다. 실제 렌즈의 자연스러운 피사계 심도로 가까운 문 가장자리와 문턱에 시선을 두고 문밖은 조금 부드럽게 보인다. 과도한 보정 없는 현장 기록 사진이며, 광고용으로 말끔하게 정돈한 사진이나 컴퓨터 합성 이미지, 삽화, 건축 시각화가 아니다. 사람, 얼굴, 인체 형태의 형상은 전혀 담지 않는다. 내려다보는 구도나 평면도식 표현이 아닌 수평 눈높이 사진. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S29_Shot10",
            "guide_text": "1층 현관 안쪽의 서 있는 관찰자 눈높이에서 바깥을 본다. 가까운 문틀과 문짝의 가림을 유지하고, 좁은 문틈 너머 문턱과 외부 진입 공간 일부만 보여 준다. 문밖에는 후속 인물 배치를 위한 빈 공간의 깊이를 확보하되 배경 자체에는 사람이나 사람 형태의 그림자를 넣지 않는다. 개폐식 확인창 너머의 시점으로 바꾸지 않으며, 밤의 낮은 주변광과 실내외의 자연스러운 밝기 차이를 유지한다."
          }
        ],
        "shot_ids": [
          "S29_Shot10"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Inside number 1, close to one jamb of number 4, looking outward past number 5 through the narrow gap specified by number 7, across number 2 toward number 3; number 6 remains part of the nearby door.",
          "camera_height": "Interior observer eye level, aligned approximately with the viewing hatch; exact height unspecified",
          "lens_hint": "50mm normal lens for a restricted, partially occluded outward view",
          "framing_notes": "Keep the nearby jamb and door prominent in the foreground. Show only a limited portion of the exterior approach, leaving room for two facing figures to be staged outside without embedding them in the background. Preserve nighttime conditions in the downstream background only. Do not substitute a basement setting or add airborne vehicles from the separate sky insert."
        },
        "reference_decision": {
          "bg_id": "L182B01",
          "fp_id": "fp_ground_floor_entrance",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L182B01 is ready and is the sole permitted anchor candidate under the supplied ramped fallback, despite clean_background_expected=false and transient marker 7. With no reference catalog or earlier node, establish identity directly from base markers 1–6. For S29_Shot10, place the camera in unit 1 and aim toward unit 3 through marker 6, using the exact permitted look-at cell [4, 4]. Normal framing supports the staged medium upper-body composition while the opening itself restricts visibility.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_ground_floor_entrance.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "This is the first and only node; the same-fp reference catalog is empty. The permitted anchor is seeded from the floor plan without references.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 1,
            "camera_cell": [
              7,
              4
            ],
            "look_at_unit": 3,
            "look_at_cell": [
              4,
              4
            ],
            "lens_enum": "normal",
            "fov_deg": 50,
            "framing_notes": "Static subjective view from unit 1 toward unit 3, aimed at marker 6 at [4, 4]. Use neutral 50-degree coverage for the staged medium composition, with marker 6 supplying slim foreground borders. The listed coordinate candidates govern the camera and aim; the unit-direction records do not supply replacement coordinates."
          },
          "render_guidance": {
            "visible_space_directive": "View from unit 1 toward unit 3 through base opening marker 6 within marker 5. Keep marker 6 centered in the foreground, with its edges limiting the visible portion of unit 3. Preserve the floor-plan relationships of base markers 1–6; units 2 and 4 are contextual geometry, not a requirement to expose them broadly. The geometry's visibility lists are supersets and do not establish unrestricted visibility through marker 5.",
            "camera_framing_directive": "Use camera_unit 1 at [7, 4], look_at_unit 3 with look_at_cell [4, 4], and a normal lens at 50 degrees for neutral coverage. Follow the committed static, eye-height subjective framing and medium upper-body composition. Let marker 6 form slim foreground borders around the two staged subjects rather than widening the view through marker 5.",
            "subject_position_directive": "Follow S29_Shot10: 신부 appears at left, three_quarter_right, inclining slightly toward the conversation with lowered eyeline; 낯선 남자 appears at right, profile_left, lifting his chin and gaze toward 신부. Show their upper bodies beyond marker 6 with mutual attention rather than lens address. 현우, including his hands, remains entirely absent from the frame.",
            "state_cue_directive": "Carry transient marker 7, labeled Narrowly ajar door state, while preserving the staged sightline through marker 6 rather than through a gap beside marker 5. Marker 6 is open sufficiently for the committed outward view. Apply the staged nighttime subdued ambient tonal separation. clean_background_expected=false; no additional transient markers or state cues are committed.",
            "negative_continuity_directive": "No ignore_numbered_elements or ignored_state_overlay_marker_numbers are listed. Avoid relocating base markers 5 and 6, substituting a side gap at marker 5 for the sightline through marker 6, or treating visibility supersets as unobstructed views of units 2–4. Avoid additional unlisted markers, subjects, state overlays, or lighting treatments, and preserve the committed foreground placement of marker 6."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [7, 4]\n  - look_at_unit: 3\n  - look_at_cell: [4, 4]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Static subjective view from unit 1 toward unit 3, aimed at marker 6 at [4, 4]. Use neutral 50-degree coverage for the staged medium composition, with marker 6 supplying slim foreground borders. The listed coordinate candidates govern the camera and aim; the unit-direction records do not supply replacement coordinates.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: View from unit 1 toward unit 3 through base opening marker 6 within marker 5. Keep marker 6 centered in the foreground, with its edges limiting the visible portion of unit 3. Preserve the floor-plan relationships of base markers 1–6; units 2 and 4 are contextual geometry, not a requirement to expose them broadly. The geometry's visibility lists are supersets and do not establish unrestricted visibility through marker 5.\n  - camera_framing_directive: Use camera_unit 1 at [7, 4], look_at_unit 3 with look_at_cell [4, 4], and a normal lens at 50 degrees for neutral coverage. Follow the committed static, eye-height subjective framing and medium upper-body composition. Let marker 6 form slim foreground borders around the two staged subjects rather than widening the view through marker 5.\n  - subject_position_directive: Follow S29_Shot10: 신부 appears at left, three_quarter_right, inclining slightly toward the conversation with lowered eyeline; 낯선 남자 appears at right, profile_left, lifting his chin and gaze toward 신부. Show their upper bodies beyond marker 6 with mutual attention rather than lens address. 현우, including his hands, remains entirely absent from the frame.\n  - state_cue_directive: Carry transient marker 7, labeled Narrowly ajar door state, while preserving the staged sightline through marker 6 rather than through a gap beside marker 5. Marker 6 is open sufficiently for the committed outward view. Apply the staged nighttime subdued ambient tonal separation. clean_background_expected=false; no additional transient markers or state cues are committed.\n  - negative_continuity_directive: No ignore_numbered_elements or ignored_state_overlay_marker_numbers are listed. Avoid relocating base markers 5 and 6, substituting a side gap at marker 5 for the sightline through marker 6, or treating visibility supersets as unobstructed views of units 2–4. Avoid additional unlisted markers, subjects, state overlays, or lighting treatments, and preserve the committed foreground placement of marker 6.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [7, 4]\n  - look_at_unit: 3\n  - look_at_cell: [4, 4]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Static subjective view from unit 1 toward unit 3, aimed at marker 6 at [4, 4]. Use neutral 50-degree coverage for the staged medium composition, with marker 6 supplying slim foreground borders. The listed coordinate candidates govern the camera and aim; the unit-direction records do not supply replacement coordinates.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: View from unit 1 toward unit 3 through base opening marker 6 within marker 5. Keep marker 6 centered in the foreground, with its edges limiting the visible portion of unit 3. Preserve the floor-plan relationships of base markers 1–6; units 2 and 4 are contextual geometry, not a requirement to expose them broadly. The geometry's visibility lists are supersets and do not establish unrestricted visibility through marker 5.\n  - camera_framing_directive: Use camera_unit 1 at [7, 4], look_at_unit 3 with look_at_cell [4, 4], and a normal lens at 50 degrees for neutral coverage. Follow the committed static, eye-height subjective framing and medium upper-body composition. Let marker 6 form slim foreground borders around the two staged subjects rather than widening the view through marker 5.\n  - subject_position_directive: Follow S29_Shot10: 신부 appears at left, three_quarter_right, inclining slightly toward the conversation with lowered eyeline; 낯선 남자 appears at right, profile_left, lifting his chin and gaze toward 신부. Show their upper bodies beyond marker 6 with mutual attention rather than lens address. 현우, including his hands, remains entirely absent from the frame.\n  - state_cue_directive: Carry transient marker 7, labeled Narrowly ajar door state, while preserving the staged sightline through marker 6 rather than through a gap beside marker 5. Marker 6 is open sufficiently for the committed outward view. Apply the staged nighttime subdued ambient tonal separation. clean_background_expected=false; no additional transient markers or state cues are committed.\n  - negative_continuity_directive: No ignore_numbered_elements or ignored_state_overlay_marker_numbers are listed. Avoid relocating base markers 5 and 6, substituting a side gap at marker 5 for the sightline through marker 6, or treating visibility supersets as unobstructed views of units 2–4. Avoid additional unlisted markers, subjects, state overlays, or lighting treatments, and preserve the committed foreground placement of marker 6.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [7, 4]\n  - look_at_unit: 3\n  - look_at_cell: [4, 4]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Static subjective view from unit 1 toward unit 3, aimed at marker 6 at [4, 4]. Use neutral 50-degree coverage for the staged medium composition, with marker 6 supplying slim foreground borders. The listed coordinate candidates govern the camera and aim; the unit-direction records do not supply replacement coordinates.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: View from unit 1 toward unit 3 through base opening marker 6 within marker 5. Keep marker 6 centered in the foreground, with its edges limiting the visible portion of unit 3. Preserve the floor-plan relationships of base markers 1–6; units 2 and 4 are contextual geometry, not a requirement to expose them broadly. The geometry's visibility lists are supersets and do not establish unrestricted visibility through marker 5.\n  - camera_framing_directive: Use camera_unit 1 at [7, 4], look_at_unit 3 with look_at_cell [4, 4], and a normal lens at 50 degrees for neutral coverage. Follow the committed static, eye-height subjective framing and medium upper-body composition. Let marker 6 form slim foreground borders around the two staged subjects rather than widening the view through marker 5.\n  - subject_position_directive: Follow S29_Shot10: 신부 appears at left, three_quarter_right, inclining slightly toward the conversation with lowered eyeline; 낯선 남자 appears at right, profile_left, lifting his chin and gaze toward 신부. Show their upper bodies beyond marker 6 with mutual attention rather than lens address. 현우, including his hands, remains entirely absent from the frame.\n  - state_cue_directive: Carry transient marker 7, labeled Narrowly ajar door state, while preserving the staged sightline through marker 6 rather than through a gap beside marker 5. Marker 6 is open sufficiently for the committed outward view. Apply the staged nighttime subdued ambient tonal separation. clean_background_expected=false; no additional transient markers or state cues are committed.\n  - negative_continuity_directive: No ignore_numbered_elements or ignored_state_overlay_marker_numbers are listed. Avoid relocating base markers 5 and 6, substituting a side gap at marker 5 for the sightline through marker 6, or treating visibility supersets as unobstructed views of units 2–4. Avoid additional unlisted markers, subjects, state overlays, or lighting treatments, and preserve the committed foreground placement of marker 6.\n\n실제 카메라로 촬영한 다큐멘터리 풍 사진. 기후 재난 이후인 2069년 무렵 한국의 오래된 건물 1층 현관에서 밤에 바깥을 내다보는 빈 공간이다. 현관 안쪽에 서서 약 1.6미터 높이의 눈높이로, 출입문에 달린 개폐식 확인창과 대략 같은 높이에서 촬영한다. 35밀리미터 규격의 풀프레임 미러리스 카메라와 50밀리미터 표준 렌즈를 사용한 듯한 좁고 자연스러운 시야다. 가까운 문틀과 두꺼운 출입문 면이 전경의 상당 부분을 가리고, 문턱 너머 외부 진입 공간은 제한적으로만 보인다. 출입문은 경첩 반대쪽 가장자리에 좁은 틈이 생길 정도로 살짝 열려 있다. 그 틈을 통해 실내 바닥에서 문턱을 지나 문밖 바닥으로 이어지는 짧은 공간의 깊이가 읽히게 한다. 문밖의 보이는 영역은 비워 두고, 시야를 넓히려고 문을 더 크게 열지 않는다. 출입문에 붙은 개폐식 확인창은 문짝의 실제 부속 구조로 표현하며, 바깥을 보는 주된 통로는 문 가장자리의 좁은 틈이다.\n참조 평면도는 현관 내부, 문턱, 외부 진입 공간, 출입구 양옆 벽과 문틀, 경첩식 출입문과 확인창의 위치 관계만 판단하는 데 사용한다. 한국의 기존 건물을 오래 사용한 현실적인 재료감으로, 미장 벽의 거친 표면, 문턱 콘크리트의 마모와 오래된 얼룩, 도장된 금속 문과 문틀의 잔잔한 긁힘 및 산화 흔적을 담는다. 미래라는 이유로 외형을 새 기계 장치처럼 바꾸지 않는다. 밤의 희미한 외부 주변광이 문틈과 문턱의 윤곽을 드러내고, 실내는 그보다 어둡게 남는다. 차가운 회색 계열의 실제 재료색과 자연스러운 명암을 유지하되 가까운 문 표면의 질감이 구분될 만큼 노출한다. 실제 렌즈의 자연스러운 피사계 심도로 가까운 문 가장자리와 문턱에 시선을 두고 문밖은 조금 부드럽게 보인다. 과도한 보정 없는 현장 기록 사진이며, 광고용으로 말끔하게 정돈한 사진이나 컴퓨터 합성 이미지, 삽화, 건축 시각화가 아니다. 사람, 얼굴, 인체 형태의 형상은 전혀 담지 않는다. 내려다보는 구도나 평면도식 표현이 아닌 수평 눈높이 사진. 16:9 가로 비율, 실제 카메라 촬영본",
        "camera_decision": {
          "camera_unit": 1,
          "camera_cell": [
            7,
            4
          ],
          "look_at_unit": 3,
          "look_at_cell": [
            4,
            4
          ],
          "lens_enum": "normal",
          "fov_deg": 50,
          "framing_notes": "Static subjective view from unit 1 toward unit 3, aimed at marker 6 at [4, 4]. Use neutral 50-degree coverage for the staged medium composition, with marker 6 supplying slim foreground borders. The listed coordinate candidates govern the camera and aim; the unit-direction records do not supply replacement coordinates."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "View from unit 1 toward unit 3 through base opening marker 6 within marker 5. Keep marker 6 centered in the foreground, with its edges limiting the visible portion of unit 3. Preserve the floor-plan relationships of base markers 1–6; units 2 and 4 are contextual geometry, not a requirement to expose them broadly. The geometry's visibility lists are supersets and do not establish unrestricted visibility through marker 5.",
          "camera_framing_directive": "Use camera_unit 1 at [7, 4], look_at_unit 3 with look_at_cell [4, 4], and a normal lens at 50 degrees for neutral coverage. Follow the committed static, eye-height subjective framing and medium upper-body composition. Let marker 6 form slim foreground borders around the two staged subjects rather than widening the view through marker 5.",
          "subject_position_directive": "Follow S29_Shot10: 신부 appears at left, three_quarter_right, inclining slightly toward the conversation with lowered eyeline; 낯선 남자 appears at right, profile_left, lifting his chin and gaze toward 신부. Show their upper bodies beyond marker 6 with mutual attention rather than lens address. 현우, including his hands, remains entirely absent from the frame.",
          "state_cue_directive": "Carry transient marker 7, labeled Narrowly ajar door state, while preserving the staged sightline through marker 6 rather than through a gap beside marker 5. Marker 6 is open sufficiently for the committed outward view. Apply the staged nighttime subdued ambient tonal separation. clean_background_expected=false; no additional transient markers or state cues are committed.",
          "negative_continuity_directive": "No ignore_numbered_elements or ignored_state_overlay_marker_numbers are listed. Avoid relocating base markers 5 and 6, substituting a side gap at marker 5 for the sightline through marker 6, or treating visibility supersets as unobstructed views of units 2–4. Avoid additional unlisted markers, subjects, state overlays, or lighting treatments, and preserve the committed foreground placement of marker 6."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_ground_floor_entrance",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_ground_floor_entrance"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L183B01": {
        "status": "ok",
        "location_id": "L183",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L183B01.png",
        "t2i_prompt": "2069년 기후 재난 이후 대한민국의 성당 주변 상공에서 진행되는 야간 수색을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 지상에 선 촬영자가 약 1.6미터 높이에서 실제 미러리스 카메라와 35밀리미터급 렌즈를 위로 기울여 어두운 밤하늘을 담는다. 지면이나 실내에 종속되지 않는 독립된 상공 배경으로, 화면은 밤하늘과 수색 장비만으로 구성한다. 화면 상부 한쪽에 실제 비행 가능한 구조의 헬기 한 대가 있고, 기체 하부의 서치라이트에서 나온 강한 백색 빛줄기가 화면 중앙을 지나 반대쪽 아래 화면 밖으로 비스듬히 뻗는다. 빛은 옅은 대기 중 수분과 먼지에 산란되어 보이며, 광원 부근은 밝고 멀어질수록 경계와 밝기가 자연스럽게 약해진다. 빛줄기 주변 상공에는 다수의 작은 감시 드론이 밀집해 있다. 드론은 거리마다 크기가 다른 어두운 실루엣으로 보이고, 일부는 빛에 가장자리만 드러나 소형 동체와 회전날개의 물리적 형태가 구별된다. 생물 떼가 아니라 실제 기계이며, 서로 완전히 겹치지 않는 불규칙한 간격과 앞뒤 거리감을 유지한다. 미래의 감시 장비와 오래 사용한 헬기가 공존하며, 빛이 닿는 기체 일부에만 무광 금속 표면, 도장 마모, 접합부의 미세한 때가 실제 촬영 거리에서 가능한 정도로 드러난다. 밤하늘의 희미한 자연광과 실제 서치라이트만으로 노출된 현장 사진처럼, 검정에 가까운 하늘과 차가운 회색의 옅은 구름을 유지한다. 먼 상공에 맞춘 초점과 자연스러운 심도, 회전날개의 약한 움직임 흐림, 어두운 부분의 제한된 세부 묘사를 살린다. 과도한 색 보정이나 인위적인 광채 없이 실제 야간 현장 기록 사진과 구별되지 않는 사실성. 정돈된 광고 사진이나 컴퓨터 합성 이미지, 삽화, 건축 시각화가 아니다. 사람, 얼굴, 시신, 혈흔은 없으며 조종석 내부 인물도 보이지 않는다. 성당 건물이나 지붕을 억지로 끼워 넣지 않고, 지하실의 벽·천장·창문·문·가구는 전혀 포함하지 않는다. 공중 표적 표시, 자막, 홀로그램, 초자연적인 빛은 없다. 내려다보는 시점이나 평면도, 건축 도해가 아닌 지상에서 올려다본 실제 밤하늘 사진. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S29_Shot12",
            "guide_text": "지상 약 1.6미터 높이에서 35밀리미터급 렌즈로 올려다본 가로 구도. 헬기는 화면 상부 한쪽에 두고, 서치라이트가 어두운 하늘을 대각선으로 가르며 화면 밖 지상 방향으로 향하게 한다. 광선 주변에 작은 드론 실루엣을 밀집시키되 서로 구별될 여백과 원근 차이를 남긴다. 하늘 중심의 독립 배경을 유지하고 성당 내부, 지하실 요소, 지면, 인물 및 화면 표시를 추가하지 않는다."
          }
        ],
        "shot_ids": [
          "S29_Shot12"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {},
        "reference_decision": {
          "mode": "surface_role_direct_plate",
          "surface_role": "exterior_plate",
          "fp_id": "",
          "source_bg_ids": []
        },
        "effective_render_prompt": "2069년 기후 재난 이후 대한민국의 성당 주변 상공에서 진행되는 야간 수색을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 지상에 선 촬영자가 약 1.6미터 높이에서 실제 미러리스 카메라와 35밀리미터급 렌즈를 위로 기울여 어두운 밤하늘을 담는다. 지면이나 실내에 종속되지 않는 독립된 상공 배경으로, 화면은 밤하늘과 수색 장비만으로 구성한다. 화면 상부 한쪽에 실제 비행 가능한 구조의 헬기 한 대가 있고, 기체 하부의 서치라이트에서 나온 강한 백색 빛줄기가 화면 중앙을 지나 반대쪽 아래 화면 밖으로 비스듬히 뻗는다. 빛은 옅은 대기 중 수분과 먼지에 산란되어 보이며, 광원 부근은 밝고 멀어질수록 경계와 밝기가 자연스럽게 약해진다. 빛줄기 주변 상공에는 다수의 작은 감시 드론이 밀집해 있다. 드론은 거리마다 크기가 다른 어두운 실루엣으로 보이고, 일부는 빛에 가장자리만 드러나 소형 동체와 회전날개의 물리적 형태가 구별된다. 생물 떼가 아니라 실제 기계이며, 서로 완전히 겹치지 않는 불규칙한 간격과 앞뒤 거리감을 유지한다. 미래의 감시 장비와 오래 사용한 헬기가 공존하며, 빛이 닿는 기체 일부에만 무광 금속 표면, 도장 마모, 접합부의 미세한 때가 실제 촬영 거리에서 가능한 정도로 드러난다. 밤하늘의 희미한 자연광과 실제 서치라이트만으로 노출된 현장 사진처럼, 검정에 가까운 하늘과 차가운 회색의 옅은 구름을 유지한다. 먼 상공에 맞춘 초점과 자연스러운 심도, 회전날개의 약한 움직임 흐림, 어두운 부분의 제한된 세부 묘사를 살린다. 과도한 색 보정이나 인위적인 광채 없이 실제 야간 현장 기록 사진과 구별되지 않는 사실성. 정돈된 광고 사진이나 컴퓨터 합성 이미지, 삽화, 건축 시각화가 아니다. 사람, 얼굴, 시신, 혈흔은 없으며 조종석 내부 인물도 보이지 않는다. 성당 건물이나 지붕을 억지로 끼워 넣지 않고, 지하실의 벽·천장·창문·문·가구는 전혀 포함하지 않는다. 공중 표적 표시, 자막, 홀로그램, 초자연적인 빛은 없다. 내려다보는 시점이나 평면도, 건축 도해가 아닌 지상에서 올려다본 실제 밤하늘 사진. 16:9 가로 비율, 실제 카메라 촬영본\n\nThe LAST attached image is a TOP-DOWN INTERIOR FLOOR PLAN of the building at this location — a STRUCTURAL REFERENCE ONLY, never content to draw. It defines the building's real scale: its footprint, room count, and the placement of its doors and windows. Render the scene so the building's exterior size, number of storeys, and the scale and placement of its doors and windows stay consistent with that plan. Do NOT draw the floor plan itself, its lines, text or numbers anywhere in the image.",
        "shot_aware_plan_mode": "surface_role_direct_plate",
        "attached_reference_lineage": {
          "fp_id": "",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "building_fp:fp_basement_prayer_room"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        },
        "building_fp_ref": {
          "fp_id": "fp_basement_prayer_room",
          "indoor_loc_sid": "L180",
          "group_id": "bg_urban_church",
          "fp_asset_id": "2fafa9d5-16b2-4a1f-800e-ea9464f4a314"
        }
      },
      "L180B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L180",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L180B01.png",
        "t2i_prompt": "2069년 기후 재난 이후 대한민국의 오래된 건물 지하에 유지되고 있는 소박한 기도실을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 직사각형 실내이며, 한국의 기존 지하 공간을 활용한 장소답게 콘크리트 벽과 바닥, 오래 사용한 목제 가구의 실제 나뭇결과 모서리 마모, 금속 표면의 잔잔한 산화와 생활 얼룩을 사실적으로 담는다. 미래라는 이유로 장비나 마감재를 새것으로 바꾸지 않는다. 과장된 폐허가 아니라 계속 관리하며 사용하는 공간이다.\n\n평면도는 공간의 배치 관계를 파악하는 데만 사용한다. 북쪽 벽 중앙에는 인체 조각이 없는 단순한 벽 십자가가 있고, 그 아래 방 중앙보다 조금 북쪽에 작은 탁자가 있다. 의자는 탁자의 서쪽과 남쪽에 각각 놓여 있다. 동쪽 벽의 중앙보다 북쪽에는 건반이 서쪽을 향한 작은 리드 오르간이 있고, 그보다 남쪽의 동쪽 가장자리에는 기존 랜턴이 있다. 오르간 북쪽, 방의 북동쪽 구석 동쪽 벽에 비밀 통로 입구가 있으며, 입구 바로 너머 동쪽으로 이어지는 짧은 통로의 시작 부분만 보인다. 통로의 나머지 구조는 화면 밖에 둔다. 가구와 고정물의 기존 위치를 유지한다.\n\n카메라는 작은 탁자 남쪽의 실내에 놓고 북동쪽을 향한다. 서 있는 사람의 눈높이 약 1.6미터에서 전형적인 35밀리미터 판형 미러리스 카메라와 28밀리미터 광각 렌즈로 촬영한 시야다. 전경의 바닥에서 북동쪽 통로 입구까지 이어지는 비어 있는 접근 동선을 명확하게 보이고, 목적지 곁의 오르간이 위치 관계를 알려 주도록 구성한다. 수직선은 자연스럽게 유지하고 과도한 광각 왜곡은 피한다. 방 전체를 위에서 내려다보지 않는다.\n\n긴급 대피를 앞둔 순간의 낮은 실내 밝기 속에서, 화면 밖에서 통로 쪽으로 이동 중인 휴대용 손전등의 빛이 접근로 바닥과 입구 안쪽 벽을 비춘다. 손전등은 고정 조명이 아니며, 공간 안에 따로 내려놓거나 공중에 떠 있는 물체로 표현하지 않는다. 이동 광원의 존재는 한순간 포착된 빛의 방향과 자연스러운 거리별 밝기 감소로 드러낸다. 기존 랜턴의 약한 따뜻한 빛과 손전등의 백색광이 회색 콘크리트에 실제처럼 반사되며, 어두운 부분에도 재질을 읽을 수 있는 정도의 세부가 남는다. 긴박함은 입구를 향한 시선과 조명으로만 전달하고 공간에는 침입이나 파손 흔적을 만들지 않는다. 사람, 얼굴, 손, 인체형 형상이나 사람 모양 그림자는 전혀 보이지 않는다. 실제 장소 기록 사진처럼 자연스러운 노출과 피사계 심도, 절제된 명암을 유지하며 인공적인 색 보정이나 매끈한 홍보 사진의 질감을 피한다. 그림이나 컴퓨터 그래픽이 아닌 실제 촬영 사진. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S32_Shot8",
            "guide_text": "탁자 남쪽의 눈높이 시점에서 북동쪽 입구까지 이어지는 접근 동선이 읽히도록 배경을 사용한다. 탁자와 의자, 벽 십자가, 오르간의 기존 상대 위치를 유지한다. 손전등은 화면 밖 이동 광원이며 바닥과 입구에 닿는 빛만 보이고, 인물이나 손을 배경에 포함하지 않는다."
          },
          {
            "shot_id": "S32_Shot9",
            "guide_text": "같은 공간과 조명 상태를 이어 사용한다. 입구 주변을 중심으로 잘라 쓰더라도 오르간이 입구 남쪽에 있고 통로가 동쪽으로 이어지는 관계를 유지한다. 손전등 빛을 벽에 부착된 조명으로 바꾸지 않으며, 통로의 보이지 않는 나머지 구조나 새로운 파손을 추가하지 않는다."
          }
        ],
        "shot_ids": [
          "S32_Shot8",
          "S32_Shot9"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "Inside number 1, south of number 5 and east of number 3, facing northeast along the clear approach toward number 13 and number 14, with number 8 beside the destination.",
          "camera_height": "eye-level standing, approximately 1.6 m",
          "lens_hint": "28mm wide angle",
          "framing_notes": "Maintain one camera setup across both evacuation shots. Prioritize the passage mouth and its unobstructed approach, with the table and chairs toward the left foreground and the organ along the right wall. Number 15 is a carried object and moving light source, not a wall fixture. Preserve the intact room: no broken door, intrusion marks, displaced anchor furniture, or drawn evacuation trail."
        },
        "reference_decision": {
          "bg_id": "L180B01",
          "fp_id": "fp_basement_prayer_room",
          "node_index": 1,
          "mode": "same_physical_space_view",
          "is_dwelling_identity_anchor": false,
          "rationale": "S32_Shot8 and S32_Shot9 occupy the same unit 1 physical space established by L180B02, now directed toward opening 13 and the unit 14 approach. L180B02 therefore commits the fixed layout. Camera unit 1 at [2,3] looking toward [1,8] gives a genuinely different, narrower slice than the anchor's unit 2 wide view, so this is not a low-delta reuse candidate despite the overlapping base markers. The pointing action and subsequent contact detail remain shot-specific.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L180B02.png"
          ],
          "source_bg_ids": [
            "L180B02"
          ],
          "fp_included": false,
          "reference_decision": {
            "selected_refs": [
              {
                "ref_bg_id": "L180B02",
                "physical_space_id": "unit_1_shared_space",
                "space_description": "Unit 1 and its persistent base-marker layout, including the approach to opening 13."
              }
            ],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "single_same_physical_space_reference",
            "why_single_ref_or_two_refs": "One reference commits the shared unit 1 structure. The staged view toward opening 13 does not require a second independently established visible space; the continuation beyond the unit 14 approach is outside the shot.",
            "physical_space_id_per_ref": [
              "unit_1_shared_space"
            ],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 1,
            "camera_cell": [
              2,
              3
            ],
            "look_at_unit": 14,
            "look_at_cell": [
              1,
              8
            ],
            "lens_enum": "normal",
            "fov_deg": 50,
            "framing_notes": "Neutral coverage from unit 1 toward opening 13 at the unit 14 approach. The exact look-at cell is the opening cell, not an invented point inside the passage continuation. Reserve middle-right background for the destination of the staged gesture."
          },
          "render_guidance": {
            "visible_space_directive": "Show the northeast portion of unit 1 toward opening 13 at [1,8], with only the unit 14 approach supported by S32_Shot8 and its continuation outside the frame. Inherit L180B02's fixed positions: marker 4 on the north wall, markers 5, 6 and 7 around their established central arrangement, marker 8 on the east side, marker 12 farther south along that side, and opening 13 north of marker 8. Retain those placements even when the narrower view leaves individual markers off-screen; do not force all referenced markers into this composition.",
            "camera_framing_directive": "Use camera unit 1 at [2,3], looking toward unit 14's approach at [1,8], with a normal lens and 50-degree field of view for neutral coverage. Keep opening 13 in the middle-right background of the S32_Shot8 composition. This decision specifies the background view; it does not add camera motion or new coordinates to the geometry. S32_Shot9 uses only the limited background needed for its staged contact detail.",
            "subject_position_directive": "For S32_Shot8, reserve middle-left midground for C11's advancing upper body, with marker 15 low near the torso and the pointing hand directed toward opening 13 in the middle-right background; keep both hands inside that shot's crop. For S32_Shot9, C01's hand enters from lower left and grasps C11's arm across center-right, with both faces excluded. These are separate shot states, not simultaneous subject arrangements.",
            "state_cue_directive": "Carry transient marker 15 in the committed tightly held position for S32_Shot8. Maintain its staged neutral ambient illumination and readable hand contours without assuming marker 15 is switched on. S32_Shot9 retains the preceding neutral illumination and controlled contrast for the contact detail. Keep these action cues separate from the persistent layout inherited from L180B02.",
            "negative_continuity_directive": "Exclude marker 16 and do not carry L180B02's transient illumination states into this BG. Preserve the reference positions of markers 4, 5, 6, 7, 8, 12 and 13 rather than rearranging them for the narrower view. Do not force units 2 or 9 or opening 3 into this view from their superset visibility status. Do not invent a mechanism at marker 13 or extend unit 14 beyond the committed approach."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L180B02' physical_space_id='unit_1_shared_space'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [2, 3]\n  - look_at_unit: 14\n  - look_at_cell: [1, 8]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral coverage from unit 1 toward opening 13 at the unit 14 approach. The exact look-at cell is the opening cell, not an invented point inside the passage continuation. Reserve middle-right background for the destination of the staged gesture.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the northeast portion of unit 1 toward opening 13 at [1,8], with only the unit 14 approach supported by S32_Shot8 and its continuation outside the frame. Inherit L180B02's fixed positions: marker 4 on the north wall, markers 5, 6 and 7 around their established central arrangement, marker 8 on the east side, marker 12 farther south along that side, and opening 13 north of marker 8. Retain those placements even when the narrower view leaves individual markers off-screen; do not force all referenced markers into this composition.\n  - camera_framing_directive: Use camera unit 1 at [2,3], looking toward unit 14's approach at [1,8], with a normal lens and 50-degree field of view for neutral coverage. Keep opening 13 in the middle-right background of the S32_Shot8 composition. This decision specifies the background view; it does not add camera motion or new coordinates to the geometry. S32_Shot9 uses only the limited background needed for its staged contact detail.\n  - subject_position_directive: For S32_Shot8, reserve middle-left midground for C11's advancing upper body, with marker 15 low near the torso and the pointing hand directed toward opening 13 in the middle-right background; keep both hands inside that shot's crop. For S32_Shot9, C01's hand enters from lower left and grasps C11's arm across center-right, with both faces excluded. These are separate shot states, not simultaneous subject arrangements.\n  - state_cue_directive: Carry transient marker 15 in the committed tightly held position for S32_Shot8. Maintain its staged neutral ambient illumination and readable hand contours without assuming marker 15 is switched on. S32_Shot9 retains the preceding neutral illumination and controlled contrast for the contact detail. Keep these action cues separate from the persistent layout inherited from L180B02.\n  - negative_continuity_directive: Exclude marker 16 and do not carry L180B02's transient illumination states into this BG. Preserve the reference positions of markers 4, 5, 6, 7, 8, 12 and 13 rather than rearranging them for the narrower view. Do not force units 2 or 9 or opening 3 into this view from their superset visibility status. Do not invent a mechanism at marker 13 or extend unit 14 beyond the committed approach.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L180B02' physical_space_id='unit_1_shared_space'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [2, 3]\n  - look_at_unit: 14\n  - look_at_cell: [1, 8]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral coverage from unit 1 toward opening 13 at the unit 14 approach. The exact look-at cell is the opening cell, not an invented point inside the passage continuation. Reserve middle-right background for the destination of the staged gesture.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the northeast portion of unit 1 toward opening 13 at [1,8], with only the unit 14 approach supported by S32_Shot8 and its continuation outside the frame. Inherit L180B02's fixed positions: marker 4 on the north wall, markers 5, 6 and 7 around their established central arrangement, marker 8 on the east side, marker 12 farther south along that side, and opening 13 north of marker 8. Retain those placements even when the narrower view leaves individual markers off-screen; do not force all referenced markers into this composition.\n  - camera_framing_directive: Use camera unit 1 at [2,3], looking toward unit 14's approach at [1,8], with a normal lens and 50-degree field of view for neutral coverage. Keep opening 13 in the middle-right background of the S32_Shot8 composition. This decision specifies the background view; it does not add camera motion or new coordinates to the geometry. S32_Shot9 uses only the limited background needed for its staged contact detail.\n  - subject_position_directive: For S32_Shot8, reserve middle-left midground for C11's advancing upper body, with marker 15 low near the torso and the pointing hand directed toward opening 13 in the middle-right background; keep both hands inside that shot's crop. For S32_Shot9, C01's hand enters from lower left and grasps C11's arm across center-right, with both faces excluded. These are separate shot states, not simultaneous subject arrangements.\n  - state_cue_directive: Carry transient marker 15 in the committed tightly held position for S32_Shot8. Maintain its staged neutral ambient illumination and readable hand contours without assuming marker 15 is switched on. S32_Shot9 retains the preceding neutral illumination and controlled contrast for the contact detail. Keep these action cues separate from the persistent layout inherited from L180B02.\n  - negative_continuity_directive: Exclude marker 16 and do not carry L180B02's transient illumination states into this BG. Preserve the reference positions of markers 4, 5, 6, 7, 8, 12 and 13 rather than rearranging them for the narrower view. Do not force units 2 or 9 or opening 3 into this view from their superset visibility status. Do not invent a mechanism at marker 13 or extend unit 14 beyond the committed approach.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L180B02' physical_space_id='unit_1_shared_space'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [2, 3]\n  - look_at_unit: 14\n  - look_at_cell: [1, 8]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral coverage from unit 1 toward opening 13 at the unit 14 approach. The exact look-at cell is the opening cell, not an invented point inside the passage continuation. Reserve middle-right background for the destination of the staged gesture.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the northeast portion of unit 1 toward opening 13 at [1,8], with only the unit 14 approach supported by S32_Shot8 and its continuation outside the frame. Inherit L180B02's fixed positions: marker 4 on the north wall, markers 5, 6 and 7 around their established central arrangement, marker 8 on the east side, marker 12 farther south along that side, and opening 13 north of marker 8. Retain those placements even when the narrower view leaves individual markers off-screen; do not force all referenced markers into this composition.\n  - camera_framing_directive: Use camera unit 1 at [2,3], looking toward unit 14's approach at [1,8], with a normal lens and 50-degree field of view for neutral coverage. Keep opening 13 in the middle-right background of the S32_Shot8 composition. This decision specifies the background view; it does not add camera motion or new coordinates to the geometry. S32_Shot9 uses only the limited background needed for its staged contact detail.\n  - subject_position_directive: For S32_Shot8, reserve middle-left midground for C11's advancing upper body, with marker 15 low near the torso and the pointing hand directed toward opening 13 in the middle-right background; keep both hands inside that shot's crop. For S32_Shot9, C01's hand enters from lower left and grasps C11's arm across center-right, with both faces excluded. These are separate shot states, not simultaneous subject arrangements.\n  - state_cue_directive: Carry transient marker 15 in the committed tightly held position for S32_Shot8. Maintain its staged neutral ambient illumination and readable hand contours without assuming marker 15 is switched on. S32_Shot9 retains the preceding neutral illumination and controlled contrast for the contact detail. Keep these action cues separate from the persistent layout inherited from L180B02.\n  - negative_continuity_directive: Exclude marker 16 and do not carry L180B02's transient illumination states into this BG. Preserve the reference positions of markers 4, 5, 6, 7, 8, 12 and 13 rather than rearranging them for the narrower view. Do not force units 2 or 9 or opening 3 into this view from their superset visibility status. Do not invent a mechanism at marker 13 or extend unit 14 beyond the committed approach.\n\n2069년 기후 재난 이후 대한민국의 오래된 건물 지하에 유지되고 있는 소박한 기도실을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 직사각형 실내이며, 한국의 기존 지하 공간을 활용한 장소답게 콘크리트 벽과 바닥, 오래 사용한 목제 가구의 실제 나뭇결과 모서리 마모, 금속 표면의 잔잔한 산화와 생활 얼룩을 사실적으로 담는다. 미래라는 이유로 장비나 마감재를 새것으로 바꾸지 않는다. 과장된 폐허가 아니라 계속 관리하며 사용하는 공간이다.\n\n평면도는 공간의 배치 관계를 파악하는 데만 사용한다. 북쪽 벽 중앙에는 인체 조각이 없는 단순한 벽 십자가가 있고, 그 아래 방 중앙보다 조금 북쪽에 작은 탁자가 있다. 의자는 탁자의 서쪽과 남쪽에 각각 놓여 있다. 동쪽 벽의 중앙보다 북쪽에는 건반이 서쪽을 향한 작은 리드 오르간이 있고, 그보다 남쪽의 동쪽 가장자리에는 기존 랜턴이 있다. 오르간 북쪽, 방의 북동쪽 구석 동쪽 벽에 비밀 통로 입구가 있으며, 입구 바로 너머 동쪽으로 이어지는 짧은 통로의 시작 부분만 보인다. 통로의 나머지 구조는 화면 밖에 둔다. 가구와 고정물의 기존 위치를 유지한다.\n\n카메라는 작은 탁자 남쪽의 실내에 놓고 북동쪽을 향한다. 서 있는 사람의 눈높이 약 1.6미터에서 전형적인 35밀리미터 판형 미러리스 카메라와 28밀리미터 광각 렌즈로 촬영한 시야다. 전경의 바닥에서 북동쪽 통로 입구까지 이어지는 비어 있는 접근 동선을 명확하게 보이고, 목적지 곁의 오르간이 위치 관계를 알려 주도록 구성한다. 수직선은 자연스럽게 유지하고 과도한 광각 왜곡은 피한다. 방 전체를 위에서 내려다보지 않는다.\n\n긴급 대피를 앞둔 순간의 낮은 실내 밝기 속에서, 화면 밖에서 통로 쪽으로 이동 중인 휴대용 손전등의 빛이 접근로 바닥과 입구 안쪽 벽을 비춘다. 손전등은 고정 조명이 아니며, 공간 안에 따로 내려놓거나 공중에 떠 있는 물체로 표현하지 않는다. 이동 광원의 존재는 한순간 포착된 빛의 방향과 자연스러운 거리별 밝기 감소로 드러낸다. 기존 랜턴의 약한 따뜻한 빛과 손전등의 백색광이 회색 콘크리트에 실제처럼 반사되며, 어두운 부분에도 재질을 읽을 수 있는 정도의 세부가 남는다. 긴박함은 입구를 향한 시선과 조명으로만 전달하고 공간에는 침입이나 파손 흔적을 만들지 않는다. 사람, 얼굴, 손, 인체형 형상이나 사람 모양 그림자는 전혀 보이지 않는다. 실제 장소 기록 사진처럼 자연스러운 노출과 피사계 심도, 절제된 명암을 유지하며 인공적인 색 보정이나 매끈한 홍보 사진의 질감을 피한다. 그림이나 컴퓨터 그래픽이 아닌 실제 촬영 사진. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 1,
          "camera_cell": [
            2,
            3
          ],
          "look_at_unit": 14,
          "look_at_cell": [
            1,
            8
          ],
          "lens_enum": "normal",
          "fov_deg": 50,
          "framing_notes": "Neutral coverage from unit 1 toward opening 13 at the unit 14 approach. The exact look-at cell is the opening cell, not an invented point inside the passage continuation. Reserve middle-right background for the destination of the staged gesture."
        },
        "shot_aware_plan_node_index": 1,
        "shot_aware_plan_mode": "same_physical_space_view",
        "render_guidance": {
          "visible_space_directive": "Show the northeast portion of unit 1 toward opening 13 at [1,8], with only the unit 14 approach supported by S32_Shot8 and its continuation outside the frame. Inherit L180B02's fixed positions: marker 4 on the north wall, markers 5, 6 and 7 around their established central arrangement, marker 8 on the east side, marker 12 farther south along that side, and opening 13 north of marker 8. Retain those placements even when the narrower view leaves individual markers off-screen; do not force all referenced markers into this composition.",
          "camera_framing_directive": "Use camera unit 1 at [2,3], looking toward unit 14's approach at [1,8], with a normal lens and 50-degree field of view for neutral coverage. Keep opening 13 in the middle-right background of the S32_Shot8 composition. This decision specifies the background view; it does not add camera motion or new coordinates to the geometry. S32_Shot9 uses only the limited background needed for its staged contact detail.",
          "subject_position_directive": "For S32_Shot8, reserve middle-left midground for C11's advancing upper body, with marker 15 low near the torso and the pointing hand directed toward opening 13 in the middle-right background; keep both hands inside that shot's crop. For S32_Shot9, C01's hand enters from lower left and grasps C11's arm across center-right, with both faces excluded. These are separate shot states, not simultaneous subject arrangements.",
          "state_cue_directive": "Carry transient marker 15 in the committed tightly held position for S32_Shot8. Maintain its staged neutral ambient illumination and readable hand contours without assuming marker 15 is switched on. S32_Shot9 retains the preceding neutral illumination and controlled contrast for the contact detail. Keep these action cues separate from the persistent layout inherited from L180B02.",
          "negative_continuity_directive": "Exclude marker 16 and do not carry L180B02's transient illumination states into this BG. Preserve the reference positions of markers 4, 5, 6, 7, 8, 12 and 13 rather than rearranging them for the narrower view. Do not force units 2 or 9 or opening 3 into this view from their superset visibility status. Do not invent a mechanism at marker 13 or extend unit 14 beyond the committed approach."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_basement_prayer_room",
          "prior_bg_ids": [
            "L180B02"
          ],
          "attached_ref_labels": [
            "bg:L180B02"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L189B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L189",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L189B01.png",
        "t2i_prompt": "실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 2069년 기후 재난 이후에도 사용 중인 한국의 소규모 관리사무소 3층 감금실 내부를 담은 실제 현장 참고 사진이다. 기존 한국 관리시설의 실용적인 마감과 소박한 가구가 유지된 공간으로, 차분한 회색 계열의 도장 콘크리트 벽과 바닥, 의자의 금속과 목재 표면에 실제 재료의 미세한 질감과 일상적인 사용감이 드러난다. 공간은 정돈되어 평온하게 유지된 상태다.\n\n직사각형 방의 남서쪽 안쪽에서 북동쪽을 바라본다. 카메라는 서 있는 사람의 눈높이인 약 1.5미터에 두고, 35밀리미터 렌즈로 과장되지 않은 원근을 담는다. 방 중앙의 서쪽에는 동쪽을 향한 의자가, 중앙의 동쪽에는 서쪽을 향한 의자가 놓여 서로 마주 본다. 두 의자의 좌석 방향과 사이의 빈 공간이 명확하게 읽히며, 뒤쪽 오른편 출입구까지 시야가 막히지 않는다. 출입문은 북쪽 벽의 동쪽 끝에 있고 동쪽 문설주에 경첩이 달려 복도 쪽으로 열린다. 열린 문 너머로 방 북쪽에서 동서로 이어지는 복도의 일부만 보인다. 문짝과 경첩은 실제 관리시설에서 사용하는 기능적인 형태와 자연스러운 금속 표면을 보인다.\n\n밤에 실내 전등이 켜진 상태로, 화면 밖 실내 광원에서 오는 담백한 백색 전기 조명이 방과 의자를 현실적인 밝기로 비춘다. 벽에 반사되는 빛, 의자 아래의 부드러운 그림자, 복도 안쪽으로 이어지는 점진적인 명암 차이를 자연스럽게 표현한다. 표면을 지나치게 매끈하게 미화하지 않고, 실제 촬영에서 보이는 절제된 대비와 자연스러운 피사계 심도를 유지하여 두 의자와 출입문의 구조를 함께 알아볼 수 있게 한다. 사람, 얼굴, 사람 형태의 형상은 전혀 없는 빈 배경이다. 위에서 내려다보는 구도나 평면도, 건축 도식이 아니라 눈높이에서 촬영한 사진이며, 삽화나 컴퓨터 생성 영상 또는 건축 시각화가 아닌 실제 장소 촬영본과 구별되지 않는 사실성을 갖춘다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S31_Shot2",
            "guide_text": "남서쪽 내부에서 북동쪽을 향하는 고정 눈높이 구도를 사용한다. 서로 마주 보는 두 의자의 방향과 사이 공간을 분명히 보여 주고, 뒤쪽 오른편 출입구와 문 너머 복도의 짧은 구간을 확보한다. 인물 없이 야간 전기 조명이 켜진 빈 공간만 담는다."
          },
          {
            "shot_id": "S31_Shot8",
            "guide_text": "앞선 장면과 동일한 카메라 위치, 약 1.5미터 높이와 35밀리미터 화각을 유지한다. 두 의자의 배치, 복도 쪽으로 열린 문의 방향, 오른편 뒤쪽 출입구의 가시성을 바꾸지 않는다. 조명과 표면 상태가 이어지는 빈 배경으로 사용한다."
          },
          {
            "shot_id": "S31_Shot9",
            "guide_text": "동일한 남서쪽 고정 시점에서 두 의자와 북동쪽 출입구를 함께 담는다. 문 너머 복도는 제한적으로만 보이게 하고, 기존 장면의 백색 전기 조명과 자연스러운 그림자, 정돈된 공간 상태를 유지한다. 인물이나 추가 물체를 배경에 넣지 않는다."
          }
        ],
        "shot_ids": [
          "S31_Shot2",
          "S31_Shot8",
          "S31_Shot9"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Inside number 1 near its southwest corner, facing northeast across numbers 4 and 5 toward number 3, with a limited glimpse of number 2 through the doorway.",
          "camera_height": "eye-level standing approximately 1.5 m",
          "lens_hint": "32–35mm moderate wide angle",
          "framing_notes": "Keep both facing chair positions readable and the entry doorway unobstructed in the rear right. Maintain this camera for all assigned shots. The downstream background is electrically lit at night, with intact door hardware and no environmental bloodstains, destruction, or later flood damage."
        },
        "reference_decision": {
          "bg_id": "L189B01",
          "fp_id": "fp_third_floor_detention_room",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L189B01 is the sole clean anchor candidate and the only readiness-approved BG. With no prior references available, establish its fixed identity directly from markers 1–5. A wide view from unit 1 toward its opening at marker 3 provides a structural plate for the consuming shots; their differing subject framing remains shot-specific rather than being combined into one composition.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_third_floor_detention_room.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "No reference is selected because this node establishes the dwelling identity from the supplied floor plan.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 1,
            "camera_cell": [
              8,
              1
            ],
            "look_at_unit": 1,
            "look_at_cell": [
              3,
              8
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad structural coverage from unit 1 toward marker 3 on its north boundary, retaining markers 4 and 5 in their established positions. This anchor framing is not a simultaneous reproduction of the medium and close consuming-shot compositions."
          },
          "render_guidance": {
            "visible_space_directive": "Show unit 1 with marker 4 west of center facing marker 5 east of center, and marker 3 at the east end of the north wall, hinged on the east jamb with its outward swing into unit 2 preserved. Unit 2 lies north of unit 1; restrict any visible portion to what is actually exposed through marker 3. The visibility candidates are supersets and do not authorize visibility through walls or an invented opening state.",
            "camera_framing_directive": "Use camera_unit 1 at camera_cell [8, 1], looking toward look_at_unit 1 at look_at_cell [3, 8], with wide lens coverage at 90 degrees. Establish broad coverage of the fixed arrangement rather than baking the consuming shots' medium or close subject crops into this clean plate.",
            "subject_position_directive": "Keep the clean background plate free of subjects while preserving the fixed seating arrangement for the committed staging. S31_Shot2 places an over-shoulder subject edge in the left foreground and the seated counterpart center-right. S31_Shot8 places the interrupted rise center-left and the leaning subject at the right. S31_Shot9 isolates its seated subject in the middle-left foreground with look-space to the right and the counterpart's shoulder outside the frame. These are separate shot-layer arrangements, not simultaneous subject placements.",
            "state_cue_directive": "No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Retain numbered elements 1–5 and refrain from inventing additional cues. Keep the supplied bright illumination consistent across the consuming shots; their occupancy, interrupted rise, and reactions remain shot-specific rather than persistent background states.",
            "negative_continuity_directive": "No ignore_numbered_elements or ignored_state_overlay_marker_numbers are listed. Avoid relocating markers 3, 4, or 5 between consuming shots, reversing marker 3's hinge or swing, or treating temporary subject interaction as a persistent layout change. Exclude portions of unit 2 not actually visible through marker 3, and do not merge the separate shot compositions into the anchor plate."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [8, 1]\n  - look_at_unit: 1\n  - look_at_cell: [3, 8]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad structural coverage from unit 1 toward marker 3 on its north boundary, retaining markers 4 and 5 in their established positions. This anchor framing is not a simultaneous reproduction of the medium and close consuming-shot compositions.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 1 with marker 4 west of center facing marker 5 east of center, and marker 3 at the east end of the north wall, hinged on the east jamb with its outward swing into unit 2 preserved. Unit 2 lies north of unit 1; restrict any visible portion to what is actually exposed through marker 3. The visibility candidates are supersets and do not authorize visibility through walls or an invented opening state.\n  - camera_framing_directive: Use camera_unit 1 at camera_cell [8, 1], looking toward look_at_unit 1 at look_at_cell [3, 8], with wide lens coverage at 90 degrees. Establish broad coverage of the fixed arrangement rather than baking the consuming shots' medium or close subject crops into this clean plate.\n  - subject_position_directive: Keep the clean background plate free of subjects while preserving the fixed seating arrangement for the committed staging. S31_Shot2 places an over-shoulder subject edge in the left foreground and the seated counterpart center-right. S31_Shot8 places the interrupted rise center-left and the leaning subject at the right. S31_Shot9 isolates its seated subject in the middle-left foreground with look-space to the right and the counterpart's shoulder outside the frame. These are separate shot-layer arrangements, not simultaneous subject placements.\n  - state_cue_directive: No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Retain numbered elements 1–5 and refrain from inventing additional cues. Keep the supplied bright illumination consistent across the consuming shots; their occupancy, interrupted rise, and reactions remain shot-specific rather than persistent background states.\n  - negative_continuity_directive: No ignore_numbered_elements or ignored_state_overlay_marker_numbers are listed. Avoid relocating markers 3, 4, or 5 between consuming shots, reversing marker 3's hinge or swing, or treating temporary subject interaction as a persistent layout change. Exclude portions of unit 2 not actually visible through marker 3, and do not merge the separate shot compositions into the anchor plate.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [8, 1]\n  - look_at_unit: 1\n  - look_at_cell: [3, 8]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad structural coverage from unit 1 toward marker 3 on its north boundary, retaining markers 4 and 5 in their established positions. This anchor framing is not a simultaneous reproduction of the medium and close consuming-shot compositions.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 1 with marker 4 west of center facing marker 5 east of center, and marker 3 at the east end of the north wall, hinged on the east jamb with its outward swing into unit 2 preserved. Unit 2 lies north of unit 1; restrict any visible portion to what is actually exposed through marker 3. The visibility candidates are supersets and do not authorize visibility through walls or an invented opening state.\n  - camera_framing_directive: Use camera_unit 1 at camera_cell [8, 1], looking toward look_at_unit 1 at look_at_cell [3, 8], with wide lens coverage at 90 degrees. Establish broad coverage of the fixed arrangement rather than baking the consuming shots' medium or close subject crops into this clean plate.\n  - subject_position_directive: Keep the clean background plate free of subjects while preserving the fixed seating arrangement for the committed staging. S31_Shot2 places an over-shoulder subject edge in the left foreground and the seated counterpart center-right. S31_Shot8 places the interrupted rise center-left and the leaning subject at the right. S31_Shot9 isolates its seated subject in the middle-left foreground with look-space to the right and the counterpart's shoulder outside the frame. These are separate shot-layer arrangements, not simultaneous subject placements.\n  - state_cue_directive: No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Retain numbered elements 1–5 and refrain from inventing additional cues. Keep the supplied bright illumination consistent across the consuming shots; their occupancy, interrupted rise, and reactions remain shot-specific rather than persistent background states.\n  - negative_continuity_directive: No ignore_numbered_elements or ignored_state_overlay_marker_numbers are listed. Avoid relocating markers 3, 4, or 5 between consuming shots, reversing marker 3's hinge or swing, or treating temporary subject interaction as a persistent layout change. Exclude portions of unit 2 not actually visible through marker 3, and do not merge the separate shot compositions into the anchor plate.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [8, 1]\n  - look_at_unit: 1\n  - look_at_cell: [3, 8]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad structural coverage from unit 1 toward marker 3 on its north boundary, retaining markers 4 and 5 in their established positions. This anchor framing is not a simultaneous reproduction of the medium and close consuming-shot compositions.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 1 with marker 4 west of center facing marker 5 east of center, and marker 3 at the east end of the north wall, hinged on the east jamb with its outward swing into unit 2 preserved. Unit 2 lies north of unit 1; restrict any visible portion to what is actually exposed through marker 3. The visibility candidates are supersets and do not authorize visibility through walls or an invented opening state.\n  - camera_framing_directive: Use camera_unit 1 at camera_cell [8, 1], looking toward look_at_unit 1 at look_at_cell [3, 8], with wide lens coverage at 90 degrees. Establish broad coverage of the fixed arrangement rather than baking the consuming shots' medium or close subject crops into this clean plate.\n  - subject_position_directive: Keep the clean background plate free of subjects while preserving the fixed seating arrangement for the committed staging. S31_Shot2 places an over-shoulder subject edge in the left foreground and the seated counterpart center-right. S31_Shot8 places the interrupted rise center-left and the leaning subject at the right. S31_Shot9 isolates its seated subject in the middle-left foreground with look-space to the right and the counterpart's shoulder outside the frame. These are separate shot-layer arrangements, not simultaneous subject placements.\n  - state_cue_directive: No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Retain numbered elements 1–5 and refrain from inventing additional cues. Keep the supplied bright illumination consistent across the consuming shots; their occupancy, interrupted rise, and reactions remain shot-specific rather than persistent background states.\n  - negative_continuity_directive: No ignore_numbered_elements or ignored_state_overlay_marker_numbers are listed. Avoid relocating markers 3, 4, or 5 between consuming shots, reversing marker 3's hinge or swing, or treating temporary subject interaction as a persistent layout change. Exclude portions of unit 2 not actually visible through marker 3, and do not merge the separate shot compositions into the anchor plate.\n\n실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 2069년 기후 재난 이후에도 사용 중인 한국의 소규모 관리사무소 3층 감금실 내부를 담은 실제 현장 참고 사진이다. 기존 한국 관리시설의 실용적인 마감과 소박한 가구가 유지된 공간으로, 차분한 회색 계열의 도장 콘크리트 벽과 바닥, 의자의 금속과 목재 표면에 실제 재료의 미세한 질감과 일상적인 사용감이 드러난다. 공간은 정돈되어 평온하게 유지된 상태다.\n\n직사각형 방의 남서쪽 안쪽에서 북동쪽을 바라본다. 카메라는 서 있는 사람의 눈높이인 약 1.5미터에 두고, 35밀리미터 렌즈로 과장되지 않은 원근을 담는다. 방 중앙의 서쪽에는 동쪽을 향한 의자가, 중앙의 동쪽에는 서쪽을 향한 의자가 놓여 서로 마주 본다. 두 의자의 좌석 방향과 사이의 빈 공간이 명확하게 읽히며, 뒤쪽 오른편 출입구까지 시야가 막히지 않는다. 출입문은 북쪽 벽의 동쪽 끝에 있고 동쪽 문설주에 경첩이 달려 복도 쪽으로 열린다. 열린 문 너머로 방 북쪽에서 동서로 이어지는 복도의 일부만 보인다. 문짝과 경첩은 실제 관리시설에서 사용하는 기능적인 형태와 자연스러운 금속 표면을 보인다.\n\n밤에 실내 전등이 켜진 상태로, 화면 밖 실내 광원에서 오는 담백한 백색 전기 조명이 방과 의자를 현실적인 밝기로 비춘다. 벽에 반사되는 빛, 의자 아래의 부드러운 그림자, 복도 안쪽으로 이어지는 점진적인 명암 차이를 자연스럽게 표현한다. 표면을 지나치게 매끈하게 미화하지 않고, 실제 촬영에서 보이는 절제된 대비와 자연스러운 피사계 심도를 유지하여 두 의자와 출입문의 구조를 함께 알아볼 수 있게 한다. 사람, 얼굴, 사람 형태의 형상은 전혀 없는 빈 배경이다. 위에서 내려다보는 구도나 평면도, 건축 도식이 아니라 눈높이에서 촬영한 사진이며, 삽화나 컴퓨터 생성 영상 또는 건축 시각화가 아닌 실제 장소 촬영본과 구별되지 않는 사실성을 갖춘다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 1,
          "camera_cell": [
            8,
            1
          ],
          "look_at_unit": 1,
          "look_at_cell": [
            3,
            8
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad structural coverage from unit 1 toward marker 3 on its north boundary, retaining markers 4 and 5 in their established positions. This anchor framing is not a simultaneous reproduction of the medium and close consuming-shot compositions."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Show unit 1 with marker 4 west of center facing marker 5 east of center, and marker 3 at the east end of the north wall, hinged on the east jamb with its outward swing into unit 2 preserved. Unit 2 lies north of unit 1; restrict any visible portion to what is actually exposed through marker 3. The visibility candidates are supersets and do not authorize visibility through walls or an invented opening state.",
          "camera_framing_directive": "Use camera_unit 1 at camera_cell [8, 1], looking toward look_at_unit 1 at look_at_cell [3, 8], with wide lens coverage at 90 degrees. Establish broad coverage of the fixed arrangement rather than baking the consuming shots' medium or close subject crops into this clean plate.",
          "subject_position_directive": "Keep the clean background plate free of subjects while preserving the fixed seating arrangement for the committed staging. S31_Shot2 places an over-shoulder subject edge in the left foreground and the seated counterpart center-right. S31_Shot8 places the interrupted rise center-left and the leaning subject at the right. S31_Shot9 isolates its seated subject in the middle-left foreground with look-space to the right and the counterpart's shoulder outside the frame. These are separate shot-layer arrangements, not simultaneous subject placements.",
          "state_cue_directive": "No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Retain numbered elements 1–5 and refrain from inventing additional cues. Keep the supplied bright illumination consistent across the consuming shots; their occupancy, interrupted rise, and reactions remain shot-specific rather than persistent background states.",
          "negative_continuity_directive": "No ignore_numbered_elements or ignored_state_overlay_marker_numbers are listed. Avoid relocating markers 3, 4, or 5 between consuming shots, reversing marker 3's hinge or swing, or treating temporary subject interaction as a persistent layout change. Exclude portions of unit 2 not actually visible through marker 3, and do not merge the separate shot compositions into the anchor plate."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_third_floor_detention_room",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_third_floor_detention_room"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L188B02": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L188",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L188B02.png",
        "t2i_prompt": "2069년 기후 재난 이후 한국의 기존 건물에 남아 있는 3층 공용 복도와 감금실 문 앞을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 미래에도 계속 사용되는 낡은 건축 자재와 아날로그 소방 장비가 있는 현실적인 장소다. 동서로 이어지는 복도에서 감금실 문턱보다 서쪽이면서 약간 북쪽에 서서, 남동쪽의 닫힌 문 잠금장치 쪽을 바라본다. 높이 약 1.6미터의 서 있는 사람 눈높이, 실제 디지털 미러리스 카메라와 35밀리미터 렌즈의 자연스러운 원근감으로 촬영한다. 감금실 북쪽 벽의 출입문과 문고리를 화면의 중심 대상으로 삼고, 복도 남서쪽의 고정 소화기 보관 위치는 가까운 화면 오른쪽 가장자리에 걸치게 한다. 문은 서쪽 문설주에 경첩이 있는 복도 방향 여닫이문이지만 현재 문짝은 문틀에 완전히 닫혀 있으며 실내는 보이지 않는다.\n문고리와 걸쇠 주변에만 강한 충돌로 생긴 작은 찌그러짐과 긁힌 도장면이 집중되어 있다. 손상 범위를 잠금장치 부근으로 제한하고 문짝 전체의 형태와 닫힌 상태는 유지한다. 고정 보관 위치에서 꺼내진 붉은 소화기 한 개가 문고리 바로 옆의 충돌 위치에 놓인 순간을 담으며, 원래 보관 위치는 비어 있다. 사람이나 손, 얼굴, 신체 일부, 사람 형태의 형상은 전혀 보이지 않고 공간과 장비만 담는다.\n한국의 오래된 공용 복도에 어울리는 도장된 콘크리트 벽, 무광 바닥, 금속 문과 문틀의 실제 표면 질감을 보여준다. 기존 표면의 생활 마모와 묵은 얼룩은 절제하고, 금속의 산화와 소화기 붉은 도장의 사용감을 가까이서 확인할 수 있게 한다. 복도로 퍼지는 약한 자연광과 실제 벽면 반사광 아래 차가운 회색 계열 재료의 본래 색을 유지하며, 소화기의 붉은색만 자연스럽게 두드러진다. 문고리와 국소 손상은 선명하고 복도의 먼 부분은 자연스러운 피사계 심도로 이어진다. 과장된 조명이나 인위적인 색 보정 없이 실제 현장 기록 사진처럼 보이게 한다. 매끈한 광고 사진, 컴퓨터 생성 이미지, 삽화나 건축 조감도가 아닌 실제 촬영 사진이며, 위에서 내려다보는 시점이나 평면도 구도는 사용하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S34_Shot3",
            "guide_text": "문턱의 서쪽이면서 약간 북쪽인 복도 지점에서 남동쪽을 바라보는 눈높이 구도를 사용한다. 닫힌 문과 문고리, 걸쇠 주변의 좁은 손상 범위, 충돌 위치에 있는 붉은 소화기를 함께 읽을 수 있게 프레이밍한다. 비어 있는 고정 소화기 보관 위치는 가까운 오른쪽 가장자리에 남긴다. 문틈으로 감금실 내부가 드러나지 않게 하고, 손상은 문고리 주변에 한정한다. 사람이나 신체 일부 없이 배경과 소화기만 보여준다."
          }
        ],
        "shot_ids": [
          "S34_Shot3"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "In number 1 just west and slightly north of number 3, facing southeast toward the latch side of number 5; number 9 remains at the near right edge.",
          "camera_height": "Eye-level standing, approximately 1.6 m",
          "lens_hint": "35mm moderate wide angle",
          "framing_notes": "Prioritize the closed door, its handle, localized impact damage 11, and displaced extinguisher 12. Do not expose room 2 through the closed leaf. Keep the station empty; any windows entering the frame remain intact. The plan's swing arc is not an instruction to show an open door here."
        },
        "reference_decision": {
          "bg_id": "L188B02",
          "fp_id": "fp_third_floor_corridor",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L188B02 is an allowed anchor candidate and has committed staging for S34_Shot3. Establish identity freshly from the floor plan using unit 1 toward unit 3 and opening 5, supporting the oblique exterior impact view. The fallback candidate metadata does not override clean_background_expected=false: markers 11 and 12 remain required state layers.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_third_floor_corridor.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_reference_anchor",
            "why_single_ref_or_two_refs": "This is the first node and establishes the same-fp identity without a prior reference.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 1,
            "camera_cell": [
              3,
              5
            ],
            "look_at_unit": 3,
            "look_at_cell": [
              4,
              1
            ],
            "lens_enum": "normal",
            "fov_deg": 50,
            "framing_notes": "Neutral oblique coverage from unit 1 toward opening 5 at the unit 3 boundary. This is a fixed representative framing for S34_Shot3, not an additional camera movement."
          },
          "render_guidance": {
            "visible_space_directive": "Show the portion of unit 1 facing unit 3 and the exterior face of opening 5. Retain the fixed position of marker 9 where included at the view margin. Treat the visibility candidate lists as supersets; the closed state of opening 5 does not establish a visible interior beyond it.",
            "camera_framing_directive": "Use camera unit 1 at [3, 5], looking toward unit 3 at [4, 1], with normal lens coverage of 50 degrees. Support the staged medium oblique view with the contact area at center-right; do not expand this into coverage of all candidate units.",
            "subject_position_directive": "For S34_Shot3, preserve 현우's staged torso position on the left, viewed from behind and beside him. Keep both gripping hands and the contact point readable together, with the held object occupying less than one-third of the frame. Do not add other subjects.",
            "state_cue_directive": "Carry marker 11, Closed-door impact damage, and marker 12, Displaced red extinguisher. The committed state is a door still resisting entry while the held object strikes its handle. Preserve restrained nighttime interior illumination and the supported red object color without adding a colored light source. Keep marker 9's fixed storage position distinct from marker 12's temporary position.",
            "negative_continuity_directive": "Exclude overlay markers 13, 14, 15, 16, and 17. Avoid relocating base markers 5 or 9 to accommodate overlay markers 11 or 12. Do not expose units 2 or 4 merely because they occur in the visibility supersets, and do not turn the anchor's overlay state into permanent dwelling identity."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [3, 5]\n  - look_at_unit: 3\n  - look_at_cell: [4, 1]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral oblique coverage from unit 1 toward opening 5 at the unit 3 boundary. This is a fixed representative framing for S34_Shot3, not an additional camera movement.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the portion of unit 1 facing unit 3 and the exterior face of opening 5. Retain the fixed position of marker 9 where included at the view margin. Treat the visibility candidate lists as supersets; the closed state of opening 5 does not establish a visible interior beyond it.\n  - camera_framing_directive: Use camera unit 1 at [3, 5], looking toward unit 3 at [4, 1], with normal lens coverage of 50 degrees. Support the staged medium oblique view with the contact area at center-right; do not expand this into coverage of all candidate units.\n  - subject_position_directive: For S34_Shot3, preserve 현우's staged torso position on the left, viewed from behind and beside him. Keep both gripping hands and the contact point readable together, with the held object occupying less than one-third of the frame. Do not add other subjects.\n  - state_cue_directive: Carry marker 11, Closed-door impact damage, and marker 12, Displaced red extinguisher. The committed state is a door still resisting entry while the held object strikes its handle. Preserve restrained nighttime interior illumination and the supported red object color without adding a colored light source. Keep marker 9's fixed storage position distinct from marker 12's temporary position.\n  - negative_continuity_directive: Exclude overlay markers 13, 14, 15, 16, and 17. Avoid relocating base markers 5 or 9 to accommodate overlay markers 11 or 12. Do not expose units 2 or 4 merely because they occur in the visibility supersets, and do not turn the anchor's overlay state into permanent dwelling identity.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [3, 5]\n  - look_at_unit: 3\n  - look_at_cell: [4, 1]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral oblique coverage from unit 1 toward opening 5 at the unit 3 boundary. This is a fixed representative framing for S34_Shot3, not an additional camera movement.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the portion of unit 1 facing unit 3 and the exterior face of opening 5. Retain the fixed position of marker 9 where included at the view margin. Treat the visibility candidate lists as supersets; the closed state of opening 5 does not establish a visible interior beyond it.\n  - camera_framing_directive: Use camera unit 1 at [3, 5], looking toward unit 3 at [4, 1], with normal lens coverage of 50 degrees. Support the staged medium oblique view with the contact area at center-right; do not expand this into coverage of all candidate units.\n  - subject_position_directive: For S34_Shot3, preserve 현우's staged torso position on the left, viewed from behind and beside him. Keep both gripping hands and the contact point readable together, with the held object occupying less than one-third of the frame. Do not add other subjects.\n  - state_cue_directive: Carry marker 11, Closed-door impact damage, and marker 12, Displaced red extinguisher. The committed state is a door still resisting entry while the held object strikes its handle. Preserve restrained nighttime interior illumination and the supported red object color without adding a colored light source. Keep marker 9's fixed storage position distinct from marker 12's temporary position.\n  - negative_continuity_directive: Exclude overlay markers 13, 14, 15, 16, and 17. Avoid relocating base markers 5 or 9 to accommodate overlay markers 11 or 12. Do not expose units 2 or 4 merely because they occur in the visibility supersets, and do not turn the anchor's overlay state into permanent dwelling identity.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [3, 5]\n  - look_at_unit: 3\n  - look_at_cell: [4, 1]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral oblique coverage from unit 1 toward opening 5 at the unit 3 boundary. This is a fixed representative framing for S34_Shot3, not an additional camera movement.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the portion of unit 1 facing unit 3 and the exterior face of opening 5. Retain the fixed position of marker 9 where included at the view margin. Treat the visibility candidate lists as supersets; the closed state of opening 5 does not establish a visible interior beyond it.\n  - camera_framing_directive: Use camera unit 1 at [3, 5], looking toward unit 3 at [4, 1], with normal lens coverage of 50 degrees. Support the staged medium oblique view with the contact area at center-right; do not expand this into coverage of all candidate units.\n  - subject_position_directive: For S34_Shot3, preserve 현우's staged torso position on the left, viewed from behind and beside him. Keep both gripping hands and the contact point readable together, with the held object occupying less than one-third of the frame. Do not add other subjects.\n  - state_cue_directive: Carry marker 11, Closed-door impact damage, and marker 12, Displaced red extinguisher. The committed state is a door still resisting entry while the held object strikes its handle. Preserve restrained nighttime interior illumination and the supported red object color without adding a colored light source. Keep marker 9's fixed storage position distinct from marker 12's temporary position.\n  - negative_continuity_directive: Exclude overlay markers 13, 14, 15, 16, and 17. Avoid relocating base markers 5 or 9 to accommodate overlay markers 11 or 12. Do not expose units 2 or 4 merely because they occur in the visibility supersets, and do not turn the anchor's overlay state into permanent dwelling identity.\n\n2069년 기후 재난 이후 한국의 기존 건물에 남아 있는 3층 공용 복도와 감금실 문 앞을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 미래에도 계속 사용되는 낡은 건축 자재와 아날로그 소방 장비가 있는 현실적인 장소다. 동서로 이어지는 복도에서 감금실 문턱보다 서쪽이면서 약간 북쪽에 서서, 남동쪽의 닫힌 문 잠금장치 쪽을 바라본다. 높이 약 1.6미터의 서 있는 사람 눈높이, 실제 디지털 미러리스 카메라와 35밀리미터 렌즈의 자연스러운 원근감으로 촬영한다. 감금실 북쪽 벽의 출입문과 문고리를 화면의 중심 대상으로 삼고, 복도 남서쪽의 고정 소화기 보관 위치는 가까운 화면 오른쪽 가장자리에 걸치게 한다. 문은 서쪽 문설주에 경첩이 있는 복도 방향 여닫이문이지만 현재 문짝은 문틀에 완전히 닫혀 있으며 실내는 보이지 않는다.\n문고리와 걸쇠 주변에만 강한 충돌로 생긴 작은 찌그러짐과 긁힌 도장면이 집중되어 있다. 손상 범위를 잠금장치 부근으로 제한하고 문짝 전체의 형태와 닫힌 상태는 유지한다. 고정 보관 위치에서 꺼내진 붉은 소화기 한 개가 문고리 바로 옆의 충돌 위치에 놓인 순간을 담으며, 원래 보관 위치는 비어 있다. 사람이나 손, 얼굴, 신체 일부, 사람 형태의 형상은 전혀 보이지 않고 공간과 장비만 담는다.\n한국의 오래된 공용 복도에 어울리는 도장된 콘크리트 벽, 무광 바닥, 금속 문과 문틀의 실제 표면 질감을 보여준다. 기존 표면의 생활 마모와 묵은 얼룩은 절제하고, 금속의 산화와 소화기 붉은 도장의 사용감을 가까이서 확인할 수 있게 한다. 복도로 퍼지는 약한 자연광과 실제 벽면 반사광 아래 차가운 회색 계열 재료의 본래 색을 유지하며, 소화기의 붉은색만 자연스럽게 두드러진다. 문고리와 국소 손상은 선명하고 복도의 먼 부분은 자연스러운 피사계 심도로 이어진다. 과장된 조명이나 인위적인 색 보정 없이 실제 현장 기록 사진처럼 보이게 한다. 매끈한 광고 사진, 컴퓨터 생성 이미지, 삽화나 건축 조감도가 아닌 실제 촬영 사진이며, 위에서 내려다보는 시점이나 평면도 구도는 사용하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "camera_decision": {
          "camera_unit": 1,
          "camera_cell": [
            3,
            5
          ],
          "look_at_unit": 3,
          "look_at_cell": [
            4,
            1
          ],
          "lens_enum": "normal",
          "fov_deg": 50,
          "framing_notes": "Neutral oblique coverage from unit 1 toward opening 5 at the unit 3 boundary. This is a fixed representative framing for S34_Shot3, not an additional camera movement."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Show the portion of unit 1 facing unit 3 and the exterior face of opening 5. Retain the fixed position of marker 9 where included at the view margin. Treat the visibility candidate lists as supersets; the closed state of opening 5 does not establish a visible interior beyond it.",
          "camera_framing_directive": "Use camera unit 1 at [3, 5], looking toward unit 3 at [4, 1], with normal lens coverage of 50 degrees. Support the staged medium oblique view with the contact area at center-right; do not expand this into coverage of all candidate units.",
          "subject_position_directive": "For S34_Shot3, preserve 현우's staged torso position on the left, viewed from behind and beside him. Keep both gripping hands and the contact point readable together, with the held object occupying less than one-third of the frame. Do not add other subjects.",
          "state_cue_directive": "Carry marker 11, Closed-door impact damage, and marker 12, Displaced red extinguisher. The committed state is a door still resisting entry while the held object strikes its handle. Preserve restrained nighttime interior illumination and the supported red object color without adding a colored light source. Keep marker 9's fixed storage position distinct from marker 12's temporary position.",
          "negative_continuity_directive": "Exclude overlay markers 13, 14, 15, 16, and 17. Avoid relocating base markers 5 or 9 to accommodate overlay markers 11 or 12. Do not expose units 2 or 4 merely because they occur in the visibility supersets, and do not turn the anchor's overlay state into permanent dwelling identity."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_third_floor_corridor",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_third_floor_corridor"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L188B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L188",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L188B01.png",
        "t2i_prompt": "실제 카메라로 촬영한 다큐멘터리 풍 사진. 2069년 기후 재난 이후 한국에 남아 사용되는 건물의 3층 공용 복도를 담은 실제 장소 기록 사진으로, 사람이 없는 공간만 보여 준다. 미래라는 이유로 신형 장비나 장식을 추가하지 않는다. 오래된 한국의 실용적인 공공시설처럼 도장한 콘크리트 벽, 마모된 단단한 바닥, 금속 문틀과 창틀의 실제 재질을 표현한다. 표면에는 일상적인 사용에 따른 작은 긁힘, 도장 마모, 옅은 묵은 얼룩과 금속의 산화 흔적이 있으나 건물 전체를 무너진 폐허로 과장하지 않는다.\n제공된 평면도는 공간의 연결 관계와 기존 시설 위치를 확인하는 용도로만 사용한다. 카메라는 복도 서쪽 끝 가까이에서 동쪽 계단실을 바라본다. 높이 약 1.6미터의 서 있는 사람 눈높이, 35밀리미터 풀프레임 미러리스 카메라의 28밀리미터 광각 렌즈로 촬영한 수평 시점이다. 오른쪽 가까운 곳에 남쪽 방의 출입구와 문턱이 있고, 열린 문 사이로 방 안쪽이 제한적으로 보인다. 왼쪽 북측 외벽에는 출입구 맞은편의 서쪽 창과 그보다 계단실에 가까운 동쪽 창이 차례로 보인다. 복도 끝은 계단참으로 직접 이어지며, 상층으로 되돌아 올라가는 계단의 연결이 읽힌다. 출입구 서쪽의 복도 남서 모서리에는 기존 소화기 보관 위치가 있고, 출입구 바로 동쪽 벽에는 기존 경보 기구가 있다. 기존 시설을 다른 곳으로 옮기거나 추가하지 않는다.\n오른쪽 출입문은 서쪽 문설주에 달린 경첩을 중심으로 복도 쪽으로 열려 있다. 손잡이 장착 부위에는 부러진 금속 부속과 손상된 결합부가 실제 크기로 보이며, 모든 해당 쇼트에서 같은 열린 각도와 파손 상태를 유지한다. 벽의 경보 기구는 쇼트에 따라 붉은빛이 켜졌다 꺼지는 상태다. 켜진 순간에만 기구 주변 벽과 문틀에 제한적인 붉은 반사광이 생기며, 복도 전체를 항상 붉게 밝히지 않는다. 충격 직전의 해일 쇼트에 한해서 북측 두 창 너머로 건물 쪽에 다가오는 거대한 바닷물의 수면과 물결이 보인다. 앞선 재회 시점에는 이 접근하는 바닷물의 모습을 적용하지 않는다. 창유리는 모든 해당 쇼트에서 온전하며, 다가오는 바닷물은 유리 바깥에 머문다.\n창으로 들어오는 현실적인 흐린 자연광을 기본으로 하고, 콘크리트의 미세한 요철과 금속 표면의 거친 반사를 과장 없이 기록한다. 차가운 회색 계열은 실제 건축 재료와 자연광에서 나오며, 경보가 켜진 순간에만 국소적인 붉은색이 더해진다. 가까운 문틀부터 복도 끝 계단까지 공간 관계가 읽히는 자연스러운 피사계 심도와 현실적인 노출을 유지한다. 사람, 얼굴, 신체 형태의 형상은 전혀 묘사하지 않는다. 위에서 내려다보는 구도나 평면도, 건축 도식이 아닌 눈높이 현장 사진이며, 인위적으로 보정하거나 지나치게 말끔한 홍보 사진으로 만들지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S34_Shot7",
            "guide_text": "앞선 재회 구간의 빈 배경으로 사용한다. 복도 서쪽의 눈높이 시점에서 오른쪽의 열린 출입문과 방 안 일부, 왼쪽의 두 창, 정면의 계단 동선을 함께 유지한다. 부러진 손잡이와 열린 문 상태는 그대로 둔다. 경보는 소등된 점멸 위상으로 두어 기본 자연광을 유지하고, 창밖에 접근하는 해일은 적용하지 않는다. 두 창유리는 온전하며 인물은 그리지 않는다."
          },
          {
            "shot_id": "S34_Shot10",
            "guide_text": "같은 카메라와 복도 구조를 유지하면서 경보 점멸을 보여 주는 배경 변형으로 사용한다. 경보가 켜진 위상에서는 출입구 동쪽 벽의 기구와 인접 표면에만 붉은빛을 더하고, 꺼진 위상에서는 같은 자연광 배경으로 돌아간다. 문과 손잡이의 파손 상태를 바꾸지 않는다. 앞선 구간에는 접근하는 바닷물을 적용하지 않으며, 두 창은 온전하게 유지한다. 인물은 그리지 않는다."
          },
          {
            "shot_id": "S37_Shot4",
            "guide_text": "해일 충격 직전의 배경으로, 기존 눈높이 구도와 열린 문, 부러진 손잡이, 계단 연결을 그대로 유지한다. 왼쪽 북측 창 너머에 건물로 접근하는 바닷물의 거대한 물결을 보이되, 유리는 아직 온전하고 물은 실외에 머물게 한다. 경보의 붉은 반사광은 선택한 점멸 위상에만 적용한다. 파손이나 실내 침수로 시점을 앞당기지 않으며 인물은 그리지 않는다."
          }
        ],
        "shot_ids": [
          "S34_Shot7",
          "S34_Shot10",
          "S37_Shot4"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "Near the west end of number 1, facing east toward numbers 6 and 4, with numbers 3 and 5 on the right and numbers 7 and 8 on the left.",
          "camera_height": "Eye-level standing, approximately 1.6 m",
          "lens_hint": "28mm wide angle",
          "framing_notes": "Maintain this camera across the listed shots. Include the opened doorway and a limited view into room 2, the corridor windows, and the onward stair route. Apply broken-handle/open-door state 13 throughout. Alarm cue 14 is shot-dependent rather than continuously illuminated. Approaching sea cue 15 applies only to the pre-impact wave moment, not the earlier reunion. Both windows remain intact throughout this background state."
        },
        "reference_decision": {
          "bg_id": "L188B01",
          "fp_id": "fp_third_floor_corridor",
          "node_index": 1,
          "mode": "same_physical_space_view",
          "is_dwelling_identity_anchor": false,
          "rationale": "L188B02 establishes the shared unit 1/unit 3 structure and opening 5 needed by L188B01. Retain its representative unit 1-to-unit 3 framing, but require a separate plate because marker 13 changes the fixed opening's damaged hardware state relative to marker 11; this is not only a subject or light delta. S34_Shot7 and S34_Shot10 commit interior-facing subject framings while S37_Shot4 commits narrow unit 1 context. One fixed camera cannot reproduce all those shot-specific views, so this node supplies shared oblique boundary context rather than claiming complete coverage of every staged view.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L188B02.png"
          ],
          "source_bg_ids": [
            "L188B02"
          ],
          "fp_included": false,
          "reference_decision": {
            "selected_refs": [
              {
                "ref_bg_id": "L188B02",
                "physical_space_id": "fp_third_floor_corridor:unit_1",
                "space_description": "Unit 1 with its fixed boundary toward unit 3 and opening 5."
              }
            ],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "single_same_physical_space_reference",
            "why_single_ref_or_two_refs": "One reference commits the shared unit 1 structure and opening 5. No earlier second reference establishes a distinct co-visible space.",
            "physical_space_id_per_ref": [
              "fp_third_floor_corridor:unit_1"
            ],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 1,
            "camera_cell": [
              3,
              5
            ],
            "look_at_unit": 3,
            "look_at_cell": [
              4,
              1
            ],
            "lens_enum": "normal",
            "fov_deg": 50,
            "framing_notes": "Retain the reference's neutral oblique boundary framing. The matched cells do not imply low-delta reuse because the committed damaged state changes. Interior staging and the close subject framing remain shot-specific requirements, not proof that this plate sees every target unit."
          },
          "render_guidance": {
            "visible_space_directive": "Preserve L188B02's unit 1 wall boundaries, opening 5 location and hinge arrangement, and marker 9 storage position. Frame unit 3 and opening 5, with marker 10 kept in its supplied position east of opening 5 where visible. Marker 13 permits an open boundary, but expose only the portion of unit 2 actually visible through that opening; the visibility supersets do not establish an unrestricted interior view. Units 4 and opening 6 are not committed in this framing.",
            "camera_framing_directive": "Use camera unit 1 at [3, 5], look-at unit 3 at [4, 1], normal lens and 50-degree neutral coverage. Maintain the reference's oblique structural perspective. Supply this representative background without inventing camera movement or claiming that it simultaneously realizes the separate interior, upward-reaction, and close framings.",
            "subject_position_directive": "Keep subject staging shot-specific rather than combining three moments. S34_Shot7 places 미연 left and 현우 right, kneeling with interlocked upper bodies and knees near the lower edge. S34_Shot10 retains that left/right relationship and contact while their chins lift beneath generous headroom. S37_Shot4 places 미연's closed eyes upper-left with her arms enclosing 현우's buried head below and only narrow background margins. Do not invent a new subject location to reconcile the differing shot views.",
            "state_cue_directive": "Carry the committed states of markers 13, Broken handle and open door; 14, Intermittent red alarm; and 15, Approaching seawater, only where the selected view supports their depiction. Keep opening 5's frame and hinge position fixed while applying marker 13's changed state. The intense red pulse belongs specifically to S34_Shot10; preserve the restrained illumination specified for the other surfaced shots rather than applying that pulse uniformly. Do not add a new visible source for the reaction.",
            "negative_continuity_directive": "Exclude markers 11, 12, 16, and 17, including inherited overlays 11 and 12 from L188B02. Avoid shifting base markers 5, 9, or 10 when changing state. Do not import units 4, 6, 7, or 8 into the composition merely to exhaust the marker inventory; marker 6, 7, and 8 visibility is not committed by this framing. Avoid combining incompatible shot-specific subject moments into one scene."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L188B02' physical_space_id='fp_third_floor_corridor:unit_1'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [3, 5]\n  - look_at_unit: 3\n  - look_at_cell: [4, 1]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: \"Retain the reference's neutral oblique boundary framing. The matched cells do not imply low-delta reuse because the committed damaged state changes. Interior staging and the close subject framing remain shot-specific requirements, not proof that this plate sees every target unit.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Preserve L188B02's unit 1 wall boundaries, opening 5 location and hinge arrangement, and marker 9 storage position. Frame unit 3 and opening 5, with marker 10 kept in its supplied position east of opening 5 where visible. Marker 13 permits an open boundary, but expose only the portion of unit 2 actually visible through that opening; the visibility supersets do not establish an unrestricted interior view. Units 4 and opening 6 are not committed in this framing.\n  - camera_framing_directive: Use camera unit 1 at [3, 5], look-at unit 3 at [4, 1], normal lens and 50-degree neutral coverage. Maintain the reference's oblique structural perspective. Supply this representative background without inventing camera movement or claiming that it simultaneously realizes the separate interior, upward-reaction, and close framings.\n  - subject_position_directive: Keep subject staging shot-specific rather than combining three moments. S34_Shot7 places 미연 left and 현우 right, kneeling with interlocked upper bodies and knees near the lower edge. S34_Shot10 retains that left/right relationship and contact while their chins lift beneath generous headroom. S37_Shot4 places 미연's closed eyes upper-left with her arms enclosing 현우's buried head below and only narrow background margins. Do not invent a new subject location to reconcile the differing shot views.\n  - state_cue_directive: Carry the committed states of markers 13, Broken handle and open door; 14, Intermittent red alarm; and 15, Approaching seawater, only where the selected view supports their depiction. Keep opening 5's frame and hinge position fixed while applying marker 13's changed state. The intense red pulse belongs specifically to S34_Shot10; preserve the restrained illumination specified for the other surfaced shots rather than applying that pulse uniformly. Do not add a new visible source for the reaction.\n  - negative_continuity_directive: Exclude markers 11, 12, 16, and 17, including inherited overlays 11 and 12 from L188B02. Avoid shifting base markers 5, 9, or 10 when changing state. Do not import units 4, 6, 7, or 8 into the composition merely to exhaust the marker inventory; marker 6, 7, and 8 visibility is not committed by this framing. Avoid combining incompatible shot-specific subject moments into one scene.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L188B02' physical_space_id='fp_third_floor_corridor:unit_1'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [3, 5]\n  - look_at_unit: 3\n  - look_at_cell: [4, 1]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: \"Retain the reference's neutral oblique boundary framing. The matched cells do not imply low-delta reuse because the committed damaged state changes. Interior staging and the close subject framing remain shot-specific requirements, not proof that this plate sees every target unit.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Preserve L188B02's unit 1 wall boundaries, opening 5 location and hinge arrangement, and marker 9 storage position. Frame unit 3 and opening 5, with marker 10 kept in its supplied position east of opening 5 where visible. Marker 13 permits an open boundary, but expose only the portion of unit 2 actually visible through that opening; the visibility supersets do not establish an unrestricted interior view. Units 4 and opening 6 are not committed in this framing.\n  - camera_framing_directive: Use camera unit 1 at [3, 5], look-at unit 3 at [4, 1], normal lens and 50-degree neutral coverage. Maintain the reference's oblique structural perspective. Supply this representative background without inventing camera movement or claiming that it simultaneously realizes the separate interior, upward-reaction, and close framings.\n  - subject_position_directive: Keep subject staging shot-specific rather than combining three moments. S34_Shot7 places 미연 left and 현우 right, kneeling with interlocked upper bodies and knees near the lower edge. S34_Shot10 retains that left/right relationship and contact while their chins lift beneath generous headroom. S37_Shot4 places 미연's closed eyes upper-left with her arms enclosing 현우's buried head below and only narrow background margins. Do not invent a new subject location to reconcile the differing shot views.\n  - state_cue_directive: Carry the committed states of markers 13, Broken handle and open door; 14, Intermittent red alarm; and 15, Approaching seawater, only where the selected view supports their depiction. Keep opening 5's frame and hinge position fixed while applying marker 13's changed state. The intense red pulse belongs specifically to S34_Shot10; preserve the restrained illumination specified for the other surfaced shots rather than applying that pulse uniformly. Do not add a new visible source for the reaction.\n  - negative_continuity_directive: Exclude markers 11, 12, 16, and 17, including inherited overlays 11 and 12 from L188B02. Avoid shifting base markers 5, 9, or 10 when changing state. Do not import units 4, 6, 7, or 8 into the composition merely to exhaust the marker inventory; marker 6, 7, and 8 visibility is not committed by this framing. Avoid combining incompatible shot-specific subject moments into one scene.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L188B02' physical_space_id='fp_third_floor_corridor:unit_1'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [3, 5]\n  - look_at_unit: 3\n  - look_at_cell: [4, 1]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: \"Retain the reference's neutral oblique boundary framing. The matched cells do not imply low-delta reuse because the committed damaged state changes. Interior staging and the close subject framing remain shot-specific requirements, not proof that this plate sees every target unit.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Preserve L188B02's unit 1 wall boundaries, opening 5 location and hinge arrangement, and marker 9 storage position. Frame unit 3 and opening 5, with marker 10 kept in its supplied position east of opening 5 where visible. Marker 13 permits an open boundary, but expose only the portion of unit 2 actually visible through that opening; the visibility supersets do not establish an unrestricted interior view. Units 4 and opening 6 are not committed in this framing.\n  - camera_framing_directive: Use camera unit 1 at [3, 5], look-at unit 3 at [4, 1], normal lens and 50-degree neutral coverage. Maintain the reference's oblique structural perspective. Supply this representative background without inventing camera movement or claiming that it simultaneously realizes the separate interior, upward-reaction, and close framings.\n  - subject_position_directive: Keep subject staging shot-specific rather than combining three moments. S34_Shot7 places 미연 left and 현우 right, kneeling with interlocked upper bodies and knees near the lower edge. S34_Shot10 retains that left/right relationship and contact while their chins lift beneath generous headroom. S37_Shot4 places 미연's closed eyes upper-left with her arms enclosing 현우's buried head below and only narrow background margins. Do not invent a new subject location to reconcile the differing shot views.\n  - state_cue_directive: Carry the committed states of markers 13, Broken handle and open door; 14, Intermittent red alarm; and 15, Approaching seawater, only where the selected view supports their depiction. Keep opening 5's frame and hinge position fixed while applying marker 13's changed state. The intense red pulse belongs specifically to S34_Shot10; preserve the restrained illumination specified for the other surfaced shots rather than applying that pulse uniformly. Do not add a new visible source for the reaction.\n  - negative_continuity_directive: Exclude markers 11, 12, 16, and 17, including inherited overlays 11 and 12 from L188B02. Avoid shifting base markers 5, 9, or 10 when changing state. Do not import units 4, 6, 7, or 8 into the composition merely to exhaust the marker inventory; marker 6, 7, and 8 visibility is not committed by this framing. Avoid combining incompatible shot-specific subject moments into one scene.\n\n실제 카메라로 촬영한 다큐멘터리 풍 사진. 2069년 기후 재난 이후 한국에 남아 사용되는 건물의 3층 공용 복도를 담은 실제 장소 기록 사진으로, 사람이 없는 공간만 보여 준다. 미래라는 이유로 신형 장비나 장식을 추가하지 않는다. 오래된 한국의 실용적인 공공시설처럼 도장한 콘크리트 벽, 마모된 단단한 바닥, 금속 문틀과 창틀의 실제 재질을 표현한다. 표면에는 일상적인 사용에 따른 작은 긁힘, 도장 마모, 옅은 묵은 얼룩과 금속의 산화 흔적이 있으나 건물 전체를 무너진 폐허로 과장하지 않는다.\n제공된 평면도는 공간의 연결 관계와 기존 시설 위치를 확인하는 용도로만 사용한다. 카메라는 복도 서쪽 끝 가까이에서 동쪽 계단실을 바라본다. 높이 약 1.6미터의 서 있는 사람 눈높이, 35밀리미터 풀프레임 미러리스 카메라의 28밀리미터 광각 렌즈로 촬영한 수평 시점이다. 오른쪽 가까운 곳에 남쪽 방의 출입구와 문턱이 있고, 열린 문 사이로 방 안쪽이 제한적으로 보인다. 왼쪽 북측 외벽에는 출입구 맞은편의 서쪽 창과 그보다 계단실에 가까운 동쪽 창이 차례로 보인다. 복도 끝은 계단참으로 직접 이어지며, 상층으로 되돌아 올라가는 계단의 연결이 읽힌다. 출입구 서쪽의 복도 남서 모서리에는 기존 소화기 보관 위치가 있고, 출입구 바로 동쪽 벽에는 기존 경보 기구가 있다. 기존 시설을 다른 곳으로 옮기거나 추가하지 않는다.\n오른쪽 출입문은 서쪽 문설주에 달린 경첩을 중심으로 복도 쪽으로 열려 있다. 손잡이 장착 부위에는 부러진 금속 부속과 손상된 결합부가 실제 크기로 보이며, 모든 해당 쇼트에서 같은 열린 각도와 파손 상태를 유지한다. 벽의 경보 기구는 쇼트에 따라 붉은빛이 켜졌다 꺼지는 상태다. 켜진 순간에만 기구 주변 벽과 문틀에 제한적인 붉은 반사광이 생기며, 복도 전체를 항상 붉게 밝히지 않는다. 충격 직전의 해일 쇼트에 한해서 북측 두 창 너머로 건물 쪽에 다가오는 거대한 바닷물의 수면과 물결이 보인다. 앞선 재회 시점에는 이 접근하는 바닷물의 모습을 적용하지 않는다. 창유리는 모든 해당 쇼트에서 온전하며, 다가오는 바닷물은 유리 바깥에 머문다.\n창으로 들어오는 현실적인 흐린 자연광을 기본으로 하고, 콘크리트의 미세한 요철과 금속 표면의 거친 반사를 과장 없이 기록한다. 차가운 회색 계열은 실제 건축 재료와 자연광에서 나오며, 경보가 켜진 순간에만 국소적인 붉은색이 더해진다. 가까운 문틀부터 복도 끝 계단까지 공간 관계가 읽히는 자연스러운 피사계 심도와 현실적인 노출을 유지한다. 사람, 얼굴, 신체 형태의 형상은 전혀 묘사하지 않는다. 위에서 내려다보는 구도나 평면도, 건축 도식이 아닌 눈높이 현장 사진이며, 인위적으로 보정하거나 지나치게 말끔한 홍보 사진으로 만들지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "camera_decision": {
          "camera_unit": 1,
          "camera_cell": [
            3,
            5
          ],
          "look_at_unit": 3,
          "look_at_cell": [
            4,
            1
          ],
          "lens_enum": "normal",
          "fov_deg": 50,
          "framing_notes": "Retain the reference's neutral oblique boundary framing. The matched cells do not imply low-delta reuse because the committed damaged state changes. Interior staging and the close subject framing remain shot-specific requirements, not proof that this plate sees every target unit."
        },
        "shot_aware_plan_node_index": 1,
        "shot_aware_plan_mode": "same_physical_space_view",
        "render_guidance": {
          "visible_space_directive": "Preserve L188B02's unit 1 wall boundaries, opening 5 location and hinge arrangement, and marker 9 storage position. Frame unit 3 and opening 5, with marker 10 kept in its supplied position east of opening 5 where visible. Marker 13 permits an open boundary, but expose only the portion of unit 2 actually visible through that opening; the visibility supersets do not establish an unrestricted interior view. Units 4 and opening 6 are not committed in this framing.",
          "camera_framing_directive": "Use camera unit 1 at [3, 5], look-at unit 3 at [4, 1], normal lens and 50-degree neutral coverage. Maintain the reference's oblique structural perspective. Supply this representative background without inventing camera movement or claiming that it simultaneously realizes the separate interior, upward-reaction, and close framings.",
          "subject_position_directive": "Keep subject staging shot-specific rather than combining three moments. S34_Shot7 places 미연 left and 현우 right, kneeling with interlocked upper bodies and knees near the lower edge. S34_Shot10 retains that left/right relationship and contact while their chins lift beneath generous headroom. S37_Shot4 places 미연's closed eyes upper-left with her arms enclosing 현우's buried head below and only narrow background margins. Do not invent a new subject location to reconcile the differing shot views.",
          "state_cue_directive": "Carry the committed states of markers 13, Broken handle and open door; 14, Intermittent red alarm; and 15, Approaching seawater, only where the selected view supports their depiction. Keep opening 5's frame and hinge position fixed while applying marker 13's changed state. The intense red pulse belongs specifically to S34_Shot10; preserve the restrained illumination specified for the other surfaced shots rather than applying that pulse uniformly. Do not add a new visible source for the reaction.",
          "negative_continuity_directive": "Exclude markers 11, 12, 16, and 17, including inherited overlays 11 and 12 from L188B02. Avoid shifting base markers 5, 9, or 10 when changing state. Do not import units 4, 6, 7, or 8 into the composition merely to exhaust the marker inventory; marker 6, 7, and 8 visibility is not committed by this framing. Avoid combining incompatible shot-specific subject moments into one scene."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_third_floor_corridor",
          "prior_bg_ids": [
            "L188B02"
          ],
          "attached_ref_labels": [
            "bg:L188B02"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L188B03": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L188",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L188B03.png",
        "t2i_prompt": "2069년 기후 재난 이후 한국의 노후 건물 3층 공용 복도에서 실제 해일이 창문을 깨고 밀려드는 순간을 기록한, 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 실내 배경만 담는다. 복도 남서쪽에서 북동쪽을 향해 서 있는 사람의 눈높이 약 1.6미터로 촬영한다. 35밀리미터 규격의 전면형 감지기를 갖춘 실제 미러리스 카메라와 24밀리미터 광각 렌즈의 시야로, 북쪽 외벽의 서쪽 창문과 동쪽 창문을 함께 담고 오른쪽 가장자리에 동쪽 계단 연결 개구부와 계단참, 위층으로 이어지는 되돌이 계단이 보이게 한다. 동서로 이어지는 복도의 깊이와 창문에서 실내로 들어오는 물의 진행 방향이 분명한 지상 시점이다.\n두 창문의 기존 창틀 위치와 벽체 개구부의 크기 및 간격은 배치 참조에 따른다. 두 창문의 유리가 수압에 깨지는 찰나, 창틀 안쪽에 남은 유리 가장자리와 복도 북쪽 안으로 튀는 크고 작은 유리 파편이 보인다. 바로 그 개구부를 통과한 거대한 해일의 물덩어리가 두꺼운 물살로 복도를 가로질러 밀려든다. 창틀에 부딪쳐 갈라지는 물줄기, 공기를 머금은 흰 거품, 물방울과 불규칙한 물 표면의 굴절을 실제 유체의 무게와 속도로 표현한다. 창틀과 오른쪽 계단 연결부가 물에 일부 가려져도 본래 위치를 읽을 수 있다. 이것은 실제 공간에 충돌하는 물이며 꿈이나 투사 영상이 아니다.\n한국의 기존 철근콘크리트 건물에서 볼 수 있는 도장 벽과 마모된 단단한 바닥, 오래된 금속 창틀의 산화와 접합부 질감을 사실적으로 담는다. 창문으로 들어오는 흐린 자연광이 물에 차단되고 산란하면서 회색 실내에 불균일한 밝기를 만든다. 유리와 물의 반사는 실제 주변광에만 반응한다. 빠른 셔터로 충돌 순간을 포착하되 가장 빠른 물방울에는 미세한 움직임 흐림이 남고, 복도 구조가 읽히는 자연스러운 피사계 심도를 유지한다. 과장된 색 보정이나 인공 효과 없이 실제 현장 기록 사진과 구별되지 않는 재질과 노출. 사람, 얼굴, 인체 형태의 형상은 전혀 없다. 내려다보는 평면도나 건축 도해가 아닌 실제 실내 사진. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S37_Shot5",
            "guide_text": "북쪽 두 창문을 통과하는 실제 해일의 충돌을 한 화면에 담는다. 창문 가까이에서 실내로 비산하는 유리와 복도를 가로지르는 육중한 물살의 방향을 분명히 보여준다. 오른쪽 가장자리에 계단 연결 개구부와 계단참의 일부를 남겨 공간 관계를 유지한다. 눈높이 광각 구도를 유지하고, 물에 가려진 구조를 임의로 옮기거나 추가하지 않는다. 인물 없이 물과 유리의 물리적 충돌만 기록한다."
          }
        ],
        "shot_ids": [
          "S37_Shot5"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_2",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "In the southwest portion of number 1, facing northeast across numbers 7 and 8, with numbers 6 and 4 toward the right edge.",
          "camera_height": "Eye-level standing, approximately 1.6 m",
          "lens_hint": "24mm wide angle",
          "framing_notes": "Show actual physical water impact through the established window apertures, with flying glass 16 and incoming water 17. Preserve the positions of both frames and the stair access even when partially obscured. The detention doorway is outside this composition; its existing damage is not reset. Do not depict this as a dream, projection, or merely a distant wave."
        },
        "reference_decision": {
          "bg_id": "L188B03",
          "fp_id": "fp_third_floor_corridor",
          "node_index": 2,
          "mode": "same_physical_space_view",
          "is_dwelling_identity_anchor": false,
          "rationale": "S37_Shot5 continues within shared unit 1, so L188B01 supplies physical-space continuity rather than only style. Select unit 4 looking into unit 1 with broad coverage toward the north-side openings to support the wider impact composition. This requires a new plate: the camera exposes a different structural slice, and marker 16 commits structural damage not shown by the reference. The input does not identify which of openings 7 and 8 is breaking, so retain that assignment as unresolved rather than inventing it.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L188B01.png"
          ],
          "source_bg_ids": [
            "L188B01"
          ],
          "fp_included": false,
          "reference_decision": {
            "selected_refs": [
              {
                "ref_bg_id": "L188B01",
                "physical_space_id": "fp_third_floor_corridor:unit_1",
                "space_description": "The shared unit 1 structure, now viewed from unit 4 toward its north-side openings."
              }
            ],
            "rejected_refs": [
              {
                "ref_bg_id": "L188B02",
                "reason": "It represents the same shared unit 1 identity, not a second distinct visible space; L188B01 alone provides the required continuity."
              }
            ],
            "same_physical_space_dedup_decision": "single_same_physical_space_reference",
            "why_single_ref_or_two_refs": "S37_Shot5 requires unit 1 context near unit 4, but the earlier nodes both represent the same unit 1 identity. Two references would duplicate that identity rather than establish two distinct co-visible spaces.",
            "physical_space_id_per_ref": [
              "fp_third_floor_corridor:unit_1"
            ],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 4,
            "camera_cell": [
              3,
              8
            ],
            "look_at_unit": 1,
            "look_at_cell": [
              2,
              3
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad oblique coverage from unit 4 through opening 6 into unit 1, toward the north-side opening region. Preserve room for the lower-center subjects and upper-right background contract. The exact damaged opening is not identified by the supplied staging."
          },
          "render_guidance": {
            "visible_space_directive": "Show unit 1 from unit 4 through opening 6, with broad coverage of the north-side opening region containing markers 7 and 8. Keep unit 1's fixed wall boundaries and opening positions continuous with the established same-fp structure; preserve marker 6 at [3, 7], marker 7 at [2, 3], and marker 8 at [2, 5]. Do not infer visibility of units 2 or 3 from the supersets.",
            "camera_framing_directive": "Use camera unit 4 at [3, 8], looking into unit 1 at [2, 3], with wide 90-degree coverage. Support S37_Shot5's increased-distance composition, lower-center subject group, and upper-right background impact boundary occupying less than two-fifths of the image. Retain margins around that boundary. Treat the staged elevated endpoint as a shot-facing framing cue, without inventing an additional grid position or a new camera operation.",
            "subject_position_directive": "For S37_Shot5, keep 현우 and 미연 locked together in the lower center. Preserve 미연's closed eyes and protective curling pose, with 현우 folded inward into her embrace and his back toward the camera. Keep their attention inward and maintain surrounding spatial context; add no other subjects.",
            "state_cue_directive": "Carry marker 16, Shattered glazing and flying glass, and marker 17, Incoming tsunami water. The staged impact enters from the breaking opening toward the embracing pair, with nighttime tonal continuity and readable separation among the committed subjects and transient layers. The staging does not bind marker 16 to base opening 7 or 8: preserve their fixed positions and do not invent a second damaged opening or silently assert an unsupported marker assignment.",
            "negative_continuity_directive": "Exclude markers 11, 12, and 15. Do not inherit reference overlays 13 or 14 as additional visible cues without support from this BG's use list and staging. Avoid relocating openings 6, 7, or 8 to satisfy screen placement, extending damage to an unassigned second opening, or importing units 2 and 3 from visibility supersets. Do not reuse L188B01's narrower structural slice as though it covered this camera."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L188B01' physical_space_id='fp_third_floor_corridor:unit_1'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [3, 8]\n  - look_at_unit: 1\n  - look_at_cell: [2, 3]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad oblique coverage from unit 4 through opening 6 into unit 1, toward the north-side opening region. Preserve room for the lower-center subjects and upper-right background contract. The exact damaged opening is not identified by the supplied staging.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 1 from unit 4 through opening 6, with broad coverage of the north-side opening region containing markers 7 and 8. Keep unit 1's fixed wall boundaries and opening positions continuous with the established same-fp structure; preserve marker 6 at [3, 7], marker 7 at [2, 3], and marker 8 at [2, 5]. Do not infer visibility of units 2 or 3 from the supersets.\n  - camera_framing_directive: Use camera unit 4 at [3, 8], looking into unit 1 at [2, 3], with wide 90-degree coverage. Support S37_Shot5's increased-distance composition, lower-center subject group, and upper-right background impact boundary occupying less than two-fifths of the image. Retain margins around that boundary. Treat the staged elevated endpoint as a shot-facing framing cue, without inventing an additional grid position or a new camera operation.\n  - subject_position_directive: For S37_Shot5, keep 현우 and 미연 locked together in the lower center. Preserve 미연's closed eyes and protective curling pose, with 현우 folded inward into her embrace and his back toward the camera. Keep their attention inward and maintain surrounding spatial context; add no other subjects.\n  - state_cue_directive: Carry marker 16, Shattered glazing and flying glass, and marker 17, Incoming tsunami water. The staged impact enters from the breaking opening toward the embracing pair, with nighttime tonal continuity and readable separation among the committed subjects and transient layers. The staging does not bind marker 16 to base opening 7 or 8: preserve their fixed positions and do not invent a second damaged opening or silently assert an unsupported marker assignment.\n  - negative_continuity_directive: Exclude markers 11, 12, and 15. Do not inherit reference overlays 13 or 14 as additional visible cues without support from this BG's use list and staging. Avoid relocating openings 6, 7, or 8 to satisfy screen placement, extending damage to an unassigned second opening, or importing units 2 and 3 from visibility supersets. Do not reuse L188B01's narrower structural slice as though it covered this camera.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L188B01' physical_space_id='fp_third_floor_corridor:unit_1'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [3, 8]\n  - look_at_unit: 1\n  - look_at_cell: [2, 3]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad oblique coverage from unit 4 through opening 6 into unit 1, toward the north-side opening region. Preserve room for the lower-center subjects and upper-right background contract. The exact damaged opening is not identified by the supplied staging.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 1 from unit 4 through opening 6, with broad coverage of the north-side opening region containing markers 7 and 8. Keep unit 1's fixed wall boundaries and opening positions continuous with the established same-fp structure; preserve marker 6 at [3, 7], marker 7 at [2, 3], and marker 8 at [2, 5]. Do not infer visibility of units 2 or 3 from the supersets.\n  - camera_framing_directive: Use camera unit 4 at [3, 8], looking into unit 1 at [2, 3], with wide 90-degree coverage. Support S37_Shot5's increased-distance composition, lower-center subject group, and upper-right background impact boundary occupying less than two-fifths of the image. Retain margins around that boundary. Treat the staged elevated endpoint as a shot-facing framing cue, without inventing an additional grid position or a new camera operation.\n  - subject_position_directive: For S37_Shot5, keep 현우 and 미연 locked together in the lower center. Preserve 미연's closed eyes and protective curling pose, with 현우 folded inward into her embrace and his back toward the camera. Keep their attention inward and maintain surrounding spatial context; add no other subjects.\n  - state_cue_directive: Carry marker 16, Shattered glazing and flying glass, and marker 17, Incoming tsunami water. The staged impact enters from the breaking opening toward the embracing pair, with nighttime tonal continuity and readable separation among the committed subjects and transient layers. The staging does not bind marker 16 to base opening 7 or 8: preserve their fixed positions and do not invent a second damaged opening or silently assert an unsupported marker assignment.\n  - negative_continuity_directive: Exclude markers 11, 12, and 15. Do not inherit reference overlays 13 or 14 as additional visible cues without support from this BG's use list and staging. Avoid relocating openings 6, 7, or 8 to satisfy screen placement, extending damage to an unassigned second opening, or importing units 2 and 3 from visibility supersets. Do not reuse L188B01's narrower structural slice as though it covered this camera.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L188B01' physical_space_id='fp_third_floor_corridor:unit_1'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [3, 8]\n  - look_at_unit: 1\n  - look_at_cell: [2, 3]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad oblique coverage from unit 4 through opening 6 into unit 1, toward the north-side opening region. Preserve room for the lower-center subjects and upper-right background contract. The exact damaged opening is not identified by the supplied staging.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 1 from unit 4 through opening 6, with broad coverage of the north-side opening region containing markers 7 and 8. Keep unit 1's fixed wall boundaries and opening positions continuous with the established same-fp structure; preserve marker 6 at [3, 7], marker 7 at [2, 3], and marker 8 at [2, 5]. Do not infer visibility of units 2 or 3 from the supersets.\n  - camera_framing_directive: Use camera unit 4 at [3, 8], looking into unit 1 at [2, 3], with wide 90-degree coverage. Support S37_Shot5's increased-distance composition, lower-center subject group, and upper-right background impact boundary occupying less than two-fifths of the image. Retain margins around that boundary. Treat the staged elevated endpoint as a shot-facing framing cue, without inventing an additional grid position or a new camera operation.\n  - subject_position_directive: For S37_Shot5, keep 현우 and 미연 locked together in the lower center. Preserve 미연's closed eyes and protective curling pose, with 현우 folded inward into her embrace and his back toward the camera. Keep their attention inward and maintain surrounding spatial context; add no other subjects.\n  - state_cue_directive: Carry marker 16, Shattered glazing and flying glass, and marker 17, Incoming tsunami water. The staged impact enters from the breaking opening toward the embracing pair, with nighttime tonal continuity and readable separation among the committed subjects and transient layers. The staging does not bind marker 16 to base opening 7 or 8: preserve their fixed positions and do not invent a second damaged opening or silently assert an unsupported marker assignment.\n  - negative_continuity_directive: Exclude markers 11, 12, and 15. Do not inherit reference overlays 13 or 14 as additional visible cues without support from this BG's use list and staging. Avoid relocating openings 6, 7, or 8 to satisfy screen placement, extending damage to an unassigned second opening, or importing units 2 and 3 from visibility supersets. Do not reuse L188B01's narrower structural slice as though it covered this camera.\n\n2069년 기후 재난 이후 한국의 노후 건물 3층 공용 복도에서 실제 해일이 창문을 깨고 밀려드는 순간을 기록한, 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 실내 배경만 담는다. 복도 남서쪽에서 북동쪽을 향해 서 있는 사람의 눈높이 약 1.6미터로 촬영한다. 35밀리미터 규격의 전면형 감지기를 갖춘 실제 미러리스 카메라와 24밀리미터 광각 렌즈의 시야로, 북쪽 외벽의 서쪽 창문과 동쪽 창문을 함께 담고 오른쪽 가장자리에 동쪽 계단 연결 개구부와 계단참, 위층으로 이어지는 되돌이 계단이 보이게 한다. 동서로 이어지는 복도의 깊이와 창문에서 실내로 들어오는 물의 진행 방향이 분명한 지상 시점이다.\n두 창문의 기존 창틀 위치와 벽체 개구부의 크기 및 간격은 배치 참조에 따른다. 두 창문의 유리가 수압에 깨지는 찰나, 창틀 안쪽에 남은 유리 가장자리와 복도 북쪽 안으로 튀는 크고 작은 유리 파편이 보인다. 바로 그 개구부를 통과한 거대한 해일의 물덩어리가 두꺼운 물살로 복도를 가로질러 밀려든다. 창틀에 부딪쳐 갈라지는 물줄기, 공기를 머금은 흰 거품, 물방울과 불규칙한 물 표면의 굴절을 실제 유체의 무게와 속도로 표현한다. 창틀과 오른쪽 계단 연결부가 물에 일부 가려져도 본래 위치를 읽을 수 있다. 이것은 실제 공간에 충돌하는 물이며 꿈이나 투사 영상이 아니다.\n한국의 기존 철근콘크리트 건물에서 볼 수 있는 도장 벽과 마모된 단단한 바닥, 오래된 금속 창틀의 산화와 접합부 질감을 사실적으로 담는다. 창문으로 들어오는 흐린 자연광이 물에 차단되고 산란하면서 회색 실내에 불균일한 밝기를 만든다. 유리와 물의 반사는 실제 주변광에만 반응한다. 빠른 셔터로 충돌 순간을 포착하되 가장 빠른 물방울에는 미세한 움직임 흐림이 남고, 복도 구조가 읽히는 자연스러운 피사계 심도를 유지한다. 과장된 색 보정이나 인공 효과 없이 실제 현장 기록 사진과 구별되지 않는 재질과 노출. 사람, 얼굴, 인체 형태의 형상은 전혀 없다. 내려다보는 평면도나 건축 도해가 아닌 실제 실내 사진. 16:9 가로 비율, 실제 카메라 촬영본\n\nOne attached image is a PHOTOREAL RENDER of this SAME place — the same physical location, possibly seen from a different angle or at a different moment. Treat it as the PLACE IDENTITY reference. Keep this render consistent with it: the same spatial layout and architecture, the same surface materials and colors, and the same permanently installed fixtures and furniture. Lettering visible in the reference is reproduced EXACTLY — same characters, same mark, same position; never invent different wording from render to render. Camera angle, framing, lighting, time of day and weather follow THIS prompt — do NOT copy the reference's composition or mood; only the place's physical identity carries over.",
        "camera_decision": {
          "camera_unit": 4,
          "camera_cell": [
            3,
            8
          ],
          "look_at_unit": 1,
          "look_at_cell": [
            2,
            3
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad oblique coverage from unit 4 through opening 6 into unit 1, toward the north-side opening region. Preserve room for the lower-center subjects and upper-right background contract. The exact damaged opening is not identified by the supplied staging."
        },
        "shot_aware_plan_node_index": 2,
        "shot_aware_plan_mode": "same_physical_space_view",
        "render_guidance": {
          "visible_space_directive": "Show unit 1 from unit 4 through opening 6, with broad coverage of the north-side opening region containing markers 7 and 8. Keep unit 1's fixed wall boundaries and opening positions continuous with the established same-fp structure; preserve marker 6 at [3, 7], marker 7 at [2, 3], and marker 8 at [2, 5]. Do not infer visibility of units 2 or 3 from the supersets.",
          "camera_framing_directive": "Use camera unit 4 at [3, 8], looking into unit 1 at [2, 3], with wide 90-degree coverage. Support S37_Shot5's increased-distance composition, lower-center subject group, and upper-right background impact boundary occupying less than two-fifths of the image. Retain margins around that boundary. Treat the staged elevated endpoint as a shot-facing framing cue, without inventing an additional grid position or a new camera operation.",
          "subject_position_directive": "For S37_Shot5, keep 현우 and 미연 locked together in the lower center. Preserve 미연's closed eyes and protective curling pose, with 현우 folded inward into her embrace and his back toward the camera. Keep their attention inward and maintain surrounding spatial context; add no other subjects.",
          "state_cue_directive": "Carry marker 16, Shattered glazing and flying glass, and marker 17, Incoming tsunami water. The staged impact enters from the breaking opening toward the embracing pair, with nighttime tonal continuity and readable separation among the committed subjects and transient layers. The staging does not bind marker 16 to base opening 7 or 8: preserve their fixed positions and do not invent a second damaged opening or silently assert an unsupported marker assignment.",
          "negative_continuity_directive": "Exclude markers 11, 12, and 15. Do not inherit reference overlays 13 or 14 as additional visible cues without support from this BG's use list and staging. Avoid relocating openings 6, 7, or 8 to satisfy screen placement, extending damage to an unassigned second opening, or importing units 2 and 3 from visibility supersets. Do not reuse L188B01's narrower structural slice as though it covered this camera."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_third_floor_corridor",
          "prior_bg_ids": [
            "L188B01"
          ],
          "attached_ref_labels": [
            "bg:L188B01",
            "same_loc_anchor:L188B02"
          ],
          "ref_used": "refs_2",
          "db_write_policy": "checkpoint_only"
        },
        "same_loc_anchor_ref": {
          "anchor_bg_id": "L188B02",
          "loc_id": "L188"
        }
      },
      "L190B02": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L190",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L190B02.png",
        "t2i_prompt": "실제 카메라로 촬영한 다큐멘터리 풍 사진. 2069년 재난 이후 대한민국에 남아 있는 소박한 예배소 내부에서, 바닥에 설치된 나무 지하실 문과 그 주변 공간을 담은 실제 장소 기록 사진이다. 미래적인 장식을 덧붙이지 않은 기존 소규모 예배소의 실용적인 건축 마감으로, 무광 콘크리트 바닥과 회벽의 실제 표면 질감, 나무 문의 자연스러운 목리와 오래 사용한 재료의 미세한 닳음을 표현한다. 공간은 정돈되어 있으며 흐트러짐 없이 유지되어 있다. 평면도는 바닥과 벽, 지하실 문의 상대적인 위치를 파악하는 데만 사용한다. 예배소 바닥의 남서쪽에서 북동쪽을 향해 바라보며, 약 1.6미터 높이의 서 있는 사람 눈높이에서 카메라를 바닥 쪽으로 완만하게 기울인다. 실제 미러리스 카메라의 35밀리미터 광각 렌즈로 촬영한 자연스러운 원근감이다. 닫힌 나무 지하실 문은 화면 하단 중앙에서 약간 오른쪽에 명확히 보이게 하고, 문 주변의 접근 공간과 특히 남쪽 및 서쪽의 빈 바닥을 충분히 확보한다. 화면 가장자리에 북쪽과 동쪽 벽 일부를 남겨 실내의 깊이와 바닥의 연속성을 읽을 수 있게 한다. 야간의 낮은 주변광이 바닥과 벽에 부드럽게 퍼지고, 어두운 곳에서도 나무 문의 윤곽과 재료 차이가 식별되는 현실적인 노출을 유지한다. 절제된 차가운 회색 계열과 목재 본래의 갈색, 자연스러운 명암과 피사계 심도를 유지하며 과도한 보정은 하지 않는다. 사람, 얼굴, 인체 형상의 물체는 묘사하지 않는다. 위에서 수직으로 내려다보는 구도나 평면도, 건축 도해가 아닌 실제 실내 사진이며, 컴퓨터로 합성한 건축 이미지가 아닌 현장 촬영본처럼 보여야 한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S33_Shot6",
            "guide_text": "나무 지하실 문이 하단 중앙에서 약간 오른쪽에 읽히도록 두고, 문 남쪽과 서쪽의 빈 바닥을 넉넉히 확보한다. 약 1.6미터 눈높이에서 아래로 완만하게 기울인 35밀리미터 구도를 유지하며, 주변 바닥과 벽 일부로 실내 맥락을 보여준다. 문이 열렸다는 근거가 없으므로 닫힌 상태로 유지한다. 야간의 낮은 주변광 속에서도 문과 바닥의 경계가 식별되어야 한다. 배경에는 인물이나 인체 형상을 넣지 않는다."
          }
        ],
        "shot_ids": [
          "S33_Shot6"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "On the southwest portion of number 1 (chapel floor area), facing diagonally northeast toward number 3 (wooden basement hatch) across number 2 (hatch access clearance).",
          "camera_height": "Standing eye level, approximately 1.6 m, angled downward toward the floor hatch",
          "lens_hint": "28–35mm wide angle",
          "framing_notes": "Keep number 3 clearly readable in the lower-middle frame, with sufficient number 2 visible for a standing searcher to point toward it. Retain some surrounding interior floor and wall context. The discovery does not establish that the hatch has been opened. Depict the chapel interior, not a helicopter cabin; personnel and nighttime search conditions belong to the shot treatment, not the floor-plan base."
        },
        "reference_decision": {
          "bg_id": "L190B02",
          "fp_id": "fp_chapel_search",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L190B02 is the sole clean anchor candidate and the sole readiness-ok BG. Establish its identity directly from base markers 1, 2, and 3 without a reference. For S33_Shot6, camera unit 1 at [5, 2] looks toward unit 2 and opening marker 3 at the required candidate [4, 6]; normal coverage supports the staged medium composition and downward-oblique relationship. The coordinate candidates take precedence over the different endpoints in the direction records; visibility supersets do not establish additional adjacency.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_chapel_search.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The clean identity anchor is seeded from the floor plan; no previously rendered references are supplied or needed.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 1,
            "camera_cell": [
              5,
              2
            ],
            "look_at_unit": 2,
            "look_at_cell": [
              4,
              6
            ],
            "lens_enum": "normal",
            "fov_deg": 50,
            "framing_notes": "Neutral medium coverage from unit 1 toward the marker-3 target within unit 2. Use the staged slightly elevated, downward-oblique framing, reserving the left half for the subject and the lower-right midground for marker 3. Coordinates are copied from the unit-1 candidate arrays, not the direction-record endpoints."
          },
          "render_guidance": {
            "visible_space_directive": "Show the local surface of unit 1 continuing into unit 2 around opening marker 3. From [5, 2] toward [4, 6] with normal coverage, retain marker 3 and its surrounding clearance as the visible target. Establish the north and east local boundary relationships from the base inventory where they enter the frame; the visibility supersets do not authorize additional spaces or opening adjacency.",
            "camera_framing_directive": "Use camera unit 1 at [5, 2], looking toward unit 2 at [4, 6], with a normal lens and 50-degree field of view. Keep neutral medium coverage, slightly above the staged subject and oblique to his forward axis, angled downward to retain the face, pointing hand, and marker 3 together. Place marker 3 in the lower-right midground with its upper face visible obliquely, smaller than the staged figure; preserve the established viewing side.",
            "subject_position_directive": "S33_Shot6 commits 민병대원 in the left half, leaning forward with finger extended, three_quarter_right, gaze down toward marker 3, and mouth open while shouting. Reserve this position and the gesture path above marker 3 in the clean background composition; use the subject cue for spatial accommodation rather than baking the subject into the clean plate.",
            "state_cue_directive": "With clean_background_expected=true and no transient markers, no committed background state cue beyond \"clean residential space\" applies; refrain from inventing additional cues. Use markers 1, 2, and 3 as the structural content. Honor the shot's restrained nighttime interior illumination without specifying a source, preserving separation for the staged face, hand, and marker 3. The discovery and search descriptions do not commit any structural alteration.",
            "negative_continuity_directive": "No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating markers 1, 2, or 3, adding unlisted fixtures or overlays, or treating the visibility supersets as permission to depict additional spaces. Do not infer an altered configuration for marker 3 from the shot action. Do not substitute direction-record endpoints for the selected coordinate candidates."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [5, 2]\n  - look_at_unit: 2\n  - look_at_cell: [4, 6]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral medium coverage from unit 1 toward the marker-3 target within unit 2. Use the staged slightly elevated, downward-oblique framing, reserving the left half for the subject and the lower-right midground for marker 3. Coordinates are copied from the unit-1 candidate arrays, not the direction-record endpoints.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the local surface of unit 1 continuing into unit 2 around opening marker 3. From [5, 2] toward [4, 6] with normal coverage, retain marker 3 and its surrounding clearance as the visible target. Establish the north and east local boundary relationships from the base inventory where they enter the frame; the visibility supersets do not authorize additional spaces or opening adjacency.\n  - camera_framing_directive: Use camera unit 1 at [5, 2], looking toward unit 2 at [4, 6], with a normal lens and 50-degree field of view. Keep neutral medium coverage, slightly above the staged subject and oblique to his forward axis, angled downward to retain the face, pointing hand, and marker 3 together. Place marker 3 in the lower-right midground with its upper face visible obliquely, smaller than the staged figure; preserve the established viewing side.\n  - subject_position_directive: S33_Shot6 commits 민병대원 in the left half, leaning forward with finger extended, three_quarter_right, gaze down toward marker 3, and mouth open while shouting. Reserve this position and the gesture path above marker 3 in the clean background composition; use the subject cue for spatial accommodation rather than baking the subject into the clean plate.\n  - state_cue_directive: With clean_background_expected=true and no transient markers, no committed background state cue beyond \"clean residential space\" applies; refrain from inventing additional cues. Use markers 1, 2, and 3 as the structural content. Honor the shot's restrained nighttime interior illumination without specifying a source, preserving separation for the staged face, hand, and marker 3. The discovery and search descriptions do not commit any structural alteration.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating markers 1, 2, or 3, adding unlisted fixtures or overlays, or treating the visibility supersets as permission to depict additional spaces. Do not infer an altered configuration for marker 3 from the shot action. Do not substitute direction-record endpoints for the selected coordinate candidates.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [5, 2]\n  - look_at_unit: 2\n  - look_at_cell: [4, 6]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral medium coverage from unit 1 toward the marker-3 target within unit 2. Use the staged slightly elevated, downward-oblique framing, reserving the left half for the subject and the lower-right midground for marker 3. Coordinates are copied from the unit-1 candidate arrays, not the direction-record endpoints.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the local surface of unit 1 continuing into unit 2 around opening marker 3. From [5, 2] toward [4, 6] with normal coverage, retain marker 3 and its surrounding clearance as the visible target. Establish the north and east local boundary relationships from the base inventory where they enter the frame; the visibility supersets do not authorize additional spaces or opening adjacency.\n  - camera_framing_directive: Use camera unit 1 at [5, 2], looking toward unit 2 at [4, 6], with a normal lens and 50-degree field of view. Keep neutral medium coverage, slightly above the staged subject and oblique to his forward axis, angled downward to retain the face, pointing hand, and marker 3 together. Place marker 3 in the lower-right midground with its upper face visible obliquely, smaller than the staged figure; preserve the established viewing side.\n  - subject_position_directive: S33_Shot6 commits 민병대원 in the left half, leaning forward with finger extended, three_quarter_right, gaze down toward marker 3, and mouth open while shouting. Reserve this position and the gesture path above marker 3 in the clean background composition; use the subject cue for spatial accommodation rather than baking the subject into the clean plate.\n  - state_cue_directive: With clean_background_expected=true and no transient markers, no committed background state cue beyond \"clean residential space\" applies; refrain from inventing additional cues. Use markers 1, 2, and 3 as the structural content. Honor the shot's restrained nighttime interior illumination without specifying a source, preserving separation for the staged face, hand, and marker 3. The discovery and search descriptions do not commit any structural alteration.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating markers 1, 2, or 3, adding unlisted fixtures or overlays, or treating the visibility supersets as permission to depict additional spaces. Do not infer an altered configuration for marker 3 from the shot action. Do not substitute direction-record endpoints for the selected coordinate candidates.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [5, 2]\n  - look_at_unit: 2\n  - look_at_cell: [4, 6]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral medium coverage from unit 1 toward the marker-3 target within unit 2. Use the staged slightly elevated, downward-oblique framing, reserving the left half for the subject and the lower-right midground for marker 3. Coordinates are copied from the unit-1 candidate arrays, not the direction-record endpoints.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the local surface of unit 1 continuing into unit 2 around opening marker 3. From [5, 2] toward [4, 6] with normal coverage, retain marker 3 and its surrounding clearance as the visible target. Establish the north and east local boundary relationships from the base inventory where they enter the frame; the visibility supersets do not authorize additional spaces or opening adjacency.\n  - camera_framing_directive: Use camera unit 1 at [5, 2], looking toward unit 2 at [4, 6], with a normal lens and 50-degree field of view. Keep neutral medium coverage, slightly above the staged subject and oblique to his forward axis, angled downward to retain the face, pointing hand, and marker 3 together. Place marker 3 in the lower-right midground with its upper face visible obliquely, smaller than the staged figure; preserve the established viewing side.\n  - subject_position_directive: S33_Shot6 commits 민병대원 in the left half, leaning forward with finger extended, three_quarter_right, gaze down toward marker 3, and mouth open while shouting. Reserve this position and the gesture path above marker 3 in the clean background composition; use the subject cue for spatial accommodation rather than baking the subject into the clean plate.\n  - state_cue_directive: With clean_background_expected=true and no transient markers, no committed background state cue beyond \"clean residential space\" applies; refrain from inventing additional cues. Use markers 1, 2, and 3 as the structural content. Honor the shot's restrained nighttime interior illumination without specifying a source, preserving separation for the staged face, hand, and marker 3. The discovery and search descriptions do not commit any structural alteration.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating markers 1, 2, or 3, adding unlisted fixtures or overlays, or treating the visibility supersets as permission to depict additional spaces. Do not infer an altered configuration for marker 3 from the shot action. Do not substitute direction-record endpoints for the selected coordinate candidates.\n\n실제 카메라로 촬영한 다큐멘터리 풍 사진. 2069년 재난 이후 대한민국에 남아 있는 소박한 예배소 내부에서, 바닥에 설치된 나무 지하실 문과 그 주변 공간을 담은 실제 장소 기록 사진이다. 미래적인 장식을 덧붙이지 않은 기존 소규모 예배소의 실용적인 건축 마감으로, 무광 콘크리트 바닥과 회벽의 실제 표면 질감, 나무 문의 자연스러운 목리와 오래 사용한 재료의 미세한 닳음을 표현한다. 공간은 정돈되어 있으며 흐트러짐 없이 유지되어 있다. 평면도는 바닥과 벽, 지하실 문의 상대적인 위치를 파악하는 데만 사용한다. 예배소 바닥의 남서쪽에서 북동쪽을 향해 바라보며, 약 1.6미터 높이의 서 있는 사람 눈높이에서 카메라를 바닥 쪽으로 완만하게 기울인다. 실제 미러리스 카메라의 35밀리미터 광각 렌즈로 촬영한 자연스러운 원근감이다. 닫힌 나무 지하실 문은 화면 하단 중앙에서 약간 오른쪽에 명확히 보이게 하고, 문 주변의 접근 공간과 특히 남쪽 및 서쪽의 빈 바닥을 충분히 확보한다. 화면 가장자리에 북쪽과 동쪽 벽 일부를 남겨 실내의 깊이와 바닥의 연속성을 읽을 수 있게 한다. 야간의 낮은 주변광이 바닥과 벽에 부드럽게 퍼지고, 어두운 곳에서도 나무 문의 윤곽과 재료 차이가 식별되는 현실적인 노출을 유지한다. 절제된 차가운 회색 계열과 목재 본래의 갈색, 자연스러운 명암과 피사계 심도를 유지하며 과도한 보정은 하지 않는다. 사람, 얼굴, 인체 형상의 물체는 묘사하지 않는다. 위에서 수직으로 내려다보는 구도나 평면도, 건축 도해가 아닌 실제 실내 사진이며, 컴퓨터로 합성한 건축 이미지가 아닌 현장 촬영본처럼 보여야 한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "camera_decision": {
          "camera_unit": 1,
          "camera_cell": [
            5,
            2
          ],
          "look_at_unit": 2,
          "look_at_cell": [
            4,
            6
          ],
          "lens_enum": "normal",
          "fov_deg": 50,
          "framing_notes": "Neutral medium coverage from unit 1 toward the marker-3 target within unit 2. Use the staged slightly elevated, downward-oblique framing, reserving the left half for the subject and the lower-right midground for marker 3. Coordinates are copied from the unit-1 candidate arrays, not the direction-record endpoints."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Show the local surface of unit 1 continuing into unit 2 around opening marker 3. From [5, 2] toward [4, 6] with normal coverage, retain marker 3 and its surrounding clearance as the visible target. Establish the north and east local boundary relationships from the base inventory where they enter the frame; the visibility supersets do not authorize additional spaces or opening adjacency.",
          "camera_framing_directive": "Use camera unit 1 at [5, 2], looking toward unit 2 at [4, 6], with a normal lens and 50-degree field of view. Keep neutral medium coverage, slightly above the staged subject and oblique to his forward axis, angled downward to retain the face, pointing hand, and marker 3 together. Place marker 3 in the lower-right midground with its upper face visible obliquely, smaller than the staged figure; preserve the established viewing side.",
          "subject_position_directive": "S33_Shot6 commits 민병대원 in the left half, leaning forward with finger extended, three_quarter_right, gaze down toward marker 3, and mouth open while shouting. Reserve this position and the gesture path above marker 3 in the clean background composition; use the subject cue for spatial accommodation rather than baking the subject into the clean plate.",
          "state_cue_directive": "With clean_background_expected=true and no transient markers, no committed background state cue beyond \"clean residential space\" applies; refrain from inventing additional cues. Use markers 1, 2, and 3 as the structural content. Honor the shot's restrained nighttime interior illumination without specifying a source, preserving separation for the staged face, hand, and marker 3. The discovery and search descriptions do not commit any structural alteration.",
          "negative_continuity_directive": "No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating markers 1, 2, or 3, adding unlisted fixtures or overlays, or treating the visibility supersets as permission to depict additional spaces. Do not infer an altered configuration for marker 3 from the shot action. Do not substitute direction-record endpoints for the selected coordinate candidates."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_chapel_search",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_chapel_search"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L190B01": {
        "status": "ok",
        "location_id": "L190",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L190B01.png",
        "t2i_prompt": "2069년 기후 재난 이후 한국 해안의 인공제방과 검은 바다를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 야간 현장 배경으로, 실제 장소에서 전폭 센서 미러리스 카메라와 35밀리미터 렌즈로 촬영한 듯한 물리적 사실성을 유지한다. 제방의 육지 쪽 접속도로에 서서 지면에서 약 1.6미터 높이로 길게 뻗은 제방을 비스듬히 바라본다. 가까운 콘크리트 사면에서 먼 제방 상단의 차량 행렬까지 이어지는 원근감, 그 너머의 넓고 어두운 바다와 낮은 수평선을 한 화면에 담는다. 항공 시점이나 수직으로 내려다보는 시점이 아니다.\n\n제방은 한국 해안 방재시설에서 볼 수 있는 두꺼운 철근콘크리트 구조와 상단 아스팔트 도로, 금속 가드레일로 이루어진다. 콘크리트의 거친 골재, 이음매, 염분에 의한 백화와 물때, 금속의 실제 녹과 도로의 오래된 보수 흔적을 보여준다. 미래라는 이유로 과장된 신형 건축물이나 공중 정보 화면을 추가하지 않는다. 차종이 섞인 차량 행렬은 제방 상단 도로를 따라 이어지고, 차 안의 사람이나 얼굴은 보이지 않는다. 약한 밤하늘의 자연광과 차량 전조등이 젖은 표면을 제한적으로 밝힌다. 바다는 검은 물결의 방향과 희미한 반사로 식별되며, 육지 쪽 낮은 지대와 바다 쪽의 위치 관계가 명확하다. 차가운 회색은 실제 야간 조명에서 자연스럽게 나타나도록 하고, 어두운 부분을 대낮처럼 밝히지 않는다.\n\n시간에 따른 두 상태를 구별하여 요청된 장면 하나만 촬영한다. 공격 접근 단계에서는 아직 이어져 있는 제방 상단의 차량 행렬을 향해 작은 전투 드론의 짙은 실루엣이 밀집하여 접근한다. 기체는 각각 단단한 몸체와 추진부를 갖춘 실제 기계이며, 가까운 기체와 먼 기체의 크기 차이로 거리감을 만든다. 이 단계에는 제방의 붕괴 틈이나 육지 쪽으로 쏟아지는 바닷물을 절대 선행하여 넣지 않는다. 붕괴 진행 단계에서만 연속 폭발로 제방 일부가 끊어지고, 파단된 콘크리트 단면과 노출 철근, 끊긴 도로와 휘어진 가드레일이 드러난다. 높은 바다 쪽의 검은 바닷물이 그 틈을 통과하여 낮은 육지 쪽으로 폭포처럼 쏟아지며, 낙하 지점의 흰 포말과 물보라, 콘크리트 파편, 폭발 연기와 국소적인 주황빛 섬광을 보여준다. 유입수의 낙차와 흐름은 실제 중력과 수압에 맞게 표현하고, 바닷물 전체를 빛나게 만들지 않는다. 두 상태를 한 화면에 병치하지 않으며, 별도의 단계 지정이 없으면 붕괴 전 공격 접근 상태를 기준으로 한다.\n\n사람, 얼굴, 시신, 인체 흔적은 전혀 없는 환경 사진. 실제 콘크리트와 금속의 질감, 생활 기반시설의 사용감, 자연스러운 피사계 심도와 야간 노출을 유지한다. 과장된 보정이나 인공적인 광택 없이 실제 현장 기록 사진과 구별되지 않게 한다. 삽화나 건축 시각화가 아닌 사진이며 평면도 형식은 금지한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S33_Shot11",
            "guide_text": "육지 쪽 접속도로의 약 1.6미터 눈높이에서 35밀리미터 렌즈로 제방과 바다를 비스듬히 넓게 담는다. 연결된 제방 상단의 차량 행렬을 향하는 밀집 드론 실루엣이 야간 하늘과 바다를 배경으로 구별되게 한다. 기체 사이에는 실제 거리와 크기 차이가 있고 접근 방향은 차량 행렬을 향한다. 차량 내부 사람은 보이지 않는다. 제방 붕괴, 끊긴 도로, 폭포 같은 바닷물 유입은 아직 없다."
          },
          {
            "shot_id": "S33_Shot14",
            "guide_text": "앞선 장면과 같은 제방의 방향 및 바다와 육지의 위치 관계를 유지하되, 이어지는 폭발로 생긴 붕괴 틈과 유입수를 화면의 중심 대상으로 삼는다. 육지 쪽 안전한 거리의 지면에서 약 1.6미터 눈높이와 35밀리미터 렌즈로 촬영한다. 파단면, 노출 철근, 끊긴 도로와 가드레일을 통해 제방이 실제로 무너졌음을 보여준다. 검은 바닷물이 바다 쪽에서 틈을 지나 낮은 육지 쪽으로 폭포처럼 낙하하고, 포말과 물보라가 아래로 퍼진다. 연속 폭발의 국소 섬광과 연기가 물의 흐름이나 붕괴 단면을 완전히 가리지 않도록 한다. 사람이나 시신은 묘사하지 않는다."
          }
        ],
        "shot_ids": [
          "S33_Shot11",
          "S33_Shot14"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "text_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {},
        "reference_decision": {
          "mode": "surface_role_direct_plate",
          "surface_role": "site_surface",
          "fp_id": "",
          "source_bg_ids": []
        },
        "effective_render_prompt": "2069년 기후 재난 이후 한국 해안의 인공제방과 검은 바다를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 야간 현장 배경으로, 실제 장소에서 전폭 센서 미러리스 카메라와 35밀리미터 렌즈로 촬영한 듯한 물리적 사실성을 유지한다. 제방의 육지 쪽 접속도로에 서서 지면에서 약 1.6미터 높이로 길게 뻗은 제방을 비스듬히 바라본다. 가까운 콘크리트 사면에서 먼 제방 상단의 차량 행렬까지 이어지는 원근감, 그 너머의 넓고 어두운 바다와 낮은 수평선을 한 화면에 담는다. 항공 시점이나 수직으로 내려다보는 시점이 아니다.\n\n제방은 한국 해안 방재시설에서 볼 수 있는 두꺼운 철근콘크리트 구조와 상단 아스팔트 도로, 금속 가드레일로 이루어진다. 콘크리트의 거친 골재, 이음매, 염분에 의한 백화와 물때, 금속의 실제 녹과 도로의 오래된 보수 흔적을 보여준다. 미래라는 이유로 과장된 신형 건축물이나 공중 정보 화면을 추가하지 않는다. 차종이 섞인 차량 행렬은 제방 상단 도로를 따라 이어지고, 차 안의 사람이나 얼굴은 보이지 않는다. 약한 밤하늘의 자연광과 차량 전조등이 젖은 표면을 제한적으로 밝힌다. 바다는 검은 물결의 방향과 희미한 반사로 식별되며, 육지 쪽 낮은 지대와 바다 쪽의 위치 관계가 명확하다. 차가운 회색은 실제 야간 조명에서 자연스럽게 나타나도록 하고, 어두운 부분을 대낮처럼 밝히지 않는다.\n\n시간에 따른 두 상태를 구별하여 요청된 장면 하나만 촬영한다. 공격 접근 단계에서는 아직 이어져 있는 제방 상단의 차량 행렬을 향해 작은 전투 드론의 짙은 실루엣이 밀집하여 접근한다. 기체는 각각 단단한 몸체와 추진부를 갖춘 실제 기계이며, 가까운 기체와 먼 기체의 크기 차이로 거리감을 만든다. 이 단계에는 제방의 붕괴 틈이나 육지 쪽으로 쏟아지는 바닷물을 절대 선행하여 넣지 않는다. 붕괴 진행 단계에서만 연속 폭발로 제방 일부가 끊어지고, 파단된 콘크리트 단면과 노출 철근, 끊긴 도로와 휘어진 가드레일이 드러난다. 높은 바다 쪽의 검은 바닷물이 그 틈을 통과하여 낮은 육지 쪽으로 폭포처럼 쏟아지며, 낙하 지점의 흰 포말과 물보라, 콘크리트 파편, 폭발 연기와 국소적인 주황빛 섬광을 보여준다. 유입수의 낙차와 흐름은 실제 중력과 수압에 맞게 표현하고, 바닷물 전체를 빛나게 만들지 않는다. 두 상태를 한 화면에 병치하지 않으며, 별도의 단계 지정이 없으면 붕괴 전 공격 접근 상태를 기준으로 한다.\n\n사람, 얼굴, 시신, 인체 흔적은 전혀 없는 환경 사진. 실제 콘크리트와 금속의 질감, 생활 기반시설의 사용감, 자연스러운 피사계 심도와 야간 노출을 유지한다. 과장된 보정이나 인공적인 광택 없이 실제 현장 기록 사진과 구별되지 않게 한다. 삽화나 건축 시각화가 아닌 사진이며 평면도 형식은 금지한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_aware_plan_mode": "surface_role_direct_plate",
        "attached_reference_lineage": {
          "fp_id": "",
          "prior_bg_ids": [],
          "attached_ref_labels": [],
          "ref_used": "text_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L194B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L194",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L194B01.png",
        "t2i_prompt": "2069년 기후 재난 이후의 한국에서 낮 동안 정상적으로 자율주행 중인 덤프트럭의 빈 운전실을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 첨단 운행 기술과 오래 사용한 실용적인 대형 상용차 구조가 공존하는 공간이며, 미래라는 이유로 실내를 새것 같은 전시용 장비로 바꾸지 않는다. 사람, 얼굴, 사람 형태의 형상은 실내와 창밖 어디에도 표현하지 않는다.\n\n참조 평면도는 운전실의 구조와 기존 설비의 위치를 파악하는 데만 사용한다. 카메라는 운전실 오른쪽의 앞쪽 안쪽 지점에서 왼쪽 운전석과 운전석 옆 유리창을 향해 비스듬히 바라본다. 운전실 바닥에서 약 1.6미터 높이의 사람 눈높이, 실제 미러리스 카메라의 35밀리미터 환산 렌즈로 촬영한 시점이다. 운전석은 뒤에서만 보이지 않도록 측면과 앞면이 함께 읽히는 사선 구도로 담고, 좌석 위 공간을 다른 물체로 가리지 않는다. 화면 아래 가까운 쪽에는 대시보드와 운전대가 들어오고, 앞쪽 가장자리에는 전면 유리 일부가 보인다. 위에서 내려다보는 구도나 평면도 구도가 아닌 실제 실내 사진이다.\n\n왼쪽 운전석 바로 앞에는 운전대가 있고, 전면 유리 아래로 폭넓은 대시보드가 이어진다. 운전대 오른쪽의 대시보드 중앙에는 매립형 라디오가 자리한다. 운전석 옆 왼쪽 문은 닫혀 있으며 그 문의 유리창을 통해 바깥 도로가 보인다. 한국에서 사용하는 대형 작업 차량에 어울리는 실용적인 회색 성형 수지 대시보드, 좌석의 촘촘한 직물 짜임, 도장 금속의 표면과 오래 사용하며 자연스럽게 누그러진 광택을 사실적으로 표현한다. 구조와 설비는 기존 위치를 유지한다. 공간은 깨끗하고 정돈된 평상 상태다.\n\n전면 유리와 옆 유리창 너머에는 한국의 우측통행 포장도로가 주행 방향으로 이어진다. 차내 구조는 선명하게 유지하고 가까운 창밖 노면에는 촬영 순간에 생기는 아주 약한 움직임만 담아 운행 중인 공간임을 전달한다. 주간 자연광이 유리를 통해 들어와 회색 실내 표면과 좌석에 부드럽고 실제적인 명암을 만든다. 유리 반사와 외부 밝기는 자연스럽게 조절하고 도로의 형태도 읽히게 한다. 차분한 회색 재료의 실제 색, 과장하지 않은 명암, 자연스러운 피사계 심도를 유지한다. 과도한 보정 없이 생활감 있는 실제 장소 기록 사진으로 표현하며, 컴퓨터 합성 이미지나 삽화, 건축 시각화처럼 보이지 않게 한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S3_Shot2",
            "guide_text": "운전석의 측면과 앞면이 함께 읽히는 사선 구도를 사용하고 좌석 위 합성 영역을 비워 둔다. 배경 이미지 자체에는 인물이나 얼굴을 넣지 않는다. 아래쪽의 대시보드와 운전대, 중앙 라디오, 옆 유리창과 전면 유리 일부가 운전실의 공간 관계를 설명하도록 한다. 창밖 도로와 주간 자연광으로 정상 주행 중임을 유지하며 점포 앞 정차 구도로 바꾸지 않는다. 음성의 발화자를 실내에 추가하지 않으며, 배경에 포함된 설비와 가구를 후속 세부 묘사에서 중복 생성하지 않는다."
          }
        ],
        "shot_ids": [
          "S3_Shot2"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_2",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Near the forward inboard edge of number 3 (passenger seat), looking diagonally left toward number 2 (driver seat) and number 10 (driver side window), with numbers 4 and 5 in the lower foreground and part of number 7 at the forward edge of the composition.",
          "camera_height": "Approximately seated eye level, typically 1.1–1.3 m above the cab floor",
          "lens_hint": "28–35mm equivalent wide angle",
          "framing_notes": "Leave space for the drowsing driver as a separate character layer; preserve a readable side or three-quarter view rather than a rear-only view. Include dashboard structure and daylight road context through the glazing. Depict normal autonomous travel, not a stop outside a shop. Keep doors closed; do not turn diagram swing arcs into scene-state instructions. The radio speaker is audio-only, with no presenter physically present."
        },
        "reference_decision": {
          "bg_id": "L194B01",
          "fp_id": "fp_dump_truck_cab",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L194B01 is the sole clean anchor candidate and the sole readiness-approved BG. With no prior references, establish identity from the base plan. For S3_Shot2, use the only available camera cell in unit 1 and aim toward marker 2 with normal coverage to support the staged medium framing. The grid does not resolve the requested passenger-side forward offset, so preserve the exact supplied coordinates rather than inventing a more precise position.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_dump_truck_cab.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "No reference is selected because this node establishes the dwelling identity anchor and the same-fp catalog is empty.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 1,
            "camera_cell": [
              5,
              5
            ],
            "look_at_unit": 1,
            "look_at_cell": [
              5,
              2
            ],
            "lens_enum": "normal",
            "fov_deg": 50,
            "framing_notes": "Neutral coverage within unit 1, aimed at marker 2. Support the staged medium framing with the lowered head and upper torso left of center and a limited surrounding interior band. The sole camera candidate cannot encode the staging's precise passenger-side forward offset. No view-cone records are available; 50 degrees is the canonical normal-lens fallback."
          },
          "render_guidance": {
            "visible_space_directive": "Show the portion of unit 1 surrounding marker 2 from [5, 5] toward [5, 2]. Establish fixed identity using base markers 1, 2, 4, 5, 6, 7, 8, and 10 in their supplied plan positions, including only portions that fall within the normal framing. Opening candidates are a visibility superset, not a requirement to display every opening; no additional unit visibility is committed.",
            "camera_framing_directive": "Use camera_unit 1 at [5, 5], looking within look_at_unit 1 toward [5, 2], with a normal lens at 50 degrees for neutral coverage. Apply S3_Shot2's medium composition and above-seated-eye-level downward framing without changing the committed grid coordinates. Keep the camera fixed relative to the interior and retain a limited surrounding band rather than broad room coverage.",
            "subject_position_directive": "S3_Shot2 commits 운전사 seated at marker 2, with head nodding, closed eyes, and three_quarter_right presentation. Reserve the lowered head and upper torso left of center relative to the chosen view. Treat this pose as shot-layer staging over the clean background, not as a persistent element of the anchor plate.",
            "state_cue_directive": "No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional state cues. Preserve the staged daytime ambient light, natural facial detail, and restrained tonal contrast; the staged action does not require additional background objects or structural changes.",
            "negative_continuity_directive": "No ignored numbered elements or ignored state-overlay markers are supplied. Avoid relocating base markers 2, 4, 5, and 6 or opening markers 7, 8, and 10 to force their inclusion. Avoid treating opening candidates 7, 8, 9, 10, and 11 as simultaneously visible, adding units beyond unit 1, or baking shot-specific subject cues into the clean anchor."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [5, 5]\n  - look_at_unit: 1\n  - look_at_cell: [5, 2]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: \"Neutral coverage within unit 1, aimed at marker 2. Support the staged medium framing with the lowered head and upper torso left of center and a limited surrounding interior band. The sole camera candidate cannot encode the staging's precise passenger-side forward offset. No view-cone records are available; 50 degrees is the canonical normal-lens fallback.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the portion of unit 1 surrounding marker 2 from [5, 5] toward [5, 2]. Establish fixed identity using base markers 1, 2, 4, 5, 6, 7, 8, and 10 in their supplied plan positions, including only portions that fall within the normal framing. Opening candidates are a visibility superset, not a requirement to display every opening; no additional unit visibility is committed.\n  - camera_framing_directive: Use camera_unit 1 at [5, 5], looking within look_at_unit 1 toward [5, 2], with a normal lens at 50 degrees for neutral coverage. Apply S3_Shot2's medium composition and above-seated-eye-level downward framing without changing the committed grid coordinates. Keep the camera fixed relative to the interior and retain a limited surrounding band rather than broad room coverage.\n  - subject_position_directive: S3_Shot2 commits 운전사 seated at marker 2, with head nodding, closed eyes, and three_quarter_right presentation. Reserve the lowered head and upper torso left of center relative to the chosen view. Treat this pose as shot-layer staging over the clean background, not as a persistent element of the anchor plate.\n  - state_cue_directive: No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional state cues. Preserve the staged daytime ambient light, natural facial detail, and restrained tonal contrast; the staged action does not require additional background objects or structural changes.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are supplied. Avoid relocating base markers 2, 4, 5, and 6 or opening markers 7, 8, and 10 to force their inclusion. Avoid treating opening candidates 7, 8, 9, 10, and 11 as simultaneously visible, adding units beyond unit 1, or baking shot-specific subject cues into the clean anchor.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [5, 5]\n  - look_at_unit: 1\n  - look_at_cell: [5, 2]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: \"Neutral coverage within unit 1, aimed at marker 2. Support the staged medium framing with the lowered head and upper torso left of center and a limited surrounding interior band. The sole camera candidate cannot encode the staging's precise passenger-side forward offset. No view-cone records are available; 50 degrees is the canonical normal-lens fallback.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the portion of unit 1 surrounding marker 2 from [5, 5] toward [5, 2]. Establish fixed identity using base markers 1, 2, 4, 5, 6, 7, 8, and 10 in their supplied plan positions, including only portions that fall within the normal framing. Opening candidates are a visibility superset, not a requirement to display every opening; no additional unit visibility is committed.\n  - camera_framing_directive: Use camera_unit 1 at [5, 5], looking within look_at_unit 1 toward [5, 2], with a normal lens at 50 degrees for neutral coverage. Apply S3_Shot2's medium composition and above-seated-eye-level downward framing without changing the committed grid coordinates. Keep the camera fixed relative to the interior and retain a limited surrounding band rather than broad room coverage.\n  - subject_position_directive: S3_Shot2 commits 운전사 seated at marker 2, with head nodding, closed eyes, and three_quarter_right presentation. Reserve the lowered head and upper torso left of center relative to the chosen view. Treat this pose as shot-layer staging over the clean background, not as a persistent element of the anchor plate.\n  - state_cue_directive: No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional state cues. Preserve the staged daytime ambient light, natural facial detail, and restrained tonal contrast; the staged action does not require additional background objects or structural changes.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are supplied. Avoid relocating base markers 2, 4, 5, and 6 or opening markers 7, 8, and 10 to force their inclusion. Avoid treating opening candidates 7, 8, 9, 10, and 11 as simultaneously visible, adding units beyond unit 1, or baking shot-specific subject cues into the clean anchor.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [5, 5]\n  - look_at_unit: 1\n  - look_at_cell: [5, 2]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: \"Neutral coverage within unit 1, aimed at marker 2. Support the staged medium framing with the lowered head and upper torso left of center and a limited surrounding interior band. The sole camera candidate cannot encode the staging's precise passenger-side forward offset. No view-cone records are available; 50 degrees is the canonical normal-lens fallback.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the portion of unit 1 surrounding marker 2 from [5, 5] toward [5, 2]. Establish fixed identity using base markers 1, 2, 4, 5, 6, 7, 8, and 10 in their supplied plan positions, including only portions that fall within the normal framing. Opening candidates are a visibility superset, not a requirement to display every opening; no additional unit visibility is committed.\n  - camera_framing_directive: Use camera_unit 1 at [5, 5], looking within look_at_unit 1 toward [5, 2], with a normal lens at 50 degrees for neutral coverage. Apply S3_Shot2's medium composition and above-seated-eye-level downward framing without changing the committed grid coordinates. Keep the camera fixed relative to the interior and retain a limited surrounding band rather than broad room coverage.\n  - subject_position_directive: S3_Shot2 commits 운전사 seated at marker 2, with head nodding, closed eyes, and three_quarter_right presentation. Reserve the lowered head and upper torso left of center relative to the chosen view. Treat this pose as shot-layer staging over the clean background, not as a persistent element of the anchor plate.\n  - state_cue_directive: No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional state cues. Preserve the staged daytime ambient light, natural facial detail, and restrained tonal contrast; the staged action does not require additional background objects or structural changes.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are supplied. Avoid relocating base markers 2, 4, 5, and 6 or opening markers 7, 8, and 10 to force their inclusion. Avoid treating opening candidates 7, 8, 9, 10, and 11 as simultaneously visible, adding units beyond unit 1, or baking shot-specific subject cues into the clean anchor.\n\n2069년 기후 재난 이후의 한국에서 낮 동안 정상적으로 자율주행 중인 덤프트럭의 빈 운전실을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 첨단 운행 기술과 오래 사용한 실용적인 대형 상용차 구조가 공존하는 공간이며, 미래라는 이유로 실내를 새것 같은 전시용 장비로 바꾸지 않는다. 사람, 얼굴, 사람 형태의 형상은 실내와 창밖 어디에도 표현하지 않는다.\n\n참조 평면도는 운전실의 구조와 기존 설비의 위치를 파악하는 데만 사용한다. 카메라는 운전실 오른쪽의 앞쪽 안쪽 지점에서 왼쪽 운전석과 운전석 옆 유리창을 향해 비스듬히 바라본다. 운전실 바닥에서 약 1.6미터 높이의 사람 눈높이, 실제 미러리스 카메라의 35밀리미터 환산 렌즈로 촬영한 시점이다. 운전석은 뒤에서만 보이지 않도록 측면과 앞면이 함께 읽히는 사선 구도로 담고, 좌석 위 공간을 다른 물체로 가리지 않는다. 화면 아래 가까운 쪽에는 대시보드와 운전대가 들어오고, 앞쪽 가장자리에는 전면 유리 일부가 보인다. 위에서 내려다보는 구도나 평면도 구도가 아닌 실제 실내 사진이다.\n\n왼쪽 운전석 바로 앞에는 운전대가 있고, 전면 유리 아래로 폭넓은 대시보드가 이어진다. 운전대 오른쪽의 대시보드 중앙에는 매립형 라디오가 자리한다. 운전석 옆 왼쪽 문은 닫혀 있으며 그 문의 유리창을 통해 바깥 도로가 보인다. 한국에서 사용하는 대형 작업 차량에 어울리는 실용적인 회색 성형 수지 대시보드, 좌석의 촘촘한 직물 짜임, 도장 금속의 표면과 오래 사용하며 자연스럽게 누그러진 광택을 사실적으로 표현한다. 구조와 설비는 기존 위치를 유지한다. 공간은 깨끗하고 정돈된 평상 상태다.\n\n전면 유리와 옆 유리창 너머에는 한국의 우측통행 포장도로가 주행 방향으로 이어진다. 차내 구조는 선명하게 유지하고 가까운 창밖 노면에는 촬영 순간에 생기는 아주 약한 움직임만 담아 운행 중인 공간임을 전달한다. 주간 자연광이 유리를 통해 들어와 회색 실내 표면과 좌석에 부드럽고 실제적인 명암을 만든다. 유리 반사와 외부 밝기는 자연스럽게 조절하고 도로의 형태도 읽히게 한다. 차분한 회색 재료의 실제 색, 과장하지 않은 명암, 자연스러운 피사계 심도를 유지한다. 과도한 보정 없이 생활감 있는 실제 장소 기록 사진으로 표현하며, 컴퓨터 합성 이미지나 삽화, 건축 시각화처럼 보이지 않게 한다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThe LAST attached image is a TOP-DOWN INTERIOR FLOOR PLAN of the building at this location — a STRUCTURAL REFERENCE ONLY, never content to draw. It defines the building's real scale: its footprint, room count, and the placement of its doors and windows. Render the scene so the building's exterior size, number of storeys, and the scale and placement of its doors and windows stay consistent with that plan. Do NOT draw the floor plan itself, its lines, text or numbers anywhere in the image.\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 1,
          "camera_cell": [
            5,
            5
          ],
          "look_at_unit": 1,
          "look_at_cell": [
            5,
            2
          ],
          "lens_enum": "normal",
          "fov_deg": 50,
          "framing_notes": "Neutral coverage within unit 1, aimed at marker 2. Support the staged medium framing with the lowered head and upper torso left of center and a limited surrounding interior band. The sole camera candidate cannot encode the staging's precise passenger-side forward offset. No view-cone records are available; 50 degrees is the canonical normal-lens fallback."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Show the portion of unit 1 surrounding marker 2 from [5, 5] toward [5, 2]. Establish fixed identity using base markers 1, 2, 4, 5, 6, 7, 8, and 10 in their supplied plan positions, including only portions that fall within the normal framing. Opening candidates are a visibility superset, not a requirement to display every opening; no additional unit visibility is committed.",
          "camera_framing_directive": "Use camera_unit 1 at [5, 5], looking within look_at_unit 1 toward [5, 2], with a normal lens at 50 degrees for neutral coverage. Apply S3_Shot2's medium composition and above-seated-eye-level downward framing without changing the committed grid coordinates. Keep the camera fixed relative to the interior and retain a limited surrounding band rather than broad room coverage.",
          "subject_position_directive": "S3_Shot2 commits 운전사 seated at marker 2, with head nodding, closed eyes, and three_quarter_right presentation. Reserve the lowered head and upper torso left of center relative to the chosen view. Treat this pose as shot-layer staging over the clean background, not as a persistent element of the anchor plate.",
          "state_cue_directive": "No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional state cues. Preserve the staged daytime ambient light, natural facial detail, and restrained tonal contrast; the staged action does not require additional background objects or structural changes.",
          "negative_continuity_directive": "No ignored numbered elements or ignored state-overlay markers are supplied. Avoid relocating base markers 2, 4, 5, and 6 or opening markers 7, 8, and 10 to force their inclusion. Avoid treating opening candidates 7, 8, 9, 10, and 11 as simultaneously visible, adding units beyond unit 1, or baking shot-specific subject cues into the clean anchor."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_dump_truck_cab",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_dump_truck_cab",
            "building_fp:fp_unstaffed_shop"
          ],
          "ref_used": "refs_2",
          "db_write_policy": "checkpoint_only"
        },
        "building_fp_ref": {
          "fp_id": "fp_unstaffed_shop",
          "indoor_loc_sid": "L195",
          "group_id": "bg_unstaffed_shop",
          "fp_asset_id": "43b20d0e-a0f8-4545-9d76-b603f849f4a5"
        }
      },
      "L194B02": {
        "status": "ok",
        "location_id": "L194",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L194B02.png",
        "t2i_prompt": "2069년 기후 재난 이후 대한민국의 난민촌 외곽 도로와 건너편 무인점포 전면을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 실제 장소 기록 사진처럼 보이게 한다. 난민촌 쪽 도로 가장자리에 서서 높이 약 1.6미터의 눈높이에서 35밀리미터 렌즈를 장착한 미러리스 카메라로 건너편을 바라본다. 화면 아래쪽과 중앙에는 텅 빈 잿빛 아스팔트 도로가 넓게 펼쳐지고, 건너편의 낮은 점포는 화면 중앙보다 약간 오른쪽에 위치한다. 점포 출입문으로 향하는 길이 전경부터 막힘없이 보이며, 도로 가장자리와 맞은편 연석이 자연스러운 원근을 만든다. 위에서 내려다보는 시점이 아닌 지상 눈높이 사진이다.\n\n한국 외곽 생활권에서 이어져 온 낮은 콘크리트 상가의 현실적인 외관. 낡은 외벽의 빗물 자국, 부분적으로 보수한 시멘트 표면, 금속 창틀의 부식, 먼지가 얇게 낀 유리창과 유리 출입문을 표현한다. 출입문 옆에는 벽에 부착된 작은 무인 결제 단말기가 있고, 유리 너머로 단순한 상품 선반의 일부만 희미하게 보인다. 출입문 위의 소박한 한글 '무인점포' 네온 간판은 대낮에도 확실히 켜져 있다. 네온의 빛은 간판 가까운 유리와 금속에만 약하게 반사되고, 밝은 낮의 도로 전체를 물들이지 않는다. 미래의 시설이지만 낡은 생활 기반을 계속 사용하는 장소이며, 과도한 신형 장치나 공중 영상은 없다. 난민촌 방향은 화면 왼쪽 가장자리에 조금 걸리는 임시 철망 울타리와 빛바랜 방수포로 절제해서 암시한다. 방수포의 실제 직물 결, 철망의 녹, 도로의 골재와 잔균열, 보수 흔적, 닳은 차선과 연석의 먼지가 구체적으로 보인다. 대규모 붕괴나 도로를 가로막는 잔해는 없다.\n\n구름 낀 주간의 부드러운 자연광 아래 차갑고 담담한 회색 표면을 있는 그대로 기록한다. 그늘은 옅고, 네온만 제한적인 색을 지닌다. 경찰, 행인, 점원, 차량, 로봇은 전혀 없으며, 유리 반사와 점포 내부에도 사람이나 얼굴이 없다. 시신이나 혈흔도 없다. 실제 아스팔트·콘크리트·금속·유리·직물의 질감과 생활 오염을 유지하고, 전경 도로부터 점포 전면까지 알아볼 수 있는 자연스러운 피사계 심도를 사용한다. 과장된 보정이나 인공적인 광택 없이 실제 장소 촬영본과 구별되지 않는 사진이며, 삽화나 건축 조감도가 아니다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S40_Shot1",
            "guide_text": "세부 숏 설명이 없으므로 공통 공간 기준을 적용한다. 눈높이에서 빈 도로를 전경으로 확보하고 건너편 무인점포 출입문을 중앙보다 약간 오른쪽에 둔다. 가까운 구도로 잘라 쓰더라도 도로 너머 점포와 켜진 네온의 방향을 식별할 수 있게 하며, 배경 자체에는 인물을 넣지 않는다."
          },
          {
            "shot_id": "S40_Shot4",
            "guide_text": "공통 배경의 도로·점포 축과 좌우 관계를 유지한다. 인물 클로즈업용 배경으로 활용할 경우에도 도로의 회색 면과 건너편 점포의 위치가 반전되지 않게 한다. 배경 촬영은 같은 눈높이와 주간 자연광을 유지하고, 사람이나 얼굴 및 사람의 반사를 생성하지 않는다."
          },
          {
            "shot_id": "S40_Shot6",
            "guide_text": "점포를 향한 이동 전경으로 활용할 수 있도록 아래쪽의 빈 아스팔트에서 건너편 출입문까지 이어지는 경로를 확보한다. 접근 구도로 바꾸더라도 같은 도로 쪽에서 바라보고 출입문과 네온의 상대 위치를 유지한다. 이동하는 인물이나 차량을 추가하지 않으며 네온은 낮에도 계속 켜져 있다."
          }
        ],
        "shot_ids": [
          "S40_Shot1",
          "S40_Shot4",
          "S40_Shot6"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_2",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {},
        "reference_decision": {
          "mode": "surface_role_direct_plate",
          "surface_role": "exterior_plate",
          "fp_id": "",
          "source_bg_ids": []
        },
        "effective_render_prompt": "2069년 기후 재난 이후 대한민국의 난민촌 외곽 도로와 건너편 무인점포 전면을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 실제 장소 기록 사진처럼 보이게 한다. 난민촌 쪽 도로 가장자리에 서서 높이 약 1.6미터의 눈높이에서 35밀리미터 렌즈를 장착한 미러리스 카메라로 건너편을 바라본다. 화면 아래쪽과 중앙에는 텅 빈 잿빛 아스팔트 도로가 넓게 펼쳐지고, 건너편의 낮은 점포는 화면 중앙보다 약간 오른쪽에 위치한다. 점포 출입문으로 향하는 길이 전경부터 막힘없이 보이며, 도로 가장자리와 맞은편 연석이 자연스러운 원근을 만든다. 위에서 내려다보는 시점이 아닌 지상 눈높이 사진이다.\n\n한국 외곽 생활권에서 이어져 온 낮은 콘크리트 상가의 현실적인 외관. 낡은 외벽의 빗물 자국, 부분적으로 보수한 시멘트 표면, 금속 창틀의 부식, 먼지가 얇게 낀 유리창과 유리 출입문을 표현한다. 출입문 옆에는 벽에 부착된 작은 무인 결제 단말기가 있고, 유리 너머로 단순한 상품 선반의 일부만 희미하게 보인다. 출입문 위의 소박한 한글 '무인점포' 네온 간판은 대낮에도 확실히 켜져 있다. 네온의 빛은 간판 가까운 유리와 금속에만 약하게 반사되고, 밝은 낮의 도로 전체를 물들이지 않는다. 미래의 시설이지만 낡은 생활 기반을 계속 사용하는 장소이며, 과도한 신형 장치나 공중 영상은 없다. 난민촌 방향은 화면 왼쪽 가장자리에 조금 걸리는 임시 철망 울타리와 빛바랜 방수포로 절제해서 암시한다. 방수포의 실제 직물 결, 철망의 녹, 도로의 골재와 잔균열, 보수 흔적, 닳은 차선과 연석의 먼지가 구체적으로 보인다. 대규모 붕괴나 도로를 가로막는 잔해는 없다.\n\n구름 낀 주간의 부드러운 자연광 아래 차갑고 담담한 회색 표면을 있는 그대로 기록한다. 그늘은 옅고, 네온만 제한적인 색을 지닌다. 경찰, 행인, 점원, 차량, 로봇은 전혀 없으며, 유리 반사와 점포 내부에도 사람이나 얼굴이 없다. 시신이나 혈흔도 없다. 실제 아스팔트·콘크리트·금속·유리·직물의 질감과 생활 오염을 유지하고, 전경 도로부터 점포 전면까지 알아볼 수 있는 자연스러운 피사계 심도를 사용한다. 과장된 보정이나 인공적인 광택 없이 실제 장소 촬영본과 구별되지 않는 사진이며, 삽화나 건축 조감도가 아니다. 16:9 가로 비율, 실제 카메라 촬영본\n\nOne attached image is a PHOTOREAL RENDER of the SAME building/site this scene belongs to — it may show the outside while this scene is inside, or another part of the same place. Treat it as the BUILDING IDENTITY reference. Keep this render consistent with it: the same era, age and state of repair, the same palette and material quality, the same window and door frame styles, and anything visible through openings (windows, doorways, passages) must belong to that same building and its surroundings. Lettering visible in the reference is reproduced EXACTLY — same characters, same mark, same position; never invent different wording from render to render. Lighting and time of day follow THIS prompt. Do NOT copy the reference's composition, framing or camera angle; only the building's physical identity carries over.\n\nThe LAST attached image is a TOP-DOWN INTERIOR FLOOR PLAN of the building at this location — a STRUCTURAL REFERENCE ONLY, never content to draw. It defines the building's real scale: its footprint, room count, and the placement of its doors and windows. Render the scene so the building's exterior size, number of storeys, and the scale and placement of its doors and windows stay consistent with that plan. Do NOT draw the floor plan itself, its lines, text or numbers anywhere in the image.",
        "shot_aware_plan_mode": "surface_role_direct_plate",
        "attached_reference_lineage": {
          "fp_id": "",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "building_anchor:L194B01",
            "building_fp:fp_unstaffed_shop"
          ],
          "ref_used": "refs_2",
          "db_write_policy": "checkpoint_only"
        },
        "building_fp_ref": {
          "fp_id": "fp_unstaffed_shop",
          "indoor_loc_sid": "L195",
          "group_id": "bg_unstaffed_shop",
          "fp_asset_id": "43b20d0e-a0f8-4545-9d76-b603f849f4a5"
        },
        "building_anchor_ref": {
          "anchor_bg_id": "L194B01",
          "group_id": "bg_unstaffed_shop"
        }
      },
      "L195B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L195",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L195B01.png",
        "t2i_prompt": "기후 재난 이후인 2069년 무렵 한국의 소규모 무인점포 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 판매장으로, 미래에도 계속 사용되는 익숙한 생활용품 진열대와 구형 현금자동입출금기가 있는 현실적인 장소다. 실제 장소 기록 사진과 구별되지 않는 재질과 노출로 표현한다. 사람, 얼굴, 인체 형태의 물체는 화면과 반사면 어디에도 없다.\n\n평면도는 공간 구성과 기존 설비의 위치를 파악하는 용도로만 참고한다. 카메라는 판매장 오른쪽 중앙 통로의 북쪽 끝에 두고 남남동쪽의 현금자동입출금기와 출입문을 바라본다. 서 있는 사람의 눈높이 약 1.6미터에서, 35밀리미터 규격 센서의 실제 미러리스 카메라와 28밀리미터 광각 렌즈로 촬영한 시야다. 왼쪽 전경에는 매장 왼쪽 중앙에서 동서 방향으로 놓인 독립형 상품 진열대의 동쪽 끝이 들어온다. 그 진열대 북쪽에는 진열대에 가려지는 여유 공간이 있으며, 중앙 판매장과 연결 통로의 깊이가 자연스럽게 읽힌다. 오른쪽 중경의 동쪽 벽에는 조작 전면이 서쪽을 향한 현금자동입출금기가 있고, 그 앞의 이용 공간을 확보한다. 같은 동쪽 벽에서 기기 바로 북쪽에는 담요 진열대가 있다. 남쪽 벽의 동쪽 모서리 가까이에는 안으로 열리는 출입문과 매장 안쪽 문턱이 보인다. 남서쪽 가장자리의 신발·가방 진열대는 입구를 가로지르는 통로 너머에 자리한다. 기존 진열대와 설비의 위치를 바꾸거나 별도 가구를 추가하지 않는다.\n\n현금자동입출금기의 서쪽을 향한 전면 패널에는 국소적으로 관통된 구멍이 있다. 구멍 가장자리의 금속 변형과 내부의 어두운 틈이 보이되 손상 범위는 전면 일부에 한정되고, 나머지 기기 외함은 제자리를 유지한다. 신발·가방 진열대, 중앙 상품 진열대, 담요 진열대의 선반 일부에는 물품이 빠져나간 작은 빈자리가 드문드문 있다. 진열대는 모두 똑바로 서 있고 남은 물품도 대체로 정돈되어 있으며, 매장 전체가 뒤엎어진 모습으로 확대하지 않는다. 이 전면 파손과 제한적인 선반 빈자리는 그대로 남아 있는 상태다.\n\n출입문 유리를 통해 들어오는 주간 자연광이 통로 바닥과 금속 진열대에 부드럽게 번진다. 한국의 소형 생활용품 점포에 어울리는 알루미늄 문틀, 실용적인 도장 금속 선반, 오래 사용한 기기의 플라스틱과 금속 외함을 사실적으로 보여준다. 바닥의 일상적인 마모와 옅은 생활 얼룩, 선반 모서리의 도장 닳음, 담요의 실제 직조 결이 가까운 부분에서 분명하게 보인다. 차가운 회색 계열의 재료색을 중심으로 남은 상품의 색은 자연스럽게 유지하며, 과도한 대비나 인위적인 색 보정 없이 그늘의 세부가 남는 노출과 자연스러운 피사계 심도를 사용한다. 지나치게 말끔한 홍보용 사진이 아니라 실제 사용하던 점포의 담담한 현장 기록 사진이다. 위에서 내려다본 시점, 평면도, 건축 도해가 아닌 수평에 가까운 눈높이 촬영. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S41_Shot14",
            "guide_text": "현금자동입출금기의 서향 전면과 그 앞 이용 공간을 식별할 수 있도록 한다. 전면 일부가 관통된 상태를 보여주되 기기 전체나 주변 매장의 광범위한 파괴로 확장하지 않는다. 주간 자연광 아래 선반의 제한적인 빈자리와 기존 진열대 배치를 유지하며, 배경에는 인물이나 동작을 넣지 않는다."
          },
          {
            "shot_id": "S41_Shot22",
            "guide_text": "왼쪽 중앙 진열대의 불투명한 면과 그 북쪽의 가려지는 공간이 공간적으로 납득되도록 유지한다. 가려진 공간을 투시하거나 그 안에 인체 형태를 추가하지 않는다. 앞선 배경과 동일한 현금자동입출금기 전면 파손, 물품이 일부 빠진 선반, 주간 조명을 이어 간다."
          },
          {
            "shot_id": "S41_Shot26",
            "guide_text": "중앙 통로, 진열대 뒤 여유 공간, 현금자동입출금기와 출입문 사이의 연결 관계를 유지한다. 현금자동입출금기 전면의 관통 손상은 복구하지 않으며 선반의 빈자리도 동일하게 남긴다. 진열대는 계속 똑바로 서 있고 매장 전체의 손상은 늘리지 않는다. 사람 없이 같은 주간 상태의 공간만 제시한다."
          }
        ],
        "shot_ids": [
          "S41_Shot14",
          "S41_Shot22",
          "S41_Shot26"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "At the north end of the right-center aisle, just southeast of number 12 and east of number 9, facing south-southeast toward number 10 and number 5, with the east end of number 7 at the left foreground.",
          "camera_height": "eye-level standing, approximately 1.6 m",
          "lens_hint": "24-28mm wide angle",
          "framing_notes": "Use the same camera for all listed shots. Keep the west-facing ATM front readable at frame right and the entrance visible beyond the open aisle. Include the east end and north-side concealment edge of number 7 at frame left without revealing occupants through opaque shelving. Reference number 13 as localized, unrepaired ATM damage and number 14 as restrained stock gaps only where their shelves are visible. Cash is collected into a carried bag rather than retained as a floor-wide scatter. Do not depict a trashed shop."
        },
        "reference_decision": {
          "bg_id": "L195B01",
          "fp_id": "fp_unstaffed_shop",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L195B01 is the only ready BG and the sole supplied anchor candidate. Use the explicitly widened fallback candidate set despite clean_background_expected=false; preserve its committed overlays rather than treating it as clean. No prior references are available. Camera unit 3 looking toward marker 7 in unit 1 provides a representative wide view of the concealed side required by S41_Shot22 and the fixed context retained in S41_Shot26. S41_Shot14 requires a separate close, oblique shot treatment; this single representative camera does not reproduce all three consuming-shot compositions.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_unstaffed_shop.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The sole anchor is seeded directly from the supplied floor plan; the same-fp reference catalog is empty.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 3,
            "camera_cell": [
              2,
              1
            ],
            "look_at_unit": 1,
            "look_at_cell": [
              4,
              3
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad representative coverage from unit 3 toward marker 7 in unit 1, viewing its north concealed side. Prioritize the S41_Shot22 middle-right display-end relationship. The close framing in S41_Shot14 and medium framing in S41_Shot26 remain distinct consuming-shot requirements, not simultaneous compositions of this plate."
          },
          "render_guidance": {
            "visible_space_directive": "Show unit 1 around base marker 7 from unit 3, with the concealed north side facing the camera. Retain the fixed relationship toward unit 4 and marker 10 on the east side where unobstructed. Unit 2 lies farther along the southeast viewing region, but the visibility lists are supersets and do not establish unobstructed sightlines. Do not force opening 5 or every referenced base marker into the composition; marker 11 lies outside this chosen directional coverage.",
            "camera_framing_directive": "Use camera unit 3 at [2, 1], looking into unit 1 at [4, 3], with a wide lens and 90-degree field of view. Provide broad coverage around marker 7 rather than compressed detail coverage. Use this as the representative spatial plate; do not imply that it also supplies the beside-marker-10 close observer angle committed for S41_Shot14.",
            "subject_position_directive": "Keep the consuming-shot subject arrangements separate rather than combining them into one tableau. For S41_Shot22, the committed arrangement is 현우 at the right display end, 앰버 lower at center, and 찰리 farther left, all crouching on the concealed side and attending toward the off-screen entrance beyond the right end. S41_Shot14 instead commits 찰리's forearm from lower left and cropped shoulder at left, with the head outside the crop. S41_Shot26 commits 앰버 left and 라울 right in an upper-body embrace, with an oblique display end peripheral behind 앰버. Preserve the background space needed by these cues without inventing additional subjects.",
            "state_cue_directive": "This BG is not marked clean. Carry overlay 13, Localized ATM front puncture, at base marker 10 wherever visible, and overlay 14, Localized removed-stock gaps, only as localized committed gaps without assigning unsupported fixture-specific locations. In S41_Shot14 the fist remains embedded and has not withdrawn; that action is shot-specific, not a persistent subject cue for the other shots. Maintain the staged restrained ambient illumination and established contrast across the consuming shots without additional impact effects or a new warmer light source.",
            "negative_continuity_directive": "The ignore-numbered-elements and ignored-state-overlay lists are empty. Avoid relocating base markers 5, 6, 7, 10, or 11 to make them fit this view. Avoid forcing marker 11 into the chosen cone, treating candidate visibility as confirmed line of sight, spreading overlay 13 beyond marker 10, or expanding overlay 14 into unsupported structural changes. Preserve marker 7's fixed orientation and do not merge incompatible shot-specific subject arrangements into the representative plate."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [2, 1]\n  - look_at_unit: 1\n  - look_at_cell: [4, 3]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad representative coverage from unit 3 toward marker 7 in unit 1, viewing its north concealed side. Prioritize the S41_Shot22 middle-right display-end relationship. The close framing in S41_Shot14 and medium framing in S41_Shot26 remain distinct consuming-shot requirements, not simultaneous compositions of this plate.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 1 around base marker 7 from unit 3, with the concealed north side facing the camera. Retain the fixed relationship toward unit 4 and marker 10 on the east side where unobstructed. Unit 2 lies farther along the southeast viewing region, but the visibility lists are supersets and do not establish unobstructed sightlines. Do not force opening 5 or every referenced base marker into the composition; marker 11 lies outside this chosen directional coverage.\n  - camera_framing_directive: Use camera unit 3 at [2, 1], looking into unit 1 at [4, 3], with a wide lens and 90-degree field of view. Provide broad coverage around marker 7 rather than compressed detail coverage. Use this as the representative spatial plate; do not imply that it also supplies the beside-marker-10 close observer angle committed for S41_Shot14.\n  - subject_position_directive: Keep the consuming-shot subject arrangements separate rather than combining them into one tableau. For S41_Shot22, the committed arrangement is 현우 at the right display end, 앰버 lower at center, and 찰리 farther left, all crouching on the concealed side and attending toward the off-screen entrance beyond the right end. S41_Shot14 instead commits 찰리's forearm from lower left and cropped shoulder at left, with the head outside the crop. S41_Shot26 commits 앰버 left and 라울 right in an upper-body embrace, with an oblique display end peripheral behind 앰버. Preserve the background space needed by these cues without inventing additional subjects.\n  - state_cue_directive: This BG is not marked clean. Carry overlay 13, Localized ATM front puncture, at base marker 10 wherever visible, and overlay 14, Localized removed-stock gaps, only as localized committed gaps without assigning unsupported fixture-specific locations. In S41_Shot14 the fist remains embedded and has not withdrawn; that action is shot-specific, not a persistent subject cue for the other shots. Maintain the staged restrained ambient illumination and established contrast across the consuming shots without additional impact effects or a new warmer light source.\n  - negative_continuity_directive: The ignore-numbered-elements and ignored-state-overlay lists are empty. Avoid relocating base markers 5, 6, 7, 10, or 11 to make them fit this view. Avoid forcing marker 11 into the chosen cone, treating candidate visibility as confirmed line of sight, spreading overlay 13 beyond marker 10, or expanding overlay 14 into unsupported structural changes. Preserve marker 7's fixed orientation and do not merge incompatible shot-specific subject arrangements into the representative plate.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [2, 1]\n  - look_at_unit: 1\n  - look_at_cell: [4, 3]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad representative coverage from unit 3 toward marker 7 in unit 1, viewing its north concealed side. Prioritize the S41_Shot22 middle-right display-end relationship. The close framing in S41_Shot14 and medium framing in S41_Shot26 remain distinct consuming-shot requirements, not simultaneous compositions of this plate.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 1 around base marker 7 from unit 3, with the concealed north side facing the camera. Retain the fixed relationship toward unit 4 and marker 10 on the east side where unobstructed. Unit 2 lies farther along the southeast viewing region, but the visibility lists are supersets and do not establish unobstructed sightlines. Do not force opening 5 or every referenced base marker into the composition; marker 11 lies outside this chosen directional coverage.\n  - camera_framing_directive: Use camera unit 3 at [2, 1], looking into unit 1 at [4, 3], with a wide lens and 90-degree field of view. Provide broad coverage around marker 7 rather than compressed detail coverage. Use this as the representative spatial plate; do not imply that it also supplies the beside-marker-10 close observer angle committed for S41_Shot14.\n  - subject_position_directive: Keep the consuming-shot subject arrangements separate rather than combining them into one tableau. For S41_Shot22, the committed arrangement is 현우 at the right display end, 앰버 lower at center, and 찰리 farther left, all crouching on the concealed side and attending toward the off-screen entrance beyond the right end. S41_Shot14 instead commits 찰리's forearm from lower left and cropped shoulder at left, with the head outside the crop. S41_Shot26 commits 앰버 left and 라울 right in an upper-body embrace, with an oblique display end peripheral behind 앰버. Preserve the background space needed by these cues without inventing additional subjects.\n  - state_cue_directive: This BG is not marked clean. Carry overlay 13, Localized ATM front puncture, at base marker 10 wherever visible, and overlay 14, Localized removed-stock gaps, only as localized committed gaps without assigning unsupported fixture-specific locations. In S41_Shot14 the fist remains embedded and has not withdrawn; that action is shot-specific, not a persistent subject cue for the other shots. Maintain the staged restrained ambient illumination and established contrast across the consuming shots without additional impact effects or a new warmer light source.\n  - negative_continuity_directive: The ignore-numbered-elements and ignored-state-overlay lists are empty. Avoid relocating base markers 5, 6, 7, 10, or 11 to make them fit this view. Avoid forcing marker 11 into the chosen cone, treating candidate visibility as confirmed line of sight, spreading overlay 13 beyond marker 10, or expanding overlay 14 into unsupported structural changes. Preserve marker 7's fixed orientation and do not merge incompatible shot-specific subject arrangements into the representative plate.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [2, 1]\n  - look_at_unit: 1\n  - look_at_cell: [4, 3]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad representative coverage from unit 3 toward marker 7 in unit 1, viewing its north concealed side. Prioritize the S41_Shot22 middle-right display-end relationship. The close framing in S41_Shot14 and medium framing in S41_Shot26 remain distinct consuming-shot requirements, not simultaneous compositions of this plate.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 1 around base marker 7 from unit 3, with the concealed north side facing the camera. Retain the fixed relationship toward unit 4 and marker 10 on the east side where unobstructed. Unit 2 lies farther along the southeast viewing region, but the visibility lists are supersets and do not establish unobstructed sightlines. Do not force opening 5 or every referenced base marker into the composition; marker 11 lies outside this chosen directional coverage.\n  - camera_framing_directive: Use camera unit 3 at [2, 1], looking into unit 1 at [4, 3], with a wide lens and 90-degree field of view. Provide broad coverage around marker 7 rather than compressed detail coverage. Use this as the representative spatial plate; do not imply that it also supplies the beside-marker-10 close observer angle committed for S41_Shot14.\n  - subject_position_directive: Keep the consuming-shot subject arrangements separate rather than combining them into one tableau. For S41_Shot22, the committed arrangement is 현우 at the right display end, 앰버 lower at center, and 찰리 farther left, all crouching on the concealed side and attending toward the off-screen entrance beyond the right end. S41_Shot14 instead commits 찰리's forearm from lower left and cropped shoulder at left, with the head outside the crop. S41_Shot26 commits 앰버 left and 라울 right in an upper-body embrace, with an oblique display end peripheral behind 앰버. Preserve the background space needed by these cues without inventing additional subjects.\n  - state_cue_directive: This BG is not marked clean. Carry overlay 13, Localized ATM front puncture, at base marker 10 wherever visible, and overlay 14, Localized removed-stock gaps, only as localized committed gaps without assigning unsupported fixture-specific locations. In S41_Shot14 the fist remains embedded and has not withdrawn; that action is shot-specific, not a persistent subject cue for the other shots. Maintain the staged restrained ambient illumination and established contrast across the consuming shots without additional impact effects or a new warmer light source.\n  - negative_continuity_directive: The ignore-numbered-elements and ignored-state-overlay lists are empty. Avoid relocating base markers 5, 6, 7, 10, or 11 to make them fit this view. Avoid forcing marker 11 into the chosen cone, treating candidate visibility as confirmed line of sight, spreading overlay 13 beyond marker 10, or expanding overlay 14 into unsupported structural changes. Preserve marker 7's fixed orientation and do not merge incompatible shot-specific subject arrangements into the representative plate.\n\n기후 재난 이후인 2069년 무렵 한국의 소규모 무인점포 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 판매장으로, 미래에도 계속 사용되는 익숙한 생활용품 진열대와 구형 현금자동입출금기가 있는 현실적인 장소다. 실제 장소 기록 사진과 구별되지 않는 재질과 노출로 표현한다. 사람, 얼굴, 인체 형태의 물체는 화면과 반사면 어디에도 없다.\n\n평면도는 공간 구성과 기존 설비의 위치를 파악하는 용도로만 참고한다. 카메라는 판매장 오른쪽 중앙 통로의 북쪽 끝에 두고 남남동쪽의 현금자동입출금기와 출입문을 바라본다. 서 있는 사람의 눈높이 약 1.6미터에서, 35밀리미터 규격 센서의 실제 미러리스 카메라와 28밀리미터 광각 렌즈로 촬영한 시야다. 왼쪽 전경에는 매장 왼쪽 중앙에서 동서 방향으로 놓인 독립형 상품 진열대의 동쪽 끝이 들어온다. 그 진열대 북쪽에는 진열대에 가려지는 여유 공간이 있으며, 중앙 판매장과 연결 통로의 깊이가 자연스럽게 읽힌다. 오른쪽 중경의 동쪽 벽에는 조작 전면이 서쪽을 향한 현금자동입출금기가 있고, 그 앞의 이용 공간을 확보한다. 같은 동쪽 벽에서 기기 바로 북쪽에는 담요 진열대가 있다. 남쪽 벽의 동쪽 모서리 가까이에는 안으로 열리는 출입문과 매장 안쪽 문턱이 보인다. 남서쪽 가장자리의 신발·가방 진열대는 입구를 가로지르는 통로 너머에 자리한다. 기존 진열대와 설비의 위치를 바꾸거나 별도 가구를 추가하지 않는다.\n\n현금자동입출금기의 서쪽을 향한 전면 패널에는 국소적으로 관통된 구멍이 있다. 구멍 가장자리의 금속 변형과 내부의 어두운 틈이 보이되 손상 범위는 전면 일부에 한정되고, 나머지 기기 외함은 제자리를 유지한다. 신발·가방 진열대, 중앙 상품 진열대, 담요 진열대의 선반 일부에는 물품이 빠져나간 작은 빈자리가 드문드문 있다. 진열대는 모두 똑바로 서 있고 남은 물품도 대체로 정돈되어 있으며, 매장 전체가 뒤엎어진 모습으로 확대하지 않는다. 이 전면 파손과 제한적인 선반 빈자리는 그대로 남아 있는 상태다.\n\n출입문 유리를 통해 들어오는 주간 자연광이 통로 바닥과 금속 진열대에 부드럽게 번진다. 한국의 소형 생활용품 점포에 어울리는 알루미늄 문틀, 실용적인 도장 금속 선반, 오래 사용한 기기의 플라스틱과 금속 외함을 사실적으로 보여준다. 바닥의 일상적인 마모와 옅은 생활 얼룩, 선반 모서리의 도장 닳음, 담요의 실제 직조 결이 가까운 부분에서 분명하게 보인다. 차가운 회색 계열의 재료색을 중심으로 남은 상품의 색은 자연스럽게 유지하며, 과도한 대비나 인위적인 색 보정 없이 그늘의 세부가 남는 노출과 자연스러운 피사계 심도를 사용한다. 지나치게 말끔한 홍보용 사진이 아니라 실제 사용하던 점포의 담담한 현장 기록 사진이다. 위에서 내려다본 시점, 평면도, 건축 도해가 아닌 수평에 가까운 눈높이 촬영. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 3,
          "camera_cell": [
            2,
            1
          ],
          "look_at_unit": 1,
          "look_at_cell": [
            4,
            3
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad representative coverage from unit 3 toward marker 7 in unit 1, viewing its north concealed side. Prioritize the S41_Shot22 middle-right display-end relationship. The close framing in S41_Shot14 and medium framing in S41_Shot26 remain distinct consuming-shot requirements, not simultaneous compositions of this plate."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Show unit 1 around base marker 7 from unit 3, with the concealed north side facing the camera. Retain the fixed relationship toward unit 4 and marker 10 on the east side where unobstructed. Unit 2 lies farther along the southeast viewing region, but the visibility lists are supersets and do not establish unobstructed sightlines. Do not force opening 5 or every referenced base marker into the composition; marker 11 lies outside this chosen directional coverage.",
          "camera_framing_directive": "Use camera unit 3 at [2, 1], looking into unit 1 at [4, 3], with a wide lens and 90-degree field of view. Provide broad coverage around marker 7 rather than compressed detail coverage. Use this as the representative spatial plate; do not imply that it also supplies the beside-marker-10 close observer angle committed for S41_Shot14.",
          "subject_position_directive": "Keep the consuming-shot subject arrangements separate rather than combining them into one tableau. For S41_Shot22, the committed arrangement is 현우 at the right display end, 앰버 lower at center, and 찰리 farther left, all crouching on the concealed side and attending toward the off-screen entrance beyond the right end. S41_Shot14 instead commits 찰리's forearm from lower left and cropped shoulder at left, with the head outside the crop. S41_Shot26 commits 앰버 left and 라울 right in an upper-body embrace, with an oblique display end peripheral behind 앰버. Preserve the background space needed by these cues without inventing additional subjects.",
          "state_cue_directive": "This BG is not marked clean. Carry overlay 13, Localized ATM front puncture, at base marker 10 wherever visible, and overlay 14, Localized removed-stock gaps, only as localized committed gaps without assigning unsupported fixture-specific locations. In S41_Shot14 the fist remains embedded and has not withdrawn; that action is shot-specific, not a persistent subject cue for the other shots. Maintain the staged restrained ambient illumination and established contrast across the consuming shots without additional impact effects or a new warmer light source.",
          "negative_continuity_directive": "The ignore-numbered-elements and ignored-state-overlay lists are empty. Avoid relocating base markers 5, 6, 7, 10, or 11 to make them fit this view. Avoid forcing marker 11 into the chosen cone, treating candidate visibility as confirmed line of sight, spreading overlay 13 beyond marker 10, or expanding overlay 14 into unsupported structural changes. Preserve marker 7's fixed orientation and do not merge incompatible shot-specific subject arrangements into the representative plate."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_unstaffed_shop",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_unstaffed_shop"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L196B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L196",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L196B01.png",
        "t2i_prompt": "2069년 기후 재난 이후에도 정상적으로 관리되고 있는 대한민국의 고위 국방 행정 집무실을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 낮의 실내 공간만 담는다. 한국 공공청사의 절제된 사무실 마감과 실용적인 중후한 가구를 바탕으로, 차분한 회색 벽면과 나뭇결이 드러나는 목재 가구, 무광 금속 부재, 촘촘한 직물 가구 표면을 사실적으로 표현한다. 미래의 공간이지만 익숙한 업무용 가구와 건축 재료가 계속 사용되는 현실적인 실내다.\n\n참조 평면도는 공간의 연결 관계와 고정 가구의 위치를 파악하는 데만 사용한다. 방의 남동쪽 동선 구역에서 북서쪽을 바라보며, 서쪽 약 5분의 3을 차지하는 응접부와 북동쪽 집무부가 하나의 방으로 이어지도록 촬영한다. 서쪽 벽에 놓인 주 소파는 동쪽을 향하고, 그 앞 중앙에 낮은 응접 탁자가 있으며, 탁자 동쪽의 방문객용 안락의자는 소파를 마주 본다. 이 세 가구의 관계가 화면 왼쪽과 중앙에서 분명히 읽히도록 한다. 화면 오른쪽에는 동서 방향으로 긴 집무 책상과 그 북쪽에서 남쪽을 향하는 집무 의자가 보인다. 북쪽 벽의 응접부 창과 책상 뒤쪽 창을 가능한 범위에서 함께 담아 두 영역의 위치 관계를 명확하게 보여준다. 남동쪽 동선은 두 가구 무리로 자연스럽게 이어지는 여유 공간으로 남긴다.\n\n실제 디지털 미러리스 카메라와 35밀리미터급 렌즈로 서 있는 사람의 눈높이 약 1.6미터에서 촬영한 수평 구도. 가구를 내려다보는 조감도가 아니라 방 안에 서서 보는 자연스러운 원근감이며, 소파와 탁자, 맞은편 의자를 한 대화 공간으로 읽을 수 있는 충분한 화면 폭을 확보한다. 북쪽 창에서 들어오는 부드러운 낮빛이 응접부와 책상에 고르게 퍼지고, 가구 아래에는 물리적으로 자연스러운 그림자가 생긴다. 차가운 회색 계열의 실내에 목재 고유의 온기가 약하게 더해지며, 창가 밝기와 실내의 어두운 부분은 실제 카메라 노출처럼 자연스럽다. 목재의 결, 직물의 짜임, 금속의 은은한 경년감과 오래 사용한 가구 표면의 미세한 마모를 과장 없이 담는다. 공간은 깨끗하고 정돈된 평상시 상태다. 실제 장소 기록사진처럼 자연스러운 심도와 재질을 유지하며, 인위적인 색 보정이나 광고 사진 같은 과도한 정제는 하지 않는다. 사람, 얼굴, 사람 형태의 형상은 전혀 담지 않는다. 삽화나 컴퓨터 그래픽, 건축 시각화, 평면도 형태가 아닌 실제 사진이다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S43_Shot2",
            "guide_text": "동일한 낮의 집무실 배경을 사용한다. 응접부의 소파와 탁자, 맞은편 안락의자의 위치 관계를 기준으로 삼고 오른쪽 집무부와의 공간 연결을 유지한다."
          },
          {
            "shot_id": "S43_Shot4",
            "guide_text": "앞선 쇼트와 같은 가구 배치와 북쪽 창의 낮빛을 유지한다. 화면 범위를 좁히더라도 응접부의 방향이나 탁자와 좌석 사이의 거리를 바꾸지 않는다."
          },
          {
            "shot_id": "S43_Shot9",
            "guide_text": "같은 방의 연속된 배경으로 사용한다. 대화의 교차 편집을 이유로 별도 집무실을 만들지 않으며, 소파와 맞은편 안락의자의 대향 관계를 고정한다."
          },
          {
            "shot_id": "S54_Shot2",
            "guide_text": "낮의 정상 집무실 상태를 그대로 이어 간다. 응접부와 북동쪽 책상 구역이 한 공간임을 유지하며 가구 재질과 창빛의 밝기를 일치시킨다."
          },
          {
            "shot_id": "S54_Shot5",
            "guide_text": "같은 응접부에서 필요한 화면 범위만 선택한다. 고정 가구를 추가하거나 옮기지 않고, 배경은 깨끗하고 정돈된 낮의 상태를 유지한다."
          },
          {
            "shot_id": "S54_Shot6",
            "guide_text": "동일한 집무실 구조와 자연광을 유지한다. 대화나 표정의 변화는 배경 상태 변화로 표현하지 않으며, 응접부와 오른쪽 집무부의 위치 관계를 일관되게 연결한다."
          }
        ],
        "shot_ids": [
          "S43_Shot2",
          "S43_Shot4",
          "S43_Shot9",
          "S54_Shot2",
          "S54_Shot5",
          "S54_Shot6"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Inside number 3 (entrance circulation area), just northwest of number 4 (office entrance), facing northwest toward numbers 5, 6, and 7, with numbers 8 and 9 on the right side of the frame.",
          "camera_height": "eye-level seated approximately 1.2m",
          "lens_hint": "28mm wide angle",
          "framing_notes": "Keep the sofa, coffee table, and opposing armchair readable as one conversation group, with the desk grouping providing spatial continuity on the right. Include the north-wall windows where framing permits. The entrance is behind the camera. Use the same normal daytime office geometry for every assigned shot; do not create a separate office for cross-cut dialogue or encode changing expressions as background states."
        },
        "reference_decision": {
          "bg_id": "L196B01",
          "fp_id": "fp_minister_office",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L196B01 is the sole clean anchor candidate and the sole readiness-ok BG. With no candidate references, establish its identity directly from the supplied base plan. Camera unit 3 looking toward marker 7 in unit 1 with wide coverage prioritizes the fixed group used by S43_Shot2 while retaining unit 2 toward the view edge. This is a shared clean plate, not a claim that one framing reproduces every consuming shot's close-up and reverse view. S43_Shot4 explicitly describes a separate space without corresponding geometry; that staging discrepancy cannot justify inventing another space or node.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_minister_office.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The identity anchor is seeded fresh from the floor plan; no earlier node or catalog reference is available.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 3,
            "camera_cell": [
              7,
              7
            ],
            "look_at_unit": 1,
            "look_at_cell": [
              4,
              4
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad coverage from unit 3 toward marker 7 in unit 1. Preserve the fixed arrangement of markers 5, 6 and 7, with unit 2 and markers 8 and 9 at the right-hand angular boundary. This establishes background coverage rather than encoding all shot-specific camera positions."
          },
          "render_guidance": {
            "visible_space_directive": "Show unit 1 ahead from unit 3, centered toward base marker 7, retaining base markers 5 and 6 in their supplied positions. Unit 3 supplies the near circulation foreground; unit 2 lies toward the right edge, with markers 8 and 9 at the angular boundary. Openings 10 and 11 fall within this broad directional coverage where unobscured. Treat visibility lists as supersets: opening 4 is behind this view, and no opening-to-unit adjacency or guaranteed unoccluded visibility is established.",
            "camera_framing_directive": "Use camera unit 3 at [7, 7], looking toward unit 1 at [4, 4], with wide lens coverage of 90 degrees. Keep the broad oblique view toward marker 7 and preserve the plan's relative marker positions. Do not substitute the individual consuming shots' close framings or reverse orientations for this committed plate camera.",
            "subject_position_directive": "Keep this clean background plate free of rendered subjects while retaining space for the committed shot-layer blocking. S43_Shot2 places its reclining subject left of center against marker 5 with open space on the right. S54_Shot2 and S54_Shot5 favor a center-right or right-of-center subject; S54_Shot6 favors a left-of-center reaction with a thin foreground shoulder edge. These are separate consuming-shot compositions, not simultaneous occupants. S43_Shot4 and S43_Shot9 do not establish subject positions against this plan's numbered units; do not invent such mappings.",
            "state_cue_directive": "No committed state cue beyond \"clean residential space\" applies to this clean plate; no transient markers are listed. Refrain from inventing additional cues. Preserve the consuming shots' neutral ambient illumination and restrained contrast, without introducing a specific fixture, colored accent, or shot-action residue.",
            "negative_continuity_directive": "The ignore-numbered-elements and ignored-state-overlay lists are empty. Avoid relocating base markers 5, 6, 7, 8 or 9 or openings 10 and 11 to accommodate shot-specific crops. Do not force opening 4 into this view, treat visibility supersets as guaranteed coverage, invent adjacency between units, or introduce additional units to resolve S43_Shot4. Keep subject-layer actions out of the clean plate."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [7, 7]\n  - look_at_unit: 1\n  - look_at_cell: [4, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad coverage from unit 3 toward marker 7 in unit 1. Preserve the fixed arrangement of markers 5, 6 and 7, with unit 2 and markers 8 and 9 at the right-hand angular boundary. This establishes background coverage rather than encoding all shot-specific camera positions.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 1 ahead from unit 3, centered toward base marker 7, retaining base markers 5 and 6 in their supplied positions. Unit 3 supplies the near circulation foreground; unit 2 lies toward the right edge, with markers 8 and 9 at the angular boundary. Openings 10 and 11 fall within this broad directional coverage where unobscured. Treat visibility lists as supersets: opening 4 is behind this view, and no opening-to-unit adjacency or guaranteed unoccluded visibility is established.\n  - camera_framing_directive: Use camera unit 3 at [7, 7], looking toward unit 1 at [4, 4], with wide lens coverage of 90 degrees. Keep the broad oblique view toward marker 7 and preserve the plan's relative marker positions. Do not substitute the individual consuming shots' close framings or reverse orientations for this committed plate camera.\n  - subject_position_directive: Keep this clean background plate free of rendered subjects while retaining space for the committed shot-layer blocking. S43_Shot2 places its reclining subject left of center against marker 5 with open space on the right. S54_Shot2 and S54_Shot5 favor a center-right or right-of-center subject; S54_Shot6 favors a left-of-center reaction with a thin foreground shoulder edge. These are separate consuming-shot compositions, not simultaneous occupants. S43_Shot4 and S43_Shot9 do not establish subject positions against this plan's numbered units; do not invent such mappings.\n  - state_cue_directive: No committed state cue beyond \"clean residential space\" applies to this clean plate; no transient markers are listed. Refrain from inventing additional cues. Preserve the consuming shots' neutral ambient illumination and restrained contrast, without introducing a specific fixture, colored accent, or shot-action residue.\n  - negative_continuity_directive: The ignore-numbered-elements and ignored-state-overlay lists are empty. Avoid relocating base markers 5, 6, 7, 8 or 9 or openings 10 and 11 to accommodate shot-specific crops. Do not force opening 4 into this view, treat visibility supersets as guaranteed coverage, invent adjacency between units, or introduce additional units to resolve S43_Shot4. Keep subject-layer actions out of the clean plate.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [7, 7]\n  - look_at_unit: 1\n  - look_at_cell: [4, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad coverage from unit 3 toward marker 7 in unit 1. Preserve the fixed arrangement of markers 5, 6 and 7, with unit 2 and markers 8 and 9 at the right-hand angular boundary. This establishes background coverage rather than encoding all shot-specific camera positions.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 1 ahead from unit 3, centered toward base marker 7, retaining base markers 5 and 6 in their supplied positions. Unit 3 supplies the near circulation foreground; unit 2 lies toward the right edge, with markers 8 and 9 at the angular boundary. Openings 10 and 11 fall within this broad directional coverage where unobscured. Treat visibility lists as supersets: opening 4 is behind this view, and no opening-to-unit adjacency or guaranteed unoccluded visibility is established.\n  - camera_framing_directive: Use camera unit 3 at [7, 7], looking toward unit 1 at [4, 4], with wide lens coverage of 90 degrees. Keep the broad oblique view toward marker 7 and preserve the plan's relative marker positions. Do not substitute the individual consuming shots' close framings or reverse orientations for this committed plate camera.\n  - subject_position_directive: Keep this clean background plate free of rendered subjects while retaining space for the committed shot-layer blocking. S43_Shot2 places its reclining subject left of center against marker 5 with open space on the right. S54_Shot2 and S54_Shot5 favor a center-right or right-of-center subject; S54_Shot6 favors a left-of-center reaction with a thin foreground shoulder edge. These are separate consuming-shot compositions, not simultaneous occupants. S43_Shot4 and S43_Shot9 do not establish subject positions against this plan's numbered units; do not invent such mappings.\n  - state_cue_directive: No committed state cue beyond \"clean residential space\" applies to this clean plate; no transient markers are listed. Refrain from inventing additional cues. Preserve the consuming shots' neutral ambient illumination and restrained contrast, without introducing a specific fixture, colored accent, or shot-action residue.\n  - negative_continuity_directive: The ignore-numbered-elements and ignored-state-overlay lists are empty. Avoid relocating base markers 5, 6, 7, 8 or 9 or openings 10 and 11 to accommodate shot-specific crops. Do not force opening 4 into this view, treat visibility supersets as guaranteed coverage, invent adjacency between units, or introduce additional units to resolve S43_Shot4. Keep subject-layer actions out of the clean plate.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [7, 7]\n  - look_at_unit: 1\n  - look_at_cell: [4, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad coverage from unit 3 toward marker 7 in unit 1. Preserve the fixed arrangement of markers 5, 6 and 7, with unit 2 and markers 8 and 9 at the right-hand angular boundary. This establishes background coverage rather than encoding all shot-specific camera positions.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 1 ahead from unit 3, centered toward base marker 7, retaining base markers 5 and 6 in their supplied positions. Unit 3 supplies the near circulation foreground; unit 2 lies toward the right edge, with markers 8 and 9 at the angular boundary. Openings 10 and 11 fall within this broad directional coverage where unobscured. Treat visibility lists as supersets: opening 4 is behind this view, and no opening-to-unit adjacency or guaranteed unoccluded visibility is established.\n  - camera_framing_directive: Use camera unit 3 at [7, 7], looking toward unit 1 at [4, 4], with wide lens coverage of 90 degrees. Keep the broad oblique view toward marker 7 and preserve the plan's relative marker positions. Do not substitute the individual consuming shots' close framings or reverse orientations for this committed plate camera.\n  - subject_position_directive: Keep this clean background plate free of rendered subjects while retaining space for the committed shot-layer blocking. S43_Shot2 places its reclining subject left of center against marker 5 with open space on the right. S54_Shot2 and S54_Shot5 favor a center-right or right-of-center subject; S54_Shot6 favors a left-of-center reaction with a thin foreground shoulder edge. These are separate consuming-shot compositions, not simultaneous occupants. S43_Shot4 and S43_Shot9 do not establish subject positions against this plan's numbered units; do not invent such mappings.\n  - state_cue_directive: No committed state cue beyond \"clean residential space\" applies to this clean plate; no transient markers are listed. Refrain from inventing additional cues. Preserve the consuming shots' neutral ambient illumination and restrained contrast, without introducing a specific fixture, colored accent, or shot-action residue.\n  - negative_continuity_directive: The ignore-numbered-elements and ignored-state-overlay lists are empty. Avoid relocating base markers 5, 6, 7, 8 or 9 or openings 10 and 11 to accommodate shot-specific crops. Do not force opening 4 into this view, treat visibility supersets as guaranteed coverage, invent adjacency between units, or introduce additional units to resolve S43_Shot4. Keep subject-layer actions out of the clean plate.\n\n2069년 기후 재난 이후에도 정상적으로 관리되고 있는 대한민국의 고위 국방 행정 집무실을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 낮의 실내 공간만 담는다. 한국 공공청사의 절제된 사무실 마감과 실용적인 중후한 가구를 바탕으로, 차분한 회색 벽면과 나뭇결이 드러나는 목재 가구, 무광 금속 부재, 촘촘한 직물 가구 표면을 사실적으로 표현한다. 미래의 공간이지만 익숙한 업무용 가구와 건축 재료가 계속 사용되는 현실적인 실내다.\n\n참조 평면도는 공간의 연결 관계와 고정 가구의 위치를 파악하는 데만 사용한다. 방의 남동쪽 동선 구역에서 북서쪽을 바라보며, 서쪽 약 5분의 3을 차지하는 응접부와 북동쪽 집무부가 하나의 방으로 이어지도록 촬영한다. 서쪽 벽에 놓인 주 소파는 동쪽을 향하고, 그 앞 중앙에 낮은 응접 탁자가 있으며, 탁자 동쪽의 방문객용 안락의자는 소파를 마주 본다. 이 세 가구의 관계가 화면 왼쪽과 중앙에서 분명히 읽히도록 한다. 화면 오른쪽에는 동서 방향으로 긴 집무 책상과 그 북쪽에서 남쪽을 향하는 집무 의자가 보인다. 북쪽 벽의 응접부 창과 책상 뒤쪽 창을 가능한 범위에서 함께 담아 두 영역의 위치 관계를 명확하게 보여준다. 남동쪽 동선은 두 가구 무리로 자연스럽게 이어지는 여유 공간으로 남긴다.\n\n실제 디지털 미러리스 카메라와 35밀리미터급 렌즈로 서 있는 사람의 눈높이 약 1.6미터에서 촬영한 수평 구도. 가구를 내려다보는 조감도가 아니라 방 안에 서서 보는 자연스러운 원근감이며, 소파와 탁자, 맞은편 의자를 한 대화 공간으로 읽을 수 있는 충분한 화면 폭을 확보한다. 북쪽 창에서 들어오는 부드러운 낮빛이 응접부와 책상에 고르게 퍼지고, 가구 아래에는 물리적으로 자연스러운 그림자가 생긴다. 차가운 회색 계열의 실내에 목재 고유의 온기가 약하게 더해지며, 창가 밝기와 실내의 어두운 부분은 실제 카메라 노출처럼 자연스럽다. 목재의 결, 직물의 짜임, 금속의 은은한 경년감과 오래 사용한 가구 표면의 미세한 마모를 과장 없이 담는다. 공간은 깨끗하고 정돈된 평상시 상태다. 실제 장소 기록사진처럼 자연스러운 심도와 재질을 유지하며, 인위적인 색 보정이나 광고 사진 같은 과도한 정제는 하지 않는다. 사람, 얼굴, 사람 형태의 형상은 전혀 담지 않는다. 삽화나 컴퓨터 그래픽, 건축 시각화, 평면도 형태가 아닌 실제 사진이다. 16:9 가로 비율, 실제 카메라 촬영본",
        "camera_decision": {
          "camera_unit": 3,
          "camera_cell": [
            7,
            7
          ],
          "look_at_unit": 1,
          "look_at_cell": [
            4,
            4
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad coverage from unit 3 toward marker 7 in unit 1. Preserve the fixed arrangement of markers 5, 6 and 7, with unit 2 and markers 8 and 9 at the right-hand angular boundary. This establishes background coverage rather than encoding all shot-specific camera positions."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Show unit 1 ahead from unit 3, centered toward base marker 7, retaining base markers 5 and 6 in their supplied positions. Unit 3 supplies the near circulation foreground; unit 2 lies toward the right edge, with markers 8 and 9 at the angular boundary. Openings 10 and 11 fall within this broad directional coverage where unobscured. Treat visibility lists as supersets: opening 4 is behind this view, and no opening-to-unit adjacency or guaranteed unoccluded visibility is established.",
          "camera_framing_directive": "Use camera unit 3 at [7, 7], looking toward unit 1 at [4, 4], with wide lens coverage of 90 degrees. Keep the broad oblique view toward marker 7 and preserve the plan's relative marker positions. Do not substitute the individual consuming shots' close framings or reverse orientations for this committed plate camera.",
          "subject_position_directive": "Keep this clean background plate free of rendered subjects while retaining space for the committed shot-layer blocking. S43_Shot2 places its reclining subject left of center against marker 5 with open space on the right. S54_Shot2 and S54_Shot5 favor a center-right or right-of-center subject; S54_Shot6 favors a left-of-center reaction with a thin foreground shoulder edge. These are separate consuming-shot compositions, not simultaneous occupants. S43_Shot4 and S43_Shot9 do not establish subject positions against this plan's numbered units; do not invent such mappings.",
          "state_cue_directive": "No committed state cue beyond \"clean residential space\" applies to this clean plate; no transient markers are listed. Refrain from inventing additional cues. Preserve the consuming shots' neutral ambient illumination and restrained contrast, without introducing a specific fixture, colored accent, or shot-action residue.",
          "negative_continuity_directive": "The ignore-numbered-elements and ignored-state-overlay lists are empty. Avoid relocating base markers 5, 6, 7, 8 or 9 or openings 10 and 11 to accommodate shot-specific crops. Do not force opening 4 into this view, treat visibility supersets as guaranteed coverage, invent adjacency between units, or introduce additional units to resolve S43_Shot4. Keep subject-layer actions out of the clean plate."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_minister_office",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_minister_office"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L199B04": {
        "status": "ok",
        "location_id": "L199",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L199B04.png",
        "t2i_prompt": "실제 미러리스 카메라와 35밀리미터급 렌즈로 촬영한 다큐멘터리 풍 사진. 2069년 기후 재난 이후 대한민국의 한적한 지방 도로, 거센 소나기가 쏟아지는 깊은 밤에 낡은 캠핑카 한 대가 헤드라이트를 완전히 끈 채 달리는 도로 측 외관 사진이다. 갓길 쪽 약 1.6미터의 서 있는 사람 눈높이에서 차량의 앞면과 측면을 비스듬히 바라본다. 캠핑카 전체와 바퀴 아래 젖은 노면이 화면에 들어오고, 진행 방향 앞에는 비어 있는 도로의 여백을 둔다. 차량 내부를 보여주는 구도나 위에서 내려다보는 시점이 아니다.\n\n캠핑카는 오래된 상용차를 기반으로 한 실용적인 각진 차체와 높게 올라온 거주 공간을 갖춘다. 빛바랜 회백색 외장, 작은 측면 창문, 닫힌 출입문, 검은 고무 창틀, 사이드미러, 낡은 범퍼와 전조등 덮개가 실제 차량처럼 자연스럽게 이어진다. 도장면의 작은 긁힘과 패널 이음매의 녹, 빗물에 젖은 금속과 고무의 서로 다른 질감, 차체를 타고 흐르는 물줄기와 촘촘한 물방울을 사실적으로 보여준다. 전조등은 좌우 모두 소등되어 있으며 노면에 헤드라이트 빛줄기나 전조등 반사가 없어야 한다. 차량 유리는 어둡고 빗물이 덮여 내부가 식별되지 않으며 사람이나 얼굴, 탑승자 실루엣은 전혀 보이지 않는다.\n\n도로는 한국의 오래된 왕복 2차로 아스팔트 도로로, 닳은 황색 중앙선과 흰색 가장자리 차선, 군데군데 보수한 포장면, 낮은 금속 가드레일과 갓길 배수로가 이어진다. 주변에는 관리가 뜸해진 풀과 어두운 낮은 비탈이 있을 뿐, 다른 차량이나 보행자는 없다. 재난 이후의 시간은 포장 균열과 부식, 드문 관리 흔적으로만 드러내고 도로 전체를 과장된 잔해 더미로 만들지 않는다. 굵은 빗줄기가 비스듬히 떨어지고 바퀴 접지부에서 낮게 물보라가 퍼진다. 회전하는 바퀴와 가까운 빗줄기에만 실제 촬영에서 생기는 가벼운 움직임 흐림을 남기고 차체의 형태는 알아볼 수 있게 유지한다.\n\n구름 낀 밤하늘의 매우 약한 자연 산란광을 고감도로 기록한 듯한 현실적인 노출로, 젖은 차체 윤곽과 도로 표면에 약한 반사만 남긴다. 전체는 자연스러운 차가운 회색 계열이며 어두운 부분을 억지로 밝히지 않는다. 대낮 같은 밝기, 인위적인 역광, 번개, 네온 조명, 미래형 발광 장치는 넣지 않는다. 실제 아스팔트 골재, 금속 부식, 고무 마모와 물의 질감이 관찰되는 현장 기록 사진이며 자연스러운 피사계 심도를 유지한다. 과도한 보정이나 광고 사진 같은 광택 없이, 그림이나 컴퓨터 합성 이미지나 건축 시각화가 아닌 실제 촬영본이어야 한다. 사람, 얼굴, 시신, 혈흔은 없다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S45_Shot1",
            "guide_text": "갓길의 약 1.6미터 높이에서 35밀리미터급 렌즈로 캠핑카 앞면과 측면을 함께 담는 외관 전경. 차량 전체와 젖은 도로를 포함하고 진행 방향 앞에 여백을 남긴다. 좌우 전조등이 꺼진 상태를 분명히 유지하며, 거센 빗줄기와 바퀴 아래 물보라로 주행을 드러낸다. 차체는 식별 가능하게, 바퀴와 빗물에는 약한 움직임 흐림을 허용한다. 창문 너머 내부나 탑승자는 보이지 않으며 다른 차량과 사람도 없다."
          }
        ],
        "shot_ids": [
          "S45_Shot1"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "text_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {},
        "reference_decision": {
          "mode": "surface_role_direct_plate",
          "surface_role": "exterior_plate",
          "fp_id": "",
          "source_bg_ids": []
        },
        "effective_render_prompt": "실제 미러리스 카메라와 35밀리미터급 렌즈로 촬영한 다큐멘터리 풍 사진. 2069년 기후 재난 이후 대한민국의 한적한 지방 도로, 거센 소나기가 쏟아지는 깊은 밤에 낡은 캠핑카 한 대가 헤드라이트를 완전히 끈 채 달리는 도로 측 외관 사진이다. 갓길 쪽 약 1.6미터의 서 있는 사람 눈높이에서 차량의 앞면과 측면을 비스듬히 바라본다. 캠핑카 전체와 바퀴 아래 젖은 노면이 화면에 들어오고, 진행 방향 앞에는 비어 있는 도로의 여백을 둔다. 차량 내부를 보여주는 구도나 위에서 내려다보는 시점이 아니다.\n\n캠핑카는 오래된 상용차를 기반으로 한 실용적인 각진 차체와 높게 올라온 거주 공간을 갖춘다. 빛바랜 회백색 외장, 작은 측면 창문, 닫힌 출입문, 검은 고무 창틀, 사이드미러, 낡은 범퍼와 전조등 덮개가 실제 차량처럼 자연스럽게 이어진다. 도장면의 작은 긁힘과 패널 이음매의 녹, 빗물에 젖은 금속과 고무의 서로 다른 질감, 차체를 타고 흐르는 물줄기와 촘촘한 물방울을 사실적으로 보여준다. 전조등은 좌우 모두 소등되어 있으며 노면에 헤드라이트 빛줄기나 전조등 반사가 없어야 한다. 차량 유리는 어둡고 빗물이 덮여 내부가 식별되지 않으며 사람이나 얼굴, 탑승자 실루엣은 전혀 보이지 않는다.\n\n도로는 한국의 오래된 왕복 2차로 아스팔트 도로로, 닳은 황색 중앙선과 흰색 가장자리 차선, 군데군데 보수한 포장면, 낮은 금속 가드레일과 갓길 배수로가 이어진다. 주변에는 관리가 뜸해진 풀과 어두운 낮은 비탈이 있을 뿐, 다른 차량이나 보행자는 없다. 재난 이후의 시간은 포장 균열과 부식, 드문 관리 흔적으로만 드러내고 도로 전체를 과장된 잔해 더미로 만들지 않는다. 굵은 빗줄기가 비스듬히 떨어지고 바퀴 접지부에서 낮게 물보라가 퍼진다. 회전하는 바퀴와 가까운 빗줄기에만 실제 촬영에서 생기는 가벼운 움직임 흐림을 남기고 차체의 형태는 알아볼 수 있게 유지한다.\n\n구름 낀 밤하늘의 매우 약한 자연 산란광을 고감도로 기록한 듯한 현실적인 노출로, 젖은 차체 윤곽과 도로 표면에 약한 반사만 남긴다. 전체는 자연스러운 차가운 회색 계열이며 어두운 부분을 억지로 밝히지 않는다. 대낮 같은 밝기, 인위적인 역광, 번개, 네온 조명, 미래형 발광 장치는 넣지 않는다. 실제 아스팔트 골재, 금속 부식, 고무 마모와 물의 질감이 관찰되는 현장 기록 사진이며 자연스러운 피사계 심도를 유지한다. 과도한 보정이나 광고 사진 같은 광택 없이, 그림이나 컴퓨터 합성 이미지나 건축 시각화가 아닌 실제 촬영본이어야 한다. 사람, 얼굴, 시신, 혈흔은 없다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_aware_plan_mode": "surface_role_direct_plate",
        "attached_reference_lineage": {
          "fp_id": "",
          "prior_bg_ids": [],
          "attached_ref_labels": [],
          "ref_used": "text_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L199B05": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L199",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L199B05.png",
        "t2i_prompt": "기후 재난 이후인 2069년 한국에서 계속 사용되는 낡은 캠핑 차량의 빈 실내를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실제 미러리스 카메라와 35밀리미터급인 환산 40밀리미터 렌즈로 촬영한 절제된 화각이다. 운전석 바로 뒤에서 중앙 통로 쪽으로 조금 이동한 위치, 바닥에서 약 1.6미터인 사람 눈높이에서 전방을 바라본다. 내려다보는 구도가 아니라 앞유리 안쪽 위 중앙의 백미러와 그 아래 대시보드를 향하는 시선이다.\n\n차량 앞쪽 왼편의 운전석과 운전대, 오른편의 조수석이 전경 가장자리에 자연스럽게 걸린다. 앞유리 위쪽 중앙의 백미러는 반사된 공간을 알아볼 수 있을 만큼 충분한 크기로 담되 실제 차량용 거울의 비례를 유지한다. 두 앞좌석 사이의 연결 통로를 통해 차량 맨 뒤 벽을 따라 놓인 전방 지향 벤치가 거울 안에 반사된다. 후방 좌석 공간과 벤치, 벤치 등받이보다 높게 오른쪽 후방 벽에 고정된 작은 전등은 오직 백미러 반사로 보인다. 카메라 뒤의 공간을 별도의 직접 시야처럼 화면에 중복해서 펼치지 않는다. 거울의 각도와 좌우 반전, 통로에 의한 가림, 반사 속 원근은 실제 광학 관계에 맞춘다.\n\n작은 후방 전등 하나만 켜져 있다. 약한 따뜻한 빛이 벤치와 가까운 벽에 국소적으로 닿고, 앞쪽 운전 공간은 어두운 회색의 낮은 밝기로 남는다. 외부 빛이나 촬영용 보조광을 더하지 않고 실제 광원의 자연스러운 밝기 감소와 유리 반사를 담는다. 침묵 속 슬픔과 긴장은 비어 있는 좌석과 어두운 실내의 거리감으로만 전한다. 미래에도 남아 있는 실용적인 차량 구조, 오래 사용한 대시보드의 무광 수지, 운전대 표면의 잔잔한 마모, 좌석 천의 실제 직조, 금속 부품의 둔한 광택을 사실적으로 보여준다. 공간은 정돈되어 있고 평온한 상태다.\n\n사람, 얼굴, 사람 형상의 물체는 직접 시야와 거울 안 어디에도 없다. 백미러의 후방 반사가 읽히면서 가까운 좌석 가장자리는 조금 부드러워지는 자연스러운 피사계 심도와 실제 저조도 노출을 유지한다. 보정 효과 없이 촬영한 현장 기록 사진이며, 광고용으로 말끔하게 연출한 사진이나 컴퓨터 합성 이미지, 삽화, 건축 시각화가 아니다. 평면도나 위에서 내려다본 도해로 표현하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S45_Shot4",
            "guide_text": "백미러와 그 안의 빈 후방 벤치를 시선의 중심으로 삼는다. 대시보드와 운전대는 어두운 전경으로 남기고, 거울 속 통로와 벤치의 연결 관계를 식별할 수 있도록 구도를 잡는다. 후방 벽의 작은 전등 하나가 만드는 국소적인 따뜻한 빛을 유지하며 후방 공간을 별도의 직접 시야로 중복 노출하지 않는다. 사람이나 얼굴 없이 정돈된 실내의 침묵과 거리감만으로 슬픔과 긴장을 전달한다."
          }
        ],
        "shot_ids": [
          "S45_Shot4"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Just behind and slightly inboard of number 4, facing forward toward number 9 above numbers 7 and 10; number 9 reflects number 6 through number 3.",
          "camera_height": "approximately seated eye level, typically 1.1-1.3 m above the vehicle floor",
          "lens_hint": "40mm equivalent, restrained normal-wide framing",
          "framing_notes": "Make number 9 prominent enough to read the reflected rear seating relationship. Numbers 2, 6, and 17 are referenced through the mirror rather than shown as a second direct view behind the camera. Keep the interior dark and quiet, with only number 17 illuminated. Do not add leak activity or blocking cloths at this moment."
        },
        "reference_decision": {
          "bg_id": "L199B05",
          "fp_id": "fp_camper_interior",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L199B05 is the sole eligible clean anchor. S45_Shot4 requires an indirect close view of marker 9 with only peripheral unit 1 structure. Camera unit 1 targeting marker 9 with a telephoto lens supports that framing without treating the rear units as directly visible.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_camper_interior.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_reference_anchor",
            "why_single_ref_or_two_refs": "Establish the dwelling identity from the floor plan; no previously rendered reference is supplied.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 1,
            "camera_cell": [
              3,
              5
            ],
            "look_at_unit": 1,
            "look_at_cell": [
              1,
              5
            ],
            "lens_enum": "telephoto",
            "fov_deg": 25,
            "framing_notes": "Use the listed unit 1 camera cell and marker 9 target cell. Narrow coverage supports S45_Shot4's reflected close frame; the staged height and passenger-side emphasis do not authorize a different grid coordinate."
          },
          "render_guidance": {
            "visible_space_directive": "Center marker 9 in unit 1, retaining its rim and only soft peripheral unit 1 structure. Units 2 and 3 remain outside the direct close crop. The visible-unit and opening lists are supersets, not requirements to display every listed marker.",
            "camera_framing_directive": "Frame from camera unit 1 at [3, 5] toward look-at unit 1 at [1, 5], using telephoto coverage at 25 degrees. Follow S45_Shot4's rearview-mirror-height framing, with marker 9 occupying about two-thirds of the close frame and a soft surrounding border.",
            "subject_position_directive": "S45_Shot4 commits 현우 seated driving, with his reflected brow and narrowed eyes framed by marker 9. Preserve the three_quarter_left reflected appearance, mirror reversal, and gaze toward the rear seating beyond the crop rather than toward the lens.",
            "state_cue_directive": "No committed state cue beyond \"clean residential space\" applies to the background overlays: clean_background_expected is true and there are no transient markers. Refrain from inventing additional cues. Retain the staged dark cabin and restrained illumination from marker 17 without adding a source; marker 17 itself need not enter the crop.",
            "negative_continuity_directive": "Exclude overlay markers 18, 19, 20, 21, 22, and 23. Avoid expanding the close crop to display units 2 and 3 or out-of-cone openings. Preserve marker 9's fixed position and reflective orientation rather than relocating it to simplify the framing."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [3, 5]\n  - look_at_unit: 1\n  - look_at_cell: [1, 5]\n  - lens_enum: 'telephoto'\n  - fov_deg: 25\n  - framing_notes: \"Use the listed unit 1 camera cell and marker 9 target cell. Narrow coverage supports S45_Shot4's reflected close frame; the staged height and passenger-side emphasis do not authorize a different grid coordinate.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Center marker 9 in unit 1, retaining its rim and only soft peripheral unit 1 structure. Units 2 and 3 remain outside the direct close crop. The visible-unit and opening lists are supersets, not requirements to display every listed marker.\n  - camera_framing_directive: Frame from camera unit 1 at [3, 5] toward look-at unit 1 at [1, 5], using telephoto coverage at 25 degrees. Follow S45_Shot4's rearview-mirror-height framing, with marker 9 occupying about two-thirds of the close frame and a soft surrounding border.\n  - subject_position_directive: S45_Shot4 commits 현우 seated driving, with his reflected brow and narrowed eyes framed by marker 9. Preserve the three_quarter_left reflected appearance, mirror reversal, and gaze toward the rear seating beyond the crop rather than toward the lens.\n  - state_cue_directive: No committed state cue beyond \"clean residential space\" applies to the background overlays: clean_background_expected is true and there are no transient markers. Refrain from inventing additional cues. Retain the staged dark cabin and restrained illumination from marker 17 without adding a source; marker 17 itself need not enter the crop.\n  - negative_continuity_directive: Exclude overlay markers 18, 19, 20, 21, 22, and 23. Avoid expanding the close crop to display units 2 and 3 or out-of-cone openings. Preserve marker 9's fixed position and reflective orientation rather than relocating it to simplify the framing.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [3, 5]\n  - look_at_unit: 1\n  - look_at_cell: [1, 5]\n  - lens_enum: 'telephoto'\n  - fov_deg: 25\n  - framing_notes: \"Use the listed unit 1 camera cell and marker 9 target cell. Narrow coverage supports S45_Shot4's reflected close frame; the staged height and passenger-side emphasis do not authorize a different grid coordinate.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Center marker 9 in unit 1, retaining its rim and only soft peripheral unit 1 structure. Units 2 and 3 remain outside the direct close crop. The visible-unit and opening lists are supersets, not requirements to display every listed marker.\n  - camera_framing_directive: Frame from camera unit 1 at [3, 5] toward look-at unit 1 at [1, 5], using telephoto coverage at 25 degrees. Follow S45_Shot4's rearview-mirror-height framing, with marker 9 occupying about two-thirds of the close frame and a soft surrounding border.\n  - subject_position_directive: S45_Shot4 commits 현우 seated driving, with his reflected brow and narrowed eyes framed by marker 9. Preserve the three_quarter_left reflected appearance, mirror reversal, and gaze toward the rear seating beyond the crop rather than toward the lens.\n  - state_cue_directive: No committed state cue beyond \"clean residential space\" applies to the background overlays: clean_background_expected is true and there are no transient markers. Refrain from inventing additional cues. Retain the staged dark cabin and restrained illumination from marker 17 without adding a source; marker 17 itself need not enter the crop.\n  - negative_continuity_directive: Exclude overlay markers 18, 19, 20, 21, 22, and 23. Avoid expanding the close crop to display units 2 and 3 or out-of-cone openings. Preserve marker 9's fixed position and reflective orientation rather than relocating it to simplify the framing.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [3, 5]\n  - look_at_unit: 1\n  - look_at_cell: [1, 5]\n  - lens_enum: 'telephoto'\n  - fov_deg: 25\n  - framing_notes: \"Use the listed unit 1 camera cell and marker 9 target cell. Narrow coverage supports S45_Shot4's reflected close frame; the staged height and passenger-side emphasis do not authorize a different grid coordinate.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Center marker 9 in unit 1, retaining its rim and only soft peripheral unit 1 structure. Units 2 and 3 remain outside the direct close crop. The visible-unit and opening lists are supersets, not requirements to display every listed marker.\n  - camera_framing_directive: Frame from camera unit 1 at [3, 5] toward look-at unit 1 at [1, 5], using telephoto coverage at 25 degrees. Follow S45_Shot4's rearview-mirror-height framing, with marker 9 occupying about two-thirds of the close frame and a soft surrounding border.\n  - subject_position_directive: S45_Shot4 commits 현우 seated driving, with his reflected brow and narrowed eyes framed by marker 9. Preserve the three_quarter_left reflected appearance, mirror reversal, and gaze toward the rear seating beyond the crop rather than toward the lens.\n  - state_cue_directive: No committed state cue beyond \"clean residential space\" applies to the background overlays: clean_background_expected is true and there are no transient markers. Refrain from inventing additional cues. Retain the staged dark cabin and restrained illumination from marker 17 without adding a source; marker 17 itself need not enter the crop.\n  - negative_continuity_directive: Exclude overlay markers 18, 19, 20, 21, 22, and 23. Avoid expanding the close crop to display units 2 and 3 or out-of-cone openings. Preserve marker 9's fixed position and reflective orientation rather than relocating it to simplify the framing.\n\n기후 재난 이후인 2069년 한국에서 계속 사용되는 낡은 캠핑 차량의 빈 실내를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실제 미러리스 카메라와 35밀리미터급인 환산 40밀리미터 렌즈로 촬영한 절제된 화각이다. 운전석 바로 뒤에서 중앙 통로 쪽으로 조금 이동한 위치, 바닥에서 약 1.6미터인 사람 눈높이에서 전방을 바라본다. 내려다보는 구도가 아니라 앞유리 안쪽 위 중앙의 백미러와 그 아래 대시보드를 향하는 시선이다.\n\n차량 앞쪽 왼편의 운전석과 운전대, 오른편의 조수석이 전경 가장자리에 자연스럽게 걸린다. 앞유리 위쪽 중앙의 백미러는 반사된 공간을 알아볼 수 있을 만큼 충분한 크기로 담되 실제 차량용 거울의 비례를 유지한다. 두 앞좌석 사이의 연결 통로를 통해 차량 맨 뒤 벽을 따라 놓인 전방 지향 벤치가 거울 안에 반사된다. 후방 좌석 공간과 벤치, 벤치 등받이보다 높게 오른쪽 후방 벽에 고정된 작은 전등은 오직 백미러 반사로 보인다. 카메라 뒤의 공간을 별도의 직접 시야처럼 화면에 중복해서 펼치지 않는다. 거울의 각도와 좌우 반전, 통로에 의한 가림, 반사 속 원근은 실제 광학 관계에 맞춘다.\n\n작은 후방 전등 하나만 켜져 있다. 약한 따뜻한 빛이 벤치와 가까운 벽에 국소적으로 닿고, 앞쪽 운전 공간은 어두운 회색의 낮은 밝기로 남는다. 외부 빛이나 촬영용 보조광을 더하지 않고 실제 광원의 자연스러운 밝기 감소와 유리 반사를 담는다. 침묵 속 슬픔과 긴장은 비어 있는 좌석과 어두운 실내의 거리감으로만 전한다. 미래에도 남아 있는 실용적인 차량 구조, 오래 사용한 대시보드의 무광 수지, 운전대 표면의 잔잔한 마모, 좌석 천의 실제 직조, 금속 부품의 둔한 광택을 사실적으로 보여준다. 공간은 정돈되어 있고 평온한 상태다.\n\n사람, 얼굴, 사람 형상의 물체는 직접 시야와 거울 안 어디에도 없다. 백미러의 후방 반사가 읽히면서 가까운 좌석 가장자리는 조금 부드러워지는 자연스러운 피사계 심도와 실제 저조도 노출을 유지한다. 보정 효과 없이 촬영한 현장 기록 사진이며, 광고용으로 말끔하게 연출한 사진이나 컴퓨터 합성 이미지, 삽화, 건축 시각화가 아니다. 평면도나 위에서 내려다본 도해로 표현하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 1,
          "camera_cell": [
            3,
            5
          ],
          "look_at_unit": 1,
          "look_at_cell": [
            1,
            5
          ],
          "lens_enum": "telephoto",
          "fov_deg": 25,
          "framing_notes": "Use the listed unit 1 camera cell and marker 9 target cell. Narrow coverage supports S45_Shot4's reflected close frame; the staged height and passenger-side emphasis do not authorize a different grid coordinate."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Center marker 9 in unit 1, retaining its rim and only soft peripheral unit 1 structure. Units 2 and 3 remain outside the direct close crop. The visible-unit and opening lists are supersets, not requirements to display every listed marker.",
          "camera_framing_directive": "Frame from camera unit 1 at [3, 5] toward look-at unit 1 at [1, 5], using telephoto coverage at 25 degrees. Follow S45_Shot4's rearview-mirror-height framing, with marker 9 occupying about two-thirds of the close frame and a soft surrounding border.",
          "subject_position_directive": "S45_Shot4 commits 현우 seated driving, with his reflected brow and narrowed eyes framed by marker 9. Preserve the three_quarter_left reflected appearance, mirror reversal, and gaze toward the rear seating beyond the crop rather than toward the lens.",
          "state_cue_directive": "No committed state cue beyond \"clean residential space\" applies to the background overlays: clean_background_expected is true and there are no transient markers. Refrain from inventing additional cues. Retain the staged dark cabin and restrained illumination from marker 17 without adding a source; marker 17 itself need not enter the crop.",
          "negative_continuity_directive": "Exclude overlay markers 18, 19, 20, 21, 22, and 23. Avoid expanding the close crop to display units 2 and 3 or out-of-cone openings. Preserve marker 9's fixed position and reflective orientation rather than relocating it to simplify the framing."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_camper_interior",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_camper_interior"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L199B03": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L199",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L199B03.png",
        "t2i_prompt": "기후 재난 이후인 2069년 한국에서 계속 사용 중인 낡은 캠핑 차량의 후방 좌석 공간. 실제 미러리스 카메라와 35밀리미터급 렌즈로 촬영한 다큐멘터리 풍 사진으로, 사람이 없는 실제 장소 기록 사진과 구별되지 않는 사실성을 유지한다. 카메라는 조수석 뒤쪽 끝과 중앙 연결 통로가 만나는 지점에 두고, 바닥에서 약 1.6미터 높이의 서 있는 눈높이에서 왼쪽 뒤 측면 창문과 후방 벤치를 향해 비스듬히 바라본다. 후방 공간 앞쪽의 천장과 창틀, 벤치 앞 바닥이 함께 보이도록 잡는다. 조감도나 평면도 구도가 아닌 차량 안에서 직접 바라본 시점이다.\n\n평면도는 공간의 배치 관계만 참고한다. 앞을 향한 벤치는 차량 맨 뒤 벽을 따라 놓이고, 중앙 통로는 그 앞의 후방 공간으로 바로 이어진다. 양쪽 측벽에 서로 마주 보는 후방 창문이 있으며, 오른쪽 뒤 벽의 작은 전등은 벤치 등받이보다 높은 위치에 있다. 기존 생활 장비를 오래 사용한 한국의 차량 실내답게 금속 창틀의 산화와 고무 밀폐재의 노후, 내장재의 생활 마모, 좌석 원단의 실제 직조와 눌림을 세밀하게 드러낸다. 오른쪽 작은 전등의 약한 불빛을 유지하고, 비 오는 바깥에서 창을 통해 들어오는 희미하고 차가운 자연광이 섞인다. 실내는 어둡지만 젖은 표면과 천의 질감이 식별되며, 자연스러운 회색 재료색 사이에 전등 주변만 약간 따뜻하게 보인다.\n\n왼쪽 후방 창문의 안쪽 창틀 가장자리로 빗물이 스며들어 가늘게 흐르고, 그 누수 틈에 젖은 헝겊이 납작하게 눌려 밀착되어 있다. 물을 머금어 짙어진 천의 접힌 결, 눌린 가장자리와 작은 물방울이 보인다. 중앙 통로가 후방 공간으로 끝나는 부근의 천장에서도 물방울이 떨어진다. 그 누수 지점에는 구겨 접은 옷감이 천장에 눌려 맞닿은 상태로 보이며, 옷감 가장자리에서 새는 물이 누수가 계속되고 있음을 드러낸다. 옷감은 사람의 몸 형태가 아닌 납작한 천 뭉치로 표현한다. 벤치 가까운 바닥에는 열린 가방과 꺼내 놓은 옷가지가 있고 중앙 통로는 비켜 둔다. 뒤쪽 창턱과 가까운 바닥, 물이 닿은 좌석 표면에는 이미 스며든 축축한 얼룩과 얇은 물기가 남아 있다. 이러한 잔여 습기는 표면의 젖음으로만 표현하고, 실제로 떨어지는 물은 명시한 천장과 창틀 누수 지점에 한정한다.\n\n인물, 얼굴, 손이나 신체 일부, 사람 모양의 형상은 전혀 없는 배경 사진이다. 실제 저조도 촬영에 맞는 노출과 자연스러운 피사계 심도, 물기의 작은 반사와 재료의 불규칙한 사용감을 유지한다. 인위적인 색 보정이나 과장된 광원 없이, 말끔한 상품 사진이 아닌 실제 차량 내부의 현장 사진으로 표현한다. 삽화나 컴퓨터 생성 영상, 건축 시각화가 아닌 실제 카메라 촬영본. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S45_Shot9",
            "guide_text": "왼쪽 후방 창틀에 밀착된 젖은 헝겊과 새어 들어오는 빗물을 주요 관찰 지점으로 둔다. 같은 화면 위쪽에 후방 공간 앞쪽 천장의 누수와 눌러 댄 옷감을 포함하고, 뒤쪽 벤치와 오른쪽의 작은 전등으로 공간의 방향을 읽을 수 있게 한다. 열린 가방과 꺼낸 옷은 벤치 가까운 바닥에서 중앙 통로를 벗어나 배치한다. 창턱·바닥·좌석의 남은 물기와 실제 누수 물방울을 구분하고, 어두운 전등 밝기와 희미한 외부 자연광을 유지한다. 천을 누르는 사람이나 손은 그리지 않고 공간과 물건의 상태만 보여 준다."
          }
        ],
        "shot_ids": [
          "S45_Shot9"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "At the aft edge of number 5 beside number 3, facing diagonally rearward toward numbers 15 and 6, with the ceiling above the forward part of number 2 in frame.",
          "camera_height": "approximately seated or crouched eye level, typically 1.1-1.3 m above the vehicle floor",
          "lens_hint": "24-28mm equivalent wide angle",
          "framing_notes": "Include the left window frame, overhead leak area, and rear floor so numbers 18 through 22 remain spatially intelligible. Show number 20 pressed against number 15 and number 21 held overhead, not floating. Number 17 remains the single dim rear light. Preserve the clear cab-to-rear connection; do not invent a separating wall."
        },
        "reference_decision": {
          "bg_id": "L199B03",
          "fp_id": "fp_camper_interior",
          "node_index": 1,
          "mode": "same_physical_space_view",
          "is_dwelling_identity_anchor": false,
          "rationale": "S45_Shot9 depicts units 2 and 3 within the same connected physical interior covered by the anchor's target markers, but requires a genuinely different view from its marker 9 close-up. Camera unit 3 looking toward opening 16 provides the oblique rear-facing view needed for the staged contact action. Newly visible fixed structure requires its own plate rather than low-delta reuse of L199B05.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L199B05.png"
          ],
          "source_bg_ids": [
            "L199B05"
          ],
          "fp_included": false,
          "reference_decision": {
            "selected_refs": [
              {
                "ref_bg_id": "L199B05",
                "physical_space_id": "fp_camper_interior_connected_units_1_2_3",
                "space_description": "Connected physical interior comprising base units 1, 2, and 3."
              }
            ],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "single_same_physical_space_reference",
            "why_single_ref_or_two_refs": "One reference establishes the connected interior identity. S45_Shot9 does not require two independently referenced distinct spaces; the floor plan supplies positions of fixed elements outside the anchor crop.",
            "physical_space_id_per_ref": [
              "fp_camper_interior_connected_units_1_2_3"
            ],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 3,
            "camera_cell": [
              4,
              5
            ],
            "look_at_unit": 2,
            "look_at_cell": [
              6,
              7
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Look obliquely from unit 3 toward opening 16 in unit 2. Broad background coverage accommodates the contact area and rear fixed context while the staged upper body remains medium scale; retain the committed seated shoulder height and gentle upward emphasis."
          },
          "render_guidance": {
            "visible_space_directive": "Show the rear-facing slice of unit 2 from unit 3, centered on opening 16 at [6, 7]. Include the in-cone portions of markers 6 and 17. Keep the connected unit arrangement and all fixed positions consistent with L199B05 and the floor plan: marker 6 remains at [8, 5], marker 17 at [8, 6], and opening 16 at [6, 7].",
            "camera_framing_directive": "Use camera unit 3 at [4, 5], look-at unit 2 at [6, 7], and a wide lens at 90 degrees for broad oblique coverage. Within this fixed view, follow S45_Shot9's medium subject scale, seated shoulder height, and gently upward framing. Keep the contact detail on screen right.",
            "subject_position_directive": "S45_Shot9 commits 앰버 in profile_right, leaning into pressing hands. Place her strained upper body across the left and center, with her near profile, hands, and the window gap together on the right. Her lowered eyes remain on the cloth's contact with the gap.",
            "state_cue_directive": "Carry the committed overlays 18 and 19 for active leakage, 20 for the wet window-blocking cloth, 21 for ceiling-blocking clothing, 22 for the opened bag and extracted clothes, and 23 for residual interior dampness only where their locations enter the crop. Prioritize S45_Shot9's cloth pressed against the leaking gap. Use the established illumination from marker 17 within the dark cabin without inventing another source or color.",
            "negative_continuity_directive": "No markers are explicitly ignored for this BG. Avoid relocating fixed markers 6, 16, or 17 relative to the floor plan and L199B05's connected-space identity. Do not force marker 5, opening 15, or unit 1 into this rear-facing cone merely because they occur in marker inventories or visibility supersets. Keep overlays 18 through 23 separate from permanent structural changes."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L199B05' physical_space_id='fp_camper_interior_connected_units_1_2_3'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [4, 5]\n  - look_at_unit: 2\n  - look_at_cell: [6, 7]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Look obliquely from unit 3 toward opening 16 in unit 2. Broad background coverage accommodates the contact area and rear fixed context while the staged upper body remains medium scale; retain the committed seated shoulder height and gentle upward emphasis.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the rear-facing slice of unit 2 from unit 3, centered on opening 16 at [6, 7]. Include the in-cone portions of markers 6 and 17. Keep the connected unit arrangement and all fixed positions consistent with L199B05 and the floor plan: marker 6 remains at [8, 5], marker 17 at [8, 6], and opening 16 at [6, 7].\n  - camera_framing_directive: Use camera unit 3 at [4, 5], look-at unit 2 at [6, 7], and a wide lens at 90 degrees for broad oblique coverage. Within this fixed view, follow S45_Shot9's medium subject scale, seated shoulder height, and gently upward framing. Keep the contact detail on screen right.\n  - subject_position_directive: S45_Shot9 commits 앰버 in profile_right, leaning into pressing hands. Place her strained upper body across the left and center, with her near profile, hands, and the window gap together on the right. Her lowered eyes remain on the cloth's contact with the gap.\n  - state_cue_directive: Carry the committed overlays 18 and 19 for active leakage, 20 for the wet window-blocking cloth, 21 for ceiling-blocking clothing, 22 for the opened bag and extracted clothes, and 23 for residual interior dampness only where their locations enter the crop. Prioritize S45_Shot9's cloth pressed against the leaking gap. Use the established illumination from marker 17 within the dark cabin without inventing another source or color.\n  - negative_continuity_directive: No markers are explicitly ignored for this BG. Avoid relocating fixed markers 6, 16, or 17 relative to the floor plan and L199B05's connected-space identity. Do not force marker 5, opening 15, or unit 1 into this rear-facing cone merely because they occur in marker inventories or visibility supersets. Keep overlays 18 through 23 separate from permanent structural changes.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L199B05' physical_space_id='fp_camper_interior_connected_units_1_2_3'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [4, 5]\n  - look_at_unit: 2\n  - look_at_cell: [6, 7]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Look obliquely from unit 3 toward opening 16 in unit 2. Broad background coverage accommodates the contact area and rear fixed context while the staged upper body remains medium scale; retain the committed seated shoulder height and gentle upward emphasis.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the rear-facing slice of unit 2 from unit 3, centered on opening 16 at [6, 7]. Include the in-cone portions of markers 6 and 17. Keep the connected unit arrangement and all fixed positions consistent with L199B05 and the floor plan: marker 6 remains at [8, 5], marker 17 at [8, 6], and opening 16 at [6, 7].\n  - camera_framing_directive: Use camera unit 3 at [4, 5], look-at unit 2 at [6, 7], and a wide lens at 90 degrees for broad oblique coverage. Within this fixed view, follow S45_Shot9's medium subject scale, seated shoulder height, and gently upward framing. Keep the contact detail on screen right.\n  - subject_position_directive: S45_Shot9 commits 앰버 in profile_right, leaning into pressing hands. Place her strained upper body across the left and center, with her near profile, hands, and the window gap together on the right. Her lowered eyes remain on the cloth's contact with the gap.\n  - state_cue_directive: Carry the committed overlays 18 and 19 for active leakage, 20 for the wet window-blocking cloth, 21 for ceiling-blocking clothing, 22 for the opened bag and extracted clothes, and 23 for residual interior dampness only where their locations enter the crop. Prioritize S45_Shot9's cloth pressed against the leaking gap. Use the established illumination from marker 17 within the dark cabin without inventing another source or color.\n  - negative_continuity_directive: No markers are explicitly ignored for this BG. Avoid relocating fixed markers 6, 16, or 17 relative to the floor plan and L199B05's connected-space identity. Do not force marker 5, opening 15, or unit 1 into this rear-facing cone merely because they occur in marker inventories or visibility supersets. Keep overlays 18 through 23 separate from permanent structural changes.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L199B05' physical_space_id='fp_camper_interior_connected_units_1_2_3'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [4, 5]\n  - look_at_unit: 2\n  - look_at_cell: [6, 7]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Look obliquely from unit 3 toward opening 16 in unit 2. Broad background coverage accommodates the contact area and rear fixed context while the staged upper body remains medium scale; retain the committed seated shoulder height and gentle upward emphasis.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the rear-facing slice of unit 2 from unit 3, centered on opening 16 at [6, 7]. Include the in-cone portions of markers 6 and 17. Keep the connected unit arrangement and all fixed positions consistent with L199B05 and the floor plan: marker 6 remains at [8, 5], marker 17 at [8, 6], and opening 16 at [6, 7].\n  - camera_framing_directive: Use camera unit 3 at [4, 5], look-at unit 2 at [6, 7], and a wide lens at 90 degrees for broad oblique coverage. Within this fixed view, follow S45_Shot9's medium subject scale, seated shoulder height, and gently upward framing. Keep the contact detail on screen right.\n  - subject_position_directive: S45_Shot9 commits 앰버 in profile_right, leaning into pressing hands. Place her strained upper body across the left and center, with her near profile, hands, and the window gap together on the right. Her lowered eyes remain on the cloth's contact with the gap.\n  - state_cue_directive: Carry the committed overlays 18 and 19 for active leakage, 20 for the wet window-blocking cloth, 21 for ceiling-blocking clothing, 22 for the opened bag and extracted clothes, and 23 for residual interior dampness only where their locations enter the crop. Prioritize S45_Shot9's cloth pressed against the leaking gap. Use the established illumination from marker 17 within the dark cabin without inventing another source or color.\n  - negative_continuity_directive: No markers are explicitly ignored for this BG. Avoid relocating fixed markers 6, 16, or 17 relative to the floor plan and L199B05's connected-space identity. Do not force marker 5, opening 15, or unit 1 into this rear-facing cone merely because they occur in marker inventories or visibility supersets. Keep overlays 18 through 23 separate from permanent structural changes.\n\n기후 재난 이후인 2069년 한국에서 계속 사용 중인 낡은 캠핑 차량의 후방 좌석 공간. 실제 미러리스 카메라와 35밀리미터급 렌즈로 촬영한 다큐멘터리 풍 사진으로, 사람이 없는 실제 장소 기록 사진과 구별되지 않는 사실성을 유지한다. 카메라는 조수석 뒤쪽 끝과 중앙 연결 통로가 만나는 지점에 두고, 바닥에서 약 1.6미터 높이의 서 있는 눈높이에서 왼쪽 뒤 측면 창문과 후방 벤치를 향해 비스듬히 바라본다. 후방 공간 앞쪽의 천장과 창틀, 벤치 앞 바닥이 함께 보이도록 잡는다. 조감도나 평면도 구도가 아닌 차량 안에서 직접 바라본 시점이다.\n\n평면도는 공간의 배치 관계만 참고한다. 앞을 향한 벤치는 차량 맨 뒤 벽을 따라 놓이고, 중앙 통로는 그 앞의 후방 공간으로 바로 이어진다. 양쪽 측벽에 서로 마주 보는 후방 창문이 있으며, 오른쪽 뒤 벽의 작은 전등은 벤치 등받이보다 높은 위치에 있다. 기존 생활 장비를 오래 사용한 한국의 차량 실내답게 금속 창틀의 산화와 고무 밀폐재의 노후, 내장재의 생활 마모, 좌석 원단의 실제 직조와 눌림을 세밀하게 드러낸다. 오른쪽 작은 전등의 약한 불빛을 유지하고, 비 오는 바깥에서 창을 통해 들어오는 희미하고 차가운 자연광이 섞인다. 실내는 어둡지만 젖은 표면과 천의 질감이 식별되며, 자연스러운 회색 재료색 사이에 전등 주변만 약간 따뜻하게 보인다.\n\n왼쪽 후방 창문의 안쪽 창틀 가장자리로 빗물이 스며들어 가늘게 흐르고, 그 누수 틈에 젖은 헝겊이 납작하게 눌려 밀착되어 있다. 물을 머금어 짙어진 천의 접힌 결, 눌린 가장자리와 작은 물방울이 보인다. 중앙 통로가 후방 공간으로 끝나는 부근의 천장에서도 물방울이 떨어진다. 그 누수 지점에는 구겨 접은 옷감이 천장에 눌려 맞닿은 상태로 보이며, 옷감 가장자리에서 새는 물이 누수가 계속되고 있음을 드러낸다. 옷감은 사람의 몸 형태가 아닌 납작한 천 뭉치로 표현한다. 벤치 가까운 바닥에는 열린 가방과 꺼내 놓은 옷가지가 있고 중앙 통로는 비켜 둔다. 뒤쪽 창턱과 가까운 바닥, 물이 닿은 좌석 표면에는 이미 스며든 축축한 얼룩과 얇은 물기가 남아 있다. 이러한 잔여 습기는 표면의 젖음으로만 표현하고, 실제로 떨어지는 물은 명시한 천장과 창틀 누수 지점에 한정한다.\n\n인물, 얼굴, 손이나 신체 일부, 사람 모양의 형상은 전혀 없는 배경 사진이다. 실제 저조도 촬영에 맞는 노출과 자연스러운 피사계 심도, 물기의 작은 반사와 재료의 불규칙한 사용감을 유지한다. 인위적인 색 보정이나 과장된 광원 없이, 말끔한 상품 사진이 아닌 실제 차량 내부의 현장 사진으로 표현한다. 삽화나 컴퓨터 생성 영상, 건축 시각화가 아닌 실제 카메라 촬영본. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 3,
          "camera_cell": [
            4,
            5
          ],
          "look_at_unit": 2,
          "look_at_cell": [
            6,
            7
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Look obliquely from unit 3 toward opening 16 in unit 2. Broad background coverage accommodates the contact area and rear fixed context while the staged upper body remains medium scale; retain the committed seated shoulder height and gentle upward emphasis."
        },
        "shot_aware_plan_node_index": 1,
        "shot_aware_plan_mode": "same_physical_space_view",
        "render_guidance": {
          "visible_space_directive": "Show the rear-facing slice of unit 2 from unit 3, centered on opening 16 at [6, 7]. Include the in-cone portions of markers 6 and 17. Keep the connected unit arrangement and all fixed positions consistent with L199B05 and the floor plan: marker 6 remains at [8, 5], marker 17 at [8, 6], and opening 16 at [6, 7].",
          "camera_framing_directive": "Use camera unit 3 at [4, 5], look-at unit 2 at [6, 7], and a wide lens at 90 degrees for broad oblique coverage. Within this fixed view, follow S45_Shot9's medium subject scale, seated shoulder height, and gently upward framing. Keep the contact detail on screen right.",
          "subject_position_directive": "S45_Shot9 commits 앰버 in profile_right, leaning into pressing hands. Place her strained upper body across the left and center, with her near profile, hands, and the window gap together on the right. Her lowered eyes remain on the cloth's contact with the gap.",
          "state_cue_directive": "Carry the committed overlays 18 and 19 for active leakage, 20 for the wet window-blocking cloth, 21 for ceiling-blocking clothing, 22 for the opened bag and extracted clothes, and 23 for residual interior dampness only where their locations enter the crop. Prioritize S45_Shot9's cloth pressed against the leaking gap. Use the established illumination from marker 17 within the dark cabin without inventing another source or color.",
          "negative_continuity_directive": "No markers are explicitly ignored for this BG. Avoid relocating fixed markers 6, 16, or 17 relative to the floor plan and L199B05's connected-space identity. Do not force marker 5, opening 15, or unit 1 into this rear-facing cone merely because they occur in marker inventories or visibility supersets. Keep overlays 18 through 23 separate from permanent structural changes."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_camper_interior",
          "prior_bg_ids": [
            "L199B05"
          ],
          "attached_ref_labels": [
            "bg:L199B05"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L199B02": {
        "status": "ok",
        "is_reuse": true,
        "render_action": "reuse_existing_plate",
        "reuse_target_bg_id": "L199B03",
        "reused_from_bg_id": "L199B03",
        "location_id": "L199",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L199B03.png",
        "t2i_prompt": "기후 재난 이후 2069년의 한국, 숲 가까이에 있는 오래 사용한 캠핑카의 텅 빈 실내를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 미래에도 계속 사용되는 현실적인 차량 내장재와 기존 운전 장치를 보여준다. 실제 미러리스 카메라의 35밀리미터 환산 화각, 바닥에서 약 1.6미터 높이의 서 있는 사람 눈높이로 촬영한다. 후방 벤치 왼쪽 끝 부근에서 중앙 연결 통로를 가로질러 앞쪽 오른편을 비스듬히 바라본다. 왼쪽 가장자리에는 전방을 향한 운전석 일부를 남기고, 앞쪽 오른편의 조수석과 조수석 문에 끼워진 창, 후방 공간 오른쪽 벽의 측창을 한 화면에서 구별할 수 있게 담는다. 주된 시각적 중심은 오른쪽 후방 측창과 그 너머의 숲이다. 창틀과 실내 벽이 외부 시야를 지나치게 가리지 않도록 한다.\n\n차량 앞쪽에는 앞유리 아래의 대시보드와 왼편 운전대가 있고, 앞유리 상단 중앙의 실내 후사경은 뒤쪽 통로 방향을 향한다. 두 앞좌석 사이 통로는 후방 좌석 공간으로 바로 이어지며, 후방 벤치는 뒤 벽을 따라 전방을 향해 놓여 있다. 배치는 참조 평면도에 표시된 기존 구조와 가구의 상대적 위치를 바탕으로 이해하되, 사진은 실내에서 바라본 수평 원근으로 구성한다. 작은 금속 부품의 자연스러운 산화, 창틀 고무의 사용감, 내장 플라스틱의 미세한 긁힘, 좌석 천의 실제 직조와 눌린 결, 오래 사용하며 남은 옅은 얼룩을 사실적으로 담는다.\n\n소나기가 지나간 낮의 흐린 자연광이 측창으로 들어온다. 후방 창턱과 가까운 바닥에는 남은 습기가 얇고 불균일한 반사로 보이고, 주변 좌석 표면 일부는 수분을 머금어 천의 색이 조금 짙다. 물이 새로 떨어지거나 비가 실내로 들이치는 상태는 아니다. 창밖으로 한국 내륙에서 볼 법한 잎이 무성한 나무와 숲의 깊이가 자연스럽게 보인다. 창 유리의 반사는 절제되어 나무줄기와 잎을 알아볼 수 있다. 실내의 은은한 회색빛과 외부 식생의 실제 녹색을 그대로 기록하고, 장시간 머문 공간의 눅눅하고 지친 정적을 과장 없이 전달한다. 자연스러운 피사계 심도로 가까운 창틀과 좌석의 재질을 살리면서 창밖 숲의 형태도 읽히게 한다. 사람, 얼굴, 신체 일부, 사람 형태의 형상은 반사 속에도 없다. 실제 장소 기록 사진처럼 자연스러운 노출과 재질을 유지하며, 인공적인 보정이나 지나치게 말끔한 광고 사진 같은 표현은 피한다. 위에서 내려다본 구도나 평면 도식이 아닌 눈높이 사진이다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S55_Shot3",
            "guide_text": "오른쪽 후방 측창과 그 너머 숲이 명확하게 보이는 배경을 확보한다. 왼쪽 가장자리의 운전석 일부와 중앙 통로, 앞쪽 오른편 조수석을 공간 방향을 알려주는 기준으로 유지한다. 창 앞에는 시선을 가리는 물건을 추가하지 않고, 창틀 주변에 충분한 화면 여유를 둔다. 소나기 이후의 확산된 낮빛과 창턱·바닥·좌석의 잔류 습기를 유지한다. 배경에는 사람이나 가리키는 손을 그리지 않는다."
          }
        ],
        "shot_ids": [
          "S55_Shot3"
        ],
        "scenes": [],
        "parent_id": "L199B03",
        "ref_used": "reused_plate",
        "render_attempts": 0,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "Near the left end of number 6, facing diagonally forward and right across number 3 toward numbers 5, 14, and 16, retaining number 4 at the left side of the composition.",
          "camera_height": "approximately seated eye level, typically 1.1-1.3 m above the vehicle floor",
          "lens_hint": "28-35mm equivalent wide angle",
          "framing_notes": "Prioritize an unobstructed right-side window view for a pointing gesture toward the exterior forest. Exterior scenery belongs to this background, not the persistent plan. Use post-shower daylight and number 23 for the damp interior; do not depict active ceiling or window ingress, cloth-blocking action, or the unpacked-clothing event arrangement."
        },
        "reference_decision": {
          "mode": "reference_derived",
          "render_action": "reuse_existing_plate",
          "reuse_target_bg_id": "L199B03",
          "selected_refs": [
            {
              "ref_bg_id": "L199B03",
              "physical_space_id": "fp_camper_interior_connected_units_1_2_3",
              "space_description": "The same unit 3-to-unit 2 view of the connected interior, including opening 16 and marker 6."
            }
          ]
        },
        "shot_aware_plan_node_index": 2,
        "shot_aware_plan_mode": "reference_derived",
        "render_guidance": {
          "visible_space_directive": "Retain L199B03's rear-facing unit 2 slice viewed from unit 3, with opening 16 and the visible edge of marker 6 in their established positions. Show the staged exterior through opening 16 in the upper-right image area. Keep the fixed boundaries and opening geometry unchanged; the broad target inventory does not require unit 1 to appear.",
          "camera_framing_directive": "Use camera unit 3 at [4, 5] toward look-at unit 2 at [6, 7], with wide 90-degree coverage matching L199B03. Preserve broad oblique background coverage while staging the medium-scale upper body on the left and the pointing destination upper right, slightly above the seated eye level as specified by S55_Shot3.",
          "subject_position_directive": "S55_Shot3 commits 라울 seated in three_quarter_right, leaning sideways with his rain-soaked upper body in the left half. Retain a partial seat edge beneath him. His extended index finger crosses toward the upper-right window area, and his eyes follow that line toward the trees beyond the right edge.",
          "state_cue_directive": "Carry only transient marker 23, Residual interior dampness. Apply the staged daytime ambient illumination and retain the forest visible beyond the side window as the pointing destination. Preserve the exhausted, rain-soaked subject appearance without introducing fresh rainfall or an unsupported window effect.",
          "negative_continuity_directive": "Remove reference overlays 18, 19, 20, 21, and 22; all are explicitly ignored here. Avoid copying L199B03's transient lighting state or subject arrangement. Preserve the positions of marker 6 and opening 16 and all other in-cone fixed structure. Do not introduce out-of-cone units or openings from the visibility supersets."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_camper_interior",
          "prior_bg_ids": [
            "L199B03"
          ],
          "attached_ref_labels": [
            "bg:L199B03"
          ],
          "ref_used": "reused_plate",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L199B01": {
        "status": "ok",
        "location_id": "L199",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L199B01.png",
        "t2i_prompt": "2069년 기후 재난 이후 대한민국 내륙의 숲길 진입부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 오랫동안 사용한 캠핑카가 낡은 포장도로를 벗어나 비포장 숲길로 급하게 방향을 바꾸는 순간의 외부 배경이다. 인물 없이 캠핑카의 급격히 꺾인 앞바퀴, 하부 차체, 타이어 뒤로 솟구치는 흙먼지, 포장도로에서 흙길로 이어지는 노면을 중심으로 담는다. 앞바퀴는 조향 관절의 정상 작동 범위에서 숲길 쪽으로 크게 돌아가 있어 타이어의 옆면과 트레드가 함께 보인다. 차체는 바로 서 있고 바퀴는 지면에 접촉한다. 전복되거나 옆으로 누운 차량, 부러진 차축으로 표현하지 않는다.\n실제 미러리스 카메라와 35밀리미터급 렌즈를 사용하고, 도로 가장자리의 서 있는 사람 눈높이 약 1.6미터에서 차량 옆 앞쪽을 비스듬히 내려다본다. 화면의 관심 영역을 바퀴 높이 아래에 두어 차체 상부는 화면 밖으로 잘리고, 앞바퀴와 하부 차체가 가까이 크게 보이며 노면이 화면 아래쪽을 넓게 차지하도록 구성한다. 바퀴 바로 뒤에서 시작한 흙먼지는 지나온 도로 쪽으로 퍼지고, 작은 흙덩이와 자갈 일부가 낮게 튄다. 먼지가 바퀴의 접지점과 도로·숲길의 연결 구조를 완전히 가리지 않게 한다. 먼지와 비산 입자는 실제 짧은 노출로 포착한 듯 자연스럽고 불규칙하게 보인다.\n갈라진 아스팔트 가장자리에서 다져진 흙과 자갈의 좁은 임도로 이어지고, 길 가장자리에는 마른 낙엽과 풀, 소나무와 활엽수가 섞인 한국 내륙의 숲이 있다. 캠핑카는 과도하게 미래적인 장식 없이 기존 생활 차량을 오래 유지한 형태이며, 하부 금속의 국소적인 녹과 도로 오염, 도장면의 잔흠집, 고무 타이어의 실제 마모, 틈에 낀 흙을 선명하게 보여 준다. 주변 전체를 붕괴한 폐허로 만들지 않는다. 낮의 자연광이 나뭇잎 사이로 들어와 노면에 불규칙한 그림자를 만들고, 차체 아래는 실제 그늘처럼 어두우면서도 부품의 재질이 구별된다. 회색 차체와 아스팔트, 자연스러운 녹색 식생, 누런 갈색 흙먼지의 현장 색을 유지한다. 자연스러운 피사계 심도로 가까운 바퀴와 노면은 또렷하고 먼 숲은 약간 부드럽게 보인다. 과도한 보정이나 인공 조명 없이 실제 장소 기록사진과 구별되지 않는 질감과 노출. 사람, 얼굴, 탑승자, 시신, 혈흔, 공중 표시 화면은 없다. 조감도나 평면도가 아닌 지상에서 촬영한 사진. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S55_Shot5",
            "guide_text": "급격히 돌아간 앞바퀴와 하부 차체를 주요 시각 기준으로 삼는다. 바퀴의 접지점, 포장도로 끝선, 숲길로 이어지는 자갈 섞인 흙바닥이 함께 보이도록 하고, 뒤로 솟구친 흙먼지로 급진입의 움직임을 전달한다. 차체 상부와 실내는 화면 밖에 두어 탑승자가 드러나지 않게 한다. 차량을 옆으로 눕히거나 바퀴를 공중에 띄우지 않으며, 바퀴와 도로의 구조를 가리는 과도한 흐림을 피한다."
          }
        ],
        "shot_ids": [
          "S55_Shot5"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "text_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {},
        "reference_decision": {
          "mode": "surface_role_direct_plate",
          "surface_role": "exterior_plate",
          "fp_id": "",
          "source_bg_ids": []
        },
        "effective_render_prompt": "2069년 기후 재난 이후 대한민국 내륙의 숲길 진입부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 오랫동안 사용한 캠핑카가 낡은 포장도로를 벗어나 비포장 숲길로 급하게 방향을 바꾸는 순간의 외부 배경이다. 인물 없이 캠핑카의 급격히 꺾인 앞바퀴, 하부 차체, 타이어 뒤로 솟구치는 흙먼지, 포장도로에서 흙길로 이어지는 노면을 중심으로 담는다. 앞바퀴는 조향 관절의 정상 작동 범위에서 숲길 쪽으로 크게 돌아가 있어 타이어의 옆면과 트레드가 함께 보인다. 차체는 바로 서 있고 바퀴는 지면에 접촉한다. 전복되거나 옆으로 누운 차량, 부러진 차축으로 표현하지 않는다.\n실제 미러리스 카메라와 35밀리미터급 렌즈를 사용하고, 도로 가장자리의 서 있는 사람 눈높이 약 1.6미터에서 차량 옆 앞쪽을 비스듬히 내려다본다. 화면의 관심 영역을 바퀴 높이 아래에 두어 차체 상부는 화면 밖으로 잘리고, 앞바퀴와 하부 차체가 가까이 크게 보이며 노면이 화면 아래쪽을 넓게 차지하도록 구성한다. 바퀴 바로 뒤에서 시작한 흙먼지는 지나온 도로 쪽으로 퍼지고, 작은 흙덩이와 자갈 일부가 낮게 튄다. 먼지가 바퀴의 접지점과 도로·숲길의 연결 구조를 완전히 가리지 않게 한다. 먼지와 비산 입자는 실제 짧은 노출로 포착한 듯 자연스럽고 불규칙하게 보인다.\n갈라진 아스팔트 가장자리에서 다져진 흙과 자갈의 좁은 임도로 이어지고, 길 가장자리에는 마른 낙엽과 풀, 소나무와 활엽수가 섞인 한국 내륙의 숲이 있다. 캠핑카는 과도하게 미래적인 장식 없이 기존 생활 차량을 오래 유지한 형태이며, 하부 금속의 국소적인 녹과 도로 오염, 도장면의 잔흠집, 고무 타이어의 실제 마모, 틈에 낀 흙을 선명하게 보여 준다. 주변 전체를 붕괴한 폐허로 만들지 않는다. 낮의 자연광이 나뭇잎 사이로 들어와 노면에 불규칙한 그림자를 만들고, 차체 아래는 실제 그늘처럼 어두우면서도 부품의 재질이 구별된다. 회색 차체와 아스팔트, 자연스러운 녹색 식생, 누런 갈색 흙먼지의 현장 색을 유지한다. 자연스러운 피사계 심도로 가까운 바퀴와 노면은 또렷하고 먼 숲은 약간 부드럽게 보인다. 과도한 보정이나 인공 조명 없이 실제 장소 기록사진과 구별되지 않는 질감과 노출. 사람, 얼굴, 탑승자, 시신, 혈흔, 공중 표시 화면은 없다. 조감도나 평면도가 아닌 지상에서 촬영한 사진. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_aware_plan_mode": "surface_role_direct_plate",
        "attached_reference_lineage": {
          "fp_id": "",
          "prior_bg_ids": [],
          "attached_ref_labels": [],
          "ref_used": "text_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L202B03": {
        "status": "ok",
        "location_id": "L202",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L202B03.png",
        "t2i_prompt": "2069년 기후 재난 이후 대한민국 수도권에 남아 있는 오래된 공공도서관의 정면 외벽과 차량 정차 공간. 비 오는 밤, 실제 현장에서 실제 미러리스 카메라와 35밀리미터급 렌즈로 촬영한 다큐멘터리 풍 사진이다. 카메라는 건물 맞은편 진입 공간의 지상 약 1.6미터 높이에 두고, 정면에서 약간 비껴선 수평 시선으로 외벽과 출입구, 앞쪽의 넓은 포장면을 함께 담는다. 화면 아래쪽에는 캠핑카 한 대가 진입해 멈출 수 있는 빈 공간을 충분히 확보하되 차량 자체는 그리지 않는다.\n\n한국의 기존 공공시설에서 볼 수 있는 직선적인 철근콘크리트 외관, 회색 석재 마감 일부와 금속틀 유리 출입문, 직사각형 창문이 남아 있다. 외벽에는 멀리서도 식별되는 큼직하고 불규칙한 균열이 여러 갈래로 뻗어 있으며, 갈라진 가장자리의 박락과 오랜 빗물 자국이 보인다. 잎이 거의 없는 마른 넝쿨이 벽면 상당 부분을 타고 올라가고, 빗물에 젖은 가느다란 줄기와 부서진 가지가 실제 벽 표면에 붙어 있다. 출입구 위에는 빛바랜 한글로 '시립도서관'이라고 적힌 낡은 금속 간판이 걸려 있다. 간판의 도장 벗겨짐과 녹슨 고정부, 글자 아래로 번진 녹물 흔적을 표현하며 특정 기관명이나 지명은 넣지 않는다. 건물은 오래 방치되었지만 정면 구조와 차량 접근로는 유지되어 있다.\n\n앞마당은 거친 아스팔트 포장이고, 희미해진 주차 구획선과 낮은 콘크리트 경계석, 가장자리 배수구가 보인다. 불균일한 바닥의 얕은 물웅덩이에는 외벽과 창문의 어두운 형상이 희미하게 반사된다. 빗방울이 수면에 작은 파문을 만들고, 벽면을 따라 흐르는 물과 젖은 바닥의 반사는 실제 밤비의 밝기와 물성을 따른다. 흐린 밤하늘에서 오는 약한 자연 주변광으로 젖은 외벽과 바닥의 윤곽을 드러내며, 실내와 간판은 불이 꺼져 있다. 밤을 대낮처럼 밝히지 않고, 어두운 곳은 자연스럽게 어둡게 남긴다. 차가운 회색 중심의 실제 재료 색상, 콘크리트 입자와 금속 부식, 유리의 물방울, 오랜 오염 흔적을 정확하게 기록한다. 자연스러운 피사계 심도로 정차 공간과 건물의 관계가 읽히게 한다. 과도한 색 보정이나 인위적인 광원 효과 없이 실제 장소 기록 사진과 구별되지 않는 사실성을 유지한다. 사람, 얼굴, 시신, 로봇은 없고 빈 건물 외부만 보인다. 조감도나 평면도가 아닌 지상 눈높이의 사진이다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S46_Shot1",
            "guide_text": "비 오는 밤의 도착 지점을 보여주는 외관 전경. 지상 약 1.6미터 높이에서 35밀리미터급 렌즈로 정면을 약간 비껴 바라본다. 위쪽에는 균열과 마른 넝쿨이 덮인 외벽 및 낡은 간판을, 아래쪽에는 젖은 정차 공간을 함께 확보한다. 캠핑카를 이후 배치할 수 있도록 전경 중앙을 비워 두고 차량이나 인물은 배경에 포함하지 않는다. 어두운 출입구와 빗물 반사로 밤의 상태를 유지하되 간판과 큰 균열은 식별 가능하게 한다."
          }
        ],
        "shot_ids": [
          "S46_Shot1"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "text_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {},
        "reference_decision": {
          "mode": "surface_role_direct_plate",
          "surface_role": "exterior_plate",
          "fp_id": "",
          "source_bg_ids": []
        },
        "effective_render_prompt": "2069년 기후 재난 이후 대한민국 수도권에 남아 있는 오래된 공공도서관의 정면 외벽과 차량 정차 공간. 비 오는 밤, 실제 현장에서 실제 미러리스 카메라와 35밀리미터급 렌즈로 촬영한 다큐멘터리 풍 사진이다. 카메라는 건물 맞은편 진입 공간의 지상 약 1.6미터 높이에 두고, 정면에서 약간 비껴선 수평 시선으로 외벽과 출입구, 앞쪽의 넓은 포장면을 함께 담는다. 화면 아래쪽에는 캠핑카 한 대가 진입해 멈출 수 있는 빈 공간을 충분히 확보하되 차량 자체는 그리지 않는다.\n\n한국의 기존 공공시설에서 볼 수 있는 직선적인 철근콘크리트 외관, 회색 석재 마감 일부와 금속틀 유리 출입문, 직사각형 창문이 남아 있다. 외벽에는 멀리서도 식별되는 큼직하고 불규칙한 균열이 여러 갈래로 뻗어 있으며, 갈라진 가장자리의 박락과 오랜 빗물 자국이 보인다. 잎이 거의 없는 마른 넝쿨이 벽면 상당 부분을 타고 올라가고, 빗물에 젖은 가느다란 줄기와 부서진 가지가 실제 벽 표면에 붙어 있다. 출입구 위에는 빛바랜 한글로 '시립도서관'이라고 적힌 낡은 금속 간판이 걸려 있다. 간판의 도장 벗겨짐과 녹슨 고정부, 글자 아래로 번진 녹물 흔적을 표현하며 특정 기관명이나 지명은 넣지 않는다. 건물은 오래 방치되었지만 정면 구조와 차량 접근로는 유지되어 있다.\n\n앞마당은 거친 아스팔트 포장이고, 희미해진 주차 구획선과 낮은 콘크리트 경계석, 가장자리 배수구가 보인다. 불균일한 바닥의 얕은 물웅덩이에는 외벽과 창문의 어두운 형상이 희미하게 반사된다. 빗방울이 수면에 작은 파문을 만들고, 벽면을 따라 흐르는 물과 젖은 바닥의 반사는 실제 밤비의 밝기와 물성을 따른다. 흐린 밤하늘에서 오는 약한 자연 주변광으로 젖은 외벽과 바닥의 윤곽을 드러내며, 실내와 간판은 불이 꺼져 있다. 밤을 대낮처럼 밝히지 않고, 어두운 곳은 자연스럽게 어둡게 남긴다. 차가운 회색 중심의 실제 재료 색상, 콘크리트 입자와 금속 부식, 유리의 물방울, 오랜 오염 흔적을 정확하게 기록한다. 자연스러운 피사계 심도로 정차 공간과 건물의 관계가 읽히게 한다. 과도한 색 보정이나 인위적인 광원 효과 없이 실제 장소 기록 사진과 구별되지 않는 사실성을 유지한다. 사람, 얼굴, 시신, 로봇은 없고 빈 건물 외부만 보인다. 조감도나 평면도가 아닌 지상 눈높이의 사진이다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_aware_plan_mode": "surface_role_direct_plate",
        "attached_reference_lineage": {
          "fp_id": "",
          "prior_bg_ids": [],
          "attached_ref_labels": [],
          "ref_used": "text_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L202B04": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L202",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L202B04.png",
        "t2i_prompt": "2069년 무렵 기후 재난 이후 대한민국에 남은 오래된 공공도서관의 밤 열람실을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 실제 장소 기록 사진처럼 표현한다. 남서쪽 입구 문턱 가까이에서 동북동 방향으로 바라보며, 남쪽의 식사 자리를 전경에 두고 중앙의 두 독립형 서가 남쪽 끝과 동쪽 벽 하단을 함께 담는다. 실제 미러리스 카메라의 35밀리미터급 렌즈, 서 있는 사람의 눈높이인 약 1.6미터에서 촬영한 자연스러운 원근감이다. 위에서 내려다본 배치도나 건축 도면 구도가 아니다.\n\n참조 평면도는 공간 구성과 기존 서가 위치를 파악하는 데만 사용한다. 서쪽과 동쪽의 독립형 서가는 남북 방향으로 나란히 놓여 있고, 동쪽 서가와 끊김 없이 이어지는 동쪽 벽 사이에는 남쪽의 열린 바닥 공간으로 연결되는 통로가 확보되어 있다. 한국의 오래된 공공 열람실에 어울리는 소박한 마감과 실용적인 서가의 비례를 유지한다. 오래 방치된 서가와 낡은 책의 흐트러진 상태, 표면에 두껍게 내려앉은 먼지, 구석과 서가 모서리의 거미줄을 담는다. 벽 마감의 묵은 얼룩과 바닥의 생활 마모, 책 표지와 종이의 오래된 질감을 과장 없이 사실적으로 보여준다. 공간의 노후 상태는 오래된 방치의 결과로 일관되게 유지한다.\n\n입구 문턱 동쪽의 열린 남쪽 바닥, 식사 자리 안에 통조림 몇 개와 보급품 가방이 함께 놓여 있다. 통조림은 별도의 진열 없이 바닥에 느슨하게 모여 있고, 가방은 바로 곁에 자연스럽게 놓여 있다. 금속 용기의 실제 반사와 가방 천의 직조, 접힌 부분의 사용감을 세밀하게 표현한다. 별도의 광원을 화면에 추가하지 않고 화면 밖에서 약하게 스며드는 밤의 주변광과 자연스러운 반사광으로 공간을 읽을 수 있게 한다. 낮은 조도에 맞는 회색 기조와 실제 재료의 색을 유지하며, 가까운 식사 물품에서 뒤쪽 서가로 이어지는 자연스러운 심도를 사용한다. 과도한 보정 없이 실제 현장 사진과 구별되지 않는 질감과 노출로 표현한다. 사람, 얼굴, 인체 형태의 형상은 전혀 담지 않는다. 삽화나 컴퓨터 생성 영상, 건축 시각화가 아닌 실제 사진. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S46_Shot17",
            "guide_text": "남쪽 식사 자리의 통조림과 보급품 가방이 전경에서 식별되고, 그 뒤로 두 독립형 서가와 낡은 책, 동쪽 벽 하단이 이어지게 구성한다. 벽 쪽 통로의 연결과 기존 서가 간격을 유지한다. 밤의 낮은 조도 속에서도 먼지와 거미줄, 오래된 재료의 질감이 읽히게 한다. 책을 치는 행동을 배경 전체의 새로운 파괴나 비산 효과로 확대하지 않으며, 인물과 동작 없이 해당 순간의 공간과 식사 물품만 담는다."
          }
        ],
        "shot_ids": [
          "S46_Shot17"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Near number 2, just northeast of number 12, facing east-northeast across number 3 toward the southern ends of numbers 8 and 9 and the lower section of number 6.",
          "camera_height": "seated eye-level, approximately 1.0 m",
          "lens_hint": "32–35mm moderate wide angle",
          "framing_notes": "Keep number 3 and meal supplies at number 14 prominent, with the existing disordered shelves behind them. Retain longstanding dust, cobwebs, and aged books without adding fresh widespread destruction. The visible east wall is still without the morning mural."
        },
        "reference_decision": {
          "bg_id": "L202B04",
          "fp_id": "fp_abandoned_library_main",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L202B04 is an explicitly supplied anchor candidate and establishes the shared fixed structure for S46_Shot17. The fallback candidate metadata is honored without treating clean_background_expected=false as true. Camera unit 3 with broad coverage toward marker 9 supplies the partial fixed-element context behind the staged interaction while establishing continuity for the overlapping targets of L202B01.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_abandoned_library_main.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The identity anchor is rendered from the supplied floor plan without a background reference; the reference catalog is empty.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 3,
            "camera_cell": [
              8,
              6
            ],
            "look_at_unit": 1,
            "look_at_cell": [
              4,
              6
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad background coverage from unit 3 toward base marker 9 in unit 1. The look-at coordinate is an exact listed fixture-position candidate, not the unit centroid. Preserve the medium subject emphasis of S46_Shot17 within this coverage rather than expanding the staged cast."
          },
          "render_guidance": {
            "visible_space_directive": "Establish unit 3 in the near field and unit 1 ahead, with base markers 8 and 9 in their supplied parallel positions. Units 5 and 6 can occupy the right-hand portion of the broad angular coverage where not occluded. Unit 2 and opening markers 12 and 13 are not committed to this north-facing composition. Treat visibility supersets as possibilities rather than proof of unobstructed sightlines.",
            "camera_framing_directive": "Use camera unit 3 at [8, 6], looking toward unit 1 at [4, 6], with wide 90-degree coverage. Within that coverage, retain the staged medium emphasis at seated chest height with the slight upward tilt: the lower-center contact remains unobstructed and partial faces of markers 8 and 9 provide background context only where visible.",
            "subject_position_directive": "For S46_Shot17, place 현우's upper body on the left and 찰리's partial profile and presenting hands on the right. Both attend downward to the lower-center contact point; retain the seated outward forearm action and the held object through impact. Keep 앰버 and 라울 outside the committed composition.",
            "state_cue_directive": "Carry transient marker 14 only where it fits the view without competing with the staged contact. Retain the committed disordered and dusty condition of the partial shelf faces and restrained nighttime ambient illumination without adding a source. The presented robotics book remains open to the next-generation robot chapter and held through impact, as committed by S46_Shot17. This fallback anchor is not a clean-background plate.",
            "negative_continuity_directive": "Exclude overlay markers 15, 16, and 17. Avoid relocating base markers 8 and 9 or changing the relationships of units 1, 3, 5, and 6 to fit the composition. Do not force unit 2 or openings 12 and 13 into the chosen view, or convert visibility supersets into guaranteed visibility."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [8, 6]\n  - look_at_unit: 1\n  - look_at_cell: [4, 6]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad background coverage from unit 3 toward base marker 9 in unit 1. The look-at coordinate is an exact listed fixture-position candidate, not the unit centroid. Preserve the medium subject emphasis of S46_Shot17 within this coverage rather than expanding the staged cast.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 3 in the near field and unit 1 ahead, with base markers 8 and 9 in their supplied parallel positions. Units 5 and 6 can occupy the right-hand portion of the broad angular coverage where not occluded. Unit 2 and opening markers 12 and 13 are not committed to this north-facing composition. Treat visibility supersets as possibilities rather than proof of unobstructed sightlines.\n  - camera_framing_directive: Use camera unit 3 at [8, 6], looking toward unit 1 at [4, 6], with wide 90-degree coverage. Within that coverage, retain the staged medium emphasis at seated chest height with the slight upward tilt: the lower-center contact remains unobstructed and partial faces of markers 8 and 9 provide background context only where visible.\n  - subject_position_directive: For S46_Shot17, place 현우's upper body on the left and 찰리's partial profile and presenting hands on the right. Both attend downward to the lower-center contact point; retain the seated outward forearm action and the held object through impact. Keep 앰버 and 라울 outside the committed composition.\n  - state_cue_directive: Carry transient marker 14 only where it fits the view without competing with the staged contact. Retain the committed disordered and dusty condition of the partial shelf faces and restrained nighttime ambient illumination without adding a source. The presented robotics book remains open to the next-generation robot chapter and held through impact, as committed by S46_Shot17. This fallback anchor is not a clean-background plate.\n  - negative_continuity_directive: Exclude overlay markers 15, 16, and 17. Avoid relocating base markers 8 and 9 or changing the relationships of units 1, 3, 5, and 6 to fit the composition. Do not force unit 2 or openings 12 and 13 into the chosen view, or convert visibility supersets into guaranteed visibility.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [8, 6]\n  - look_at_unit: 1\n  - look_at_cell: [4, 6]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad background coverage from unit 3 toward base marker 9 in unit 1. The look-at coordinate is an exact listed fixture-position candidate, not the unit centroid. Preserve the medium subject emphasis of S46_Shot17 within this coverage rather than expanding the staged cast.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 3 in the near field and unit 1 ahead, with base markers 8 and 9 in their supplied parallel positions. Units 5 and 6 can occupy the right-hand portion of the broad angular coverage where not occluded. Unit 2 and opening markers 12 and 13 are not committed to this north-facing composition. Treat visibility supersets as possibilities rather than proof of unobstructed sightlines.\n  - camera_framing_directive: Use camera unit 3 at [8, 6], looking toward unit 1 at [4, 6], with wide 90-degree coverage. Within that coverage, retain the staged medium emphasis at seated chest height with the slight upward tilt: the lower-center contact remains unobstructed and partial faces of markers 8 and 9 provide background context only where visible.\n  - subject_position_directive: For S46_Shot17, place 현우's upper body on the left and 찰리's partial profile and presenting hands on the right. Both attend downward to the lower-center contact point; retain the seated outward forearm action and the held object through impact. Keep 앰버 and 라울 outside the committed composition.\n  - state_cue_directive: Carry transient marker 14 only where it fits the view without competing with the staged contact. Retain the committed disordered and dusty condition of the partial shelf faces and restrained nighttime ambient illumination without adding a source. The presented robotics book remains open to the next-generation robot chapter and held through impact, as committed by S46_Shot17. This fallback anchor is not a clean-background plate.\n  - negative_continuity_directive: Exclude overlay markers 15, 16, and 17. Avoid relocating base markers 8 and 9 or changing the relationships of units 1, 3, 5, and 6 to fit the composition. Do not force unit 2 or openings 12 and 13 into the chosen view, or convert visibility supersets into guaranteed visibility.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [8, 6]\n  - look_at_unit: 1\n  - look_at_cell: [4, 6]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad background coverage from unit 3 toward base marker 9 in unit 1. The look-at coordinate is an exact listed fixture-position candidate, not the unit centroid. Preserve the medium subject emphasis of S46_Shot17 within this coverage rather than expanding the staged cast.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 3 in the near field and unit 1 ahead, with base markers 8 and 9 in their supplied parallel positions. Units 5 and 6 can occupy the right-hand portion of the broad angular coverage where not occluded. Unit 2 and opening markers 12 and 13 are not committed to this north-facing composition. Treat visibility supersets as possibilities rather than proof of unobstructed sightlines.\n  - camera_framing_directive: Use camera unit 3 at [8, 6], looking toward unit 1 at [4, 6], with wide 90-degree coverage. Within that coverage, retain the staged medium emphasis at seated chest height with the slight upward tilt: the lower-center contact remains unobstructed and partial faces of markers 8 and 9 provide background context only where visible.\n  - subject_position_directive: For S46_Shot17, place 현우's upper body on the left and 찰리's partial profile and presenting hands on the right. Both attend downward to the lower-center contact point; retain the seated outward forearm action and the held object through impact. Keep 앰버 and 라울 outside the committed composition.\n  - state_cue_directive: Carry transient marker 14 only where it fits the view without competing with the staged contact. Retain the committed disordered and dusty condition of the partial shelf faces and restrained nighttime ambient illumination without adding a source. The presented robotics book remains open to the next-generation robot chapter and held through impact, as committed by S46_Shot17. This fallback anchor is not a clean-background plate.\n  - negative_continuity_directive: Exclude overlay markers 15, 16, and 17. Avoid relocating base markers 8 and 9 or changing the relationships of units 1, 3, 5, and 6 to fit the composition. Do not force unit 2 or openings 12 and 13 into the chosen view, or convert visibility supersets into guaranteed visibility.\n\n2069년 무렵 기후 재난 이후 대한민국에 남은 오래된 공공도서관의 밤 열람실을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 실제 장소 기록 사진처럼 표현한다. 남서쪽 입구 문턱 가까이에서 동북동 방향으로 바라보며, 남쪽의 식사 자리를 전경에 두고 중앙의 두 독립형 서가 남쪽 끝과 동쪽 벽 하단을 함께 담는다. 실제 미러리스 카메라의 35밀리미터급 렌즈, 서 있는 사람의 눈높이인 약 1.6미터에서 촬영한 자연스러운 원근감이다. 위에서 내려다본 배치도나 건축 도면 구도가 아니다.\n\n참조 평면도는 공간 구성과 기존 서가 위치를 파악하는 데만 사용한다. 서쪽과 동쪽의 독립형 서가는 남북 방향으로 나란히 놓여 있고, 동쪽 서가와 끊김 없이 이어지는 동쪽 벽 사이에는 남쪽의 열린 바닥 공간으로 연결되는 통로가 확보되어 있다. 한국의 오래된 공공 열람실에 어울리는 소박한 마감과 실용적인 서가의 비례를 유지한다. 오래 방치된 서가와 낡은 책의 흐트러진 상태, 표면에 두껍게 내려앉은 먼지, 구석과 서가 모서리의 거미줄을 담는다. 벽 마감의 묵은 얼룩과 바닥의 생활 마모, 책 표지와 종이의 오래된 질감을 과장 없이 사실적으로 보여준다. 공간의 노후 상태는 오래된 방치의 결과로 일관되게 유지한다.\n\n입구 문턱 동쪽의 열린 남쪽 바닥, 식사 자리 안에 통조림 몇 개와 보급품 가방이 함께 놓여 있다. 통조림은 별도의 진열 없이 바닥에 느슨하게 모여 있고, 가방은 바로 곁에 자연스럽게 놓여 있다. 금속 용기의 실제 반사와 가방 천의 직조, 접힌 부분의 사용감을 세밀하게 표현한다. 별도의 광원을 화면에 추가하지 않고 화면 밖에서 약하게 스며드는 밤의 주변광과 자연스러운 반사광으로 공간을 읽을 수 있게 한다. 낮은 조도에 맞는 회색 기조와 실제 재료의 색을 유지하며, 가까운 식사 물품에서 뒤쪽 서가로 이어지는 자연스러운 심도를 사용한다. 과도한 보정 없이 실제 현장 사진과 구별되지 않는 질감과 노출로 표현한다. 사람, 얼굴, 인체 형태의 형상은 전혀 담지 않는다. 삽화나 컴퓨터 생성 영상, 건축 시각화가 아닌 실제 사진. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 3,
          "camera_cell": [
            8,
            6
          ],
          "look_at_unit": 1,
          "look_at_cell": [
            4,
            6
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad background coverage from unit 3 toward base marker 9 in unit 1. The look-at coordinate is an exact listed fixture-position candidate, not the unit centroid. Preserve the medium subject emphasis of S46_Shot17 within this coverage rather than expanding the staged cast."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Establish unit 3 in the near field and unit 1 ahead, with base markers 8 and 9 in their supplied parallel positions. Units 5 and 6 can occupy the right-hand portion of the broad angular coverage where not occluded. Unit 2 and opening markers 12 and 13 are not committed to this north-facing composition. Treat visibility supersets as possibilities rather than proof of unobstructed sightlines.",
          "camera_framing_directive": "Use camera unit 3 at [8, 6], looking toward unit 1 at [4, 6], with wide 90-degree coverage. Within that coverage, retain the staged medium emphasis at seated chest height with the slight upward tilt: the lower-center contact remains unobstructed and partial faces of markers 8 and 9 provide background context only where visible.",
          "subject_position_directive": "For S46_Shot17, place 현우's upper body on the left and 찰리's partial profile and presenting hands on the right. Both attend downward to the lower-center contact point; retain the seated outward forearm action and the held object through impact. Keep 앰버 and 라울 outside the committed composition.",
          "state_cue_directive": "Carry transient marker 14 only where it fits the view without competing with the staged contact. Retain the committed disordered and dusty condition of the partial shelf faces and restrained nighttime ambient illumination without adding a source. The presented robotics book remains open to the next-generation robot chapter and held through impact, as committed by S46_Shot17. This fallback anchor is not a clean-background plate.",
          "negative_continuity_directive": "Exclude overlay markers 15, 16, and 17. Avoid relocating base markers 8 and 9 or changing the relationships of units 1, 3, 5, and 6 to fit the composition. Do not force unit 2 or openings 12 and 13 into the chosen view, or convert visibility supersets into guaranteed visibility."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_abandoned_library_main",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_abandoned_library_main"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L202B05": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L202",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L202B05.png",
        "t2i_prompt": "기후 재난 이후 2069년 대한민국에 남아 있는 낡은 도서관의 야간 열람실을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 북서쪽 컴퓨터 자리를 가까이 담는다. 평면도는 공간과 고정 가구의 위치를 파악하는 자료로만 사용한다. 북쪽 벽에 붙은 컴퓨터 책상과 그 위의 오래된 데스크톱 컴퓨터, 작업 자리의 옆과 뒤로 이어져 보이는 서쪽 벽 책장의 관계를 유지한다. 책장에는 오래된 책들이 꽂혀 있고, 선반과 책 윗면에 오랫동안 쌓인 얇은 먼지가 보인다. 한국의 오래된 공공 열람실에서 볼 수 있는 실용적인 가구와 기존 생활 장비가 남아 있는 공간이며, 미래라는 이유로 장비를 새 제품으로 바꾸지 않는다.\n\n카메라는 컴퓨터 자리의 동남쪽에 있는 비어 있는 가로 통로에서 북서쪽을 향한다. 실제 전면형 센서를 사용하는 미러리스 카메라와 표준 화각 렌즈로 촬영한 듯한 자연스러운 원근감. 서 있는 사람의 눈높이인 약 1.6미터에서 시선을 조금 낮춰, 약 1.3미터 높이의 모니터 주변이 시각적 중심이 되도록 담는다. 책상과 컴퓨터를 중심으로 한 비교적 가까운 구도에 서쪽 책장의 일부를 함께 넣는다. 위에서 내려다보는 평면 구도가 아니라 공간 안에 서서 바라보는 현장 사진이다.\n\n오래된 컴퓨터의 모니터만 켜져 있다. 화면 내부의 옅은 빛이 바로 앞의 빈 공간과 책상 표면, 모니터 테두리에 국소적으로 닿으며, 거리와 함께 빠르게 약해져 책장 안쪽은 어둡게 남는다. 화면에는 인물이나 얼굴 없이 희미한 화면 밝기만 보인다. 밤의 약한 주변광과 화면의 실제 반사광에 맞춘 자연스러운 노출로, 열람실 전체를 밝히지 않는다. 차가운 회색 계열의 실제 재료색을 유지하며 어둠 속에서도 낡은 책 표지의 색이 희미하게 구별된다. 책상의 닳은 표면과 목재 결, 책장 금속 부품의 산화, 컴퓨터 외장의 변색과 잔흠집, 종이의 거친 가장자리를 사실적으로 보여준다. 과장된 파손이나 장식 없이 조용한 야간 공간의 질감을 담는다. 초점은 모니터와 책상 가장자리에 두고 뒤쪽 책장은 자연스러운 심도로 조금 부드럽게 보이게 한다. 사람, 얼굴, 사람 형태의 형상은 전혀 묘사하지 않는다. 과도한 보정 없이 실제 장소에서 촬영한 사진이며, 도면이나 삽화 또는 컴퓨터로 합성한 건축 이미지가 아니다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S46_Shot28",
            "guide_text": "북서쪽 컴퓨터 자리를 동남쪽 통로에서 바라보는 가까운 배경으로 사용한다. 켜진 모니터와 낡은 책상, 옆과 뒤의 서쪽 책장이 공간의 기준점이다. 화면 바로 앞의 빈 공간에만 빛이 닿도록 하여 근거리 조명의 방향과 범위를 읽을 수 있게 하고, 뒤쪽 책장은 어둡게 유지한다. 배경 자체에는 사람이나 얼굴, 사람 형태의 형상을 넣지 않는다."
          }
        ],
        "shot_ids": [
          "S46_Shot28"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "In the clear cross-aisle north of numbers 8 and 9, east-southeast of number 4, facing northwest toward numbers 10 and 11 with number 7 behind and beside the workstation.",
          "camera_height": "approximately 1.3 m, aligned with the computer user's face and monitor",
          "lens_hint": "50mm normal lens",
          "framing_notes": "Frame the old monitor closely enough that number 16 can motivate localized face illumination. Use dusty shelves and old books as nearby context rather than illuminating the entire room. The sleeping corner remains outside this close view, and the completed morning mural must not appear."
        },
        "reference_decision": {
          "bg_id": "L202B05",
          "fp_id": "fp_abandoned_library_main",
          "node_index": 2,
          "mode": "same_physical_space_view",
          "is_dwelling_identity_anchor": false,
          "rationale": "S46_Shot28 remains in the same continuous physical space established by L202B04, but moves to unit 4 beside fixed marker 11 and looks back toward unit 1. The genuinely different camera location and narrow framing expose a different slice of the fixed structure, requiring its own view rather than a low-delta reuse. The shared cell of unit 4 and marker 11 is the supplied diagnostic, not permission to invent a replacement camera coordinate.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L202B04.png"
          ],
          "source_bg_ids": [
            "L202B04"
          ],
          "fp_included": false,
          "reference_decision": {
            "selected_refs": [
              {
                "ref_bg_id": "L202B04",
                "physical_space_id": "space_01",
                "space_description": "Shared continuous physical space containing units 1 through 6 and fixed base markers 7 through 13."
              }
            ],
            "rejected_refs": [
              {
                "ref_bg_id": "L202B01",
                "reason": "It represents the same physical space as L202B04 and contributes no distinct-space reference; retain the identity anchor as the single fixed-layout parent."
              }
            ],
            "same_physical_space_dedup_decision": "single_same_physical_space_representative",
            "why_single_ref_or_two_refs": "Units 4 and 1 belong to the established continuous space. S46_Shot28 requires continuity of the same layout from a new camera, not two references for distinct co-visible spaces.",
            "physical_space_id_per_ref": [
              "space_01"
            ],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 4,
            "camera_cell": [
              1,
              1
            ],
            "look_at_unit": 1,
            "look_at_cell": [
              4,
              3
            ],
            "lens_enum": "telephoto",
            "fov_deg": 25,
            "framing_notes": "Use the listed unit-4 camera cell, shared at this grid resolution with marker 11, and the listed look-at candidate at marker 8 in unit 1. Narrow coverage supports the committed close subject emphasis with marker 11 represented only by its staged side edge."
          },
          "render_guidance": {
            "visible_space_directive": "Show a narrow view from unit 4 toward unit 1, with marker 11 only as the committed near left-edge fragment and indistinct fixed-element fragments toward marker 8 behind the subject. Preserve markers 10 and 11 in their supplied unit-4 relationship and retain marker 7 at its established position even where cropped out. Keep the positions established by L202B04 for the shared fixed structure; do not force target markers outside this narrow crop into view.",
            "camera_framing_directive": "Use camera unit 4 at [1, 1], looking toward unit 1 at [4, 3], with telephoto 25-degree compressed, narrow coverage. Retain the staged close framing beside marker 11, off the subject's facing axis, with the lens slightly below the mouth and tilted gently upward. Keep the subject center-right and only a narrow edge of marker 11 at the left.",
            "subject_position_directive": "For S46_Shot28, place 찰리's three-quarter face center-right, leaning forward with a large rounded mouth opening. His attention stays on the off-screen display; retain the committed angle and stop before the later downward glance. Do not introduce additional subjects.",
            "state_cue_directive": "Apply transient marker 16 as the committed active state of marker 11 without revealing invented display content. Let its established light articulate the staged face against the subdued space without assigning an unsupported display color. Retain the committed dust-covered, indistinct background fragments.",
            "negative_continuity_directive": "Exclude markers 14 and 17, including marker 14 from L202B04. Do not relocate markers 7, 8, 10, or 11 to suit the new crop, or expand marker 11 beyond its committed edge visibility. Avoid forcing units 2, 3, 5, and 6 or openings 12 and 13 into the narrow view. Do not resolve the unit-4/marker-11 cell collision by inventing a camera coordinate."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L202B04' physical_space_id='space_01'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [1, 1]\n  - look_at_unit: 1\n  - look_at_cell: [4, 3]\n  - lens_enum: 'telephoto'\n  - fov_deg: 25\n  - framing_notes: 'Use the listed unit-4 camera cell, shared at this grid resolution with marker 11, and the listed look-at candidate at marker 8 in unit 1. Narrow coverage supports the committed close subject emphasis with marker 11 represented only by its staged side edge.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show a narrow view from unit 4 toward unit 1, with marker 11 only as the committed near left-edge fragment and indistinct fixed-element fragments toward marker 8 behind the subject. Preserve markers 10 and 11 in their supplied unit-4 relationship and retain marker 7 at its established position even where cropped out. Keep the positions established by L202B04 for the shared fixed structure; do not force target markers outside this narrow crop into view.\n  - camera_framing_directive: Use camera unit 4 at [1, 1], looking toward unit 1 at [4, 3], with telephoto 25-degree compressed, narrow coverage. Retain the staged close framing beside marker 11, off the subject's facing axis, with the lens slightly below the mouth and tilted gently upward. Keep the subject center-right and only a narrow edge of marker 11 at the left.\n  - subject_position_directive: For S46_Shot28, place 찰리's three-quarter face center-right, leaning forward with a large rounded mouth opening. His attention stays on the off-screen display; retain the committed angle and stop before the later downward glance. Do not introduce additional subjects.\n  - state_cue_directive: Apply transient marker 16 as the committed active state of marker 11 without revealing invented display content. Let its established light articulate the staged face against the subdued space without assigning an unsupported display color. Retain the committed dust-covered, indistinct background fragments.\n  - negative_continuity_directive: Exclude markers 14 and 17, including marker 14 from L202B04. Do not relocate markers 7, 8, 10, or 11 to suit the new crop, or expand marker 11 beyond its committed edge visibility. Avoid forcing units 2, 3, 5, and 6 or openings 12 and 13 into the narrow view. Do not resolve the unit-4/marker-11 cell collision by inventing a camera coordinate.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L202B04' physical_space_id='space_01'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [1, 1]\n  - look_at_unit: 1\n  - look_at_cell: [4, 3]\n  - lens_enum: 'telephoto'\n  - fov_deg: 25\n  - framing_notes: 'Use the listed unit-4 camera cell, shared at this grid resolution with marker 11, and the listed look-at candidate at marker 8 in unit 1. Narrow coverage supports the committed close subject emphasis with marker 11 represented only by its staged side edge.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show a narrow view from unit 4 toward unit 1, with marker 11 only as the committed near left-edge fragment and indistinct fixed-element fragments toward marker 8 behind the subject. Preserve markers 10 and 11 in their supplied unit-4 relationship and retain marker 7 at its established position even where cropped out. Keep the positions established by L202B04 for the shared fixed structure; do not force target markers outside this narrow crop into view.\n  - camera_framing_directive: Use camera unit 4 at [1, 1], looking toward unit 1 at [4, 3], with telephoto 25-degree compressed, narrow coverage. Retain the staged close framing beside marker 11, off the subject's facing axis, with the lens slightly below the mouth and tilted gently upward. Keep the subject center-right and only a narrow edge of marker 11 at the left.\n  - subject_position_directive: For S46_Shot28, place 찰리's three-quarter face center-right, leaning forward with a large rounded mouth opening. His attention stays on the off-screen display; retain the committed angle and stop before the later downward glance. Do not introduce additional subjects.\n  - state_cue_directive: Apply transient marker 16 as the committed active state of marker 11 without revealing invented display content. Let its established light articulate the staged face against the subdued space without assigning an unsupported display color. Retain the committed dust-covered, indistinct background fragments.\n  - negative_continuity_directive: Exclude markers 14 and 17, including marker 14 from L202B04. Do not relocate markers 7, 8, 10, or 11 to suit the new crop, or expand marker 11 beyond its committed edge visibility. Avoid forcing units 2, 3, 5, and 6 or openings 12 and 13 into the narrow view. Do not resolve the unit-4/marker-11 cell collision by inventing a camera coordinate.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L202B04' physical_space_id='space_01'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [1, 1]\n  - look_at_unit: 1\n  - look_at_cell: [4, 3]\n  - lens_enum: 'telephoto'\n  - fov_deg: 25\n  - framing_notes: 'Use the listed unit-4 camera cell, shared at this grid resolution with marker 11, and the listed look-at candidate at marker 8 in unit 1. Narrow coverage supports the committed close subject emphasis with marker 11 represented only by its staged side edge.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show a narrow view from unit 4 toward unit 1, with marker 11 only as the committed near left-edge fragment and indistinct fixed-element fragments toward marker 8 behind the subject. Preserve markers 10 and 11 in their supplied unit-4 relationship and retain marker 7 at its established position even where cropped out. Keep the positions established by L202B04 for the shared fixed structure; do not force target markers outside this narrow crop into view.\n  - camera_framing_directive: Use camera unit 4 at [1, 1], looking toward unit 1 at [4, 3], with telephoto 25-degree compressed, narrow coverage. Retain the staged close framing beside marker 11, off the subject's facing axis, with the lens slightly below the mouth and tilted gently upward. Keep the subject center-right and only a narrow edge of marker 11 at the left.\n  - subject_position_directive: For S46_Shot28, place 찰리's three-quarter face center-right, leaning forward with a large rounded mouth opening. His attention stays on the off-screen display; retain the committed angle and stop before the later downward glance. Do not introduce additional subjects.\n  - state_cue_directive: Apply transient marker 16 as the committed active state of marker 11 without revealing invented display content. Let its established light articulate the staged face against the subdued space without assigning an unsupported display color. Retain the committed dust-covered, indistinct background fragments.\n  - negative_continuity_directive: Exclude markers 14 and 17, including marker 14 from L202B04. Do not relocate markers 7, 8, 10, or 11 to suit the new crop, or expand marker 11 beyond its committed edge visibility. Avoid forcing units 2, 3, 5, and 6 or openings 12 and 13 into the narrow view. Do not resolve the unit-4/marker-11 cell collision by inventing a camera coordinate.\n\n기후 재난 이후 2069년 대한민국에 남아 있는 낡은 도서관의 야간 열람실을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 북서쪽 컴퓨터 자리를 가까이 담는다. 평면도는 공간과 고정 가구의 위치를 파악하는 자료로만 사용한다. 북쪽 벽에 붙은 컴퓨터 책상과 그 위의 오래된 데스크톱 컴퓨터, 작업 자리의 옆과 뒤로 이어져 보이는 서쪽 벽 책장의 관계를 유지한다. 책장에는 오래된 책들이 꽂혀 있고, 선반과 책 윗면에 오랫동안 쌓인 얇은 먼지가 보인다. 한국의 오래된 공공 열람실에서 볼 수 있는 실용적인 가구와 기존 생활 장비가 남아 있는 공간이며, 미래라는 이유로 장비를 새 제품으로 바꾸지 않는다.\n\n카메라는 컴퓨터 자리의 동남쪽에 있는 비어 있는 가로 통로에서 북서쪽을 향한다. 실제 전면형 센서를 사용하는 미러리스 카메라와 표준 화각 렌즈로 촬영한 듯한 자연스러운 원근감. 서 있는 사람의 눈높이인 약 1.6미터에서 시선을 조금 낮춰, 약 1.3미터 높이의 모니터 주변이 시각적 중심이 되도록 담는다. 책상과 컴퓨터를 중심으로 한 비교적 가까운 구도에 서쪽 책장의 일부를 함께 넣는다. 위에서 내려다보는 평면 구도가 아니라 공간 안에 서서 바라보는 현장 사진이다.\n\n오래된 컴퓨터의 모니터만 켜져 있다. 화면 내부의 옅은 빛이 바로 앞의 빈 공간과 책상 표면, 모니터 테두리에 국소적으로 닿으며, 거리와 함께 빠르게 약해져 책장 안쪽은 어둡게 남는다. 화면에는 인물이나 얼굴 없이 희미한 화면 밝기만 보인다. 밤의 약한 주변광과 화면의 실제 반사광에 맞춘 자연스러운 노출로, 열람실 전체를 밝히지 않는다. 차가운 회색 계열의 실제 재료색을 유지하며 어둠 속에서도 낡은 책 표지의 색이 희미하게 구별된다. 책상의 닳은 표면과 목재 결, 책장 금속 부품의 산화, 컴퓨터 외장의 변색과 잔흠집, 종이의 거친 가장자리를 사실적으로 보여준다. 과장된 파손이나 장식 없이 조용한 야간 공간의 질감을 담는다. 초점은 모니터와 책상 가장자리에 두고 뒤쪽 책장은 자연스러운 심도로 조금 부드럽게 보이게 한다. 사람, 얼굴, 사람 형태의 형상은 전혀 묘사하지 않는다. 과도한 보정 없이 실제 장소에서 촬영한 사진이며, 도면이나 삽화 또는 컴퓨터로 합성한 건축 이미지가 아니다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 4,
          "camera_cell": [
            1,
            1
          ],
          "look_at_unit": 1,
          "look_at_cell": [
            4,
            3
          ],
          "lens_enum": "telephoto",
          "fov_deg": 25,
          "framing_notes": "Use the listed unit-4 camera cell, shared at this grid resolution with marker 11, and the listed look-at candidate at marker 8 in unit 1. Narrow coverage supports the committed close subject emphasis with marker 11 represented only by its staged side edge."
        },
        "shot_aware_plan_node_index": 2,
        "shot_aware_plan_mode": "same_physical_space_view",
        "render_guidance": {
          "visible_space_directive": "Show a narrow view from unit 4 toward unit 1, with marker 11 only as the committed near left-edge fragment and indistinct fixed-element fragments toward marker 8 behind the subject. Preserve markers 10 and 11 in their supplied unit-4 relationship and retain marker 7 at its established position even where cropped out. Keep the positions established by L202B04 for the shared fixed structure; do not force target markers outside this narrow crop into view.",
          "camera_framing_directive": "Use camera unit 4 at [1, 1], looking toward unit 1 at [4, 3], with telephoto 25-degree compressed, narrow coverage. Retain the staged close framing beside marker 11, off the subject's facing axis, with the lens slightly below the mouth and tilted gently upward. Keep the subject center-right and only a narrow edge of marker 11 at the left.",
          "subject_position_directive": "For S46_Shot28, place 찰리's three-quarter face center-right, leaning forward with a large rounded mouth opening. His attention stays on the off-screen display; retain the committed angle and stop before the later downward glance. Do not introduce additional subjects.",
          "state_cue_directive": "Apply transient marker 16 as the committed active state of marker 11 without revealing invented display content. Let its established light articulate the staged face against the subdued space without assigning an unsupported display color. Retain the committed dust-covered, indistinct background fragments.",
          "negative_continuity_directive": "Exclude markers 14 and 17, including marker 14 from L202B04. Do not relocate markers 7, 8, 10, or 11 to suit the new crop, or expand marker 11 beyond its committed edge visibility. Avoid forcing units 2, 3, 5, and 6 or openings 12 and 13 into the narrow view. Do not resolve the unit-4/marker-11 cell collision by inventing a camera coordinate."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_abandoned_library_main",
          "prior_bg_ids": [
            "L202B04"
          ],
          "attached_ref_labels": [
            "bg:L202B04"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L202B01": {
        "status": "ok",
        "is_reuse": true,
        "render_action": "reuse_existing_plate",
        "reuse_target_bg_id": "L202B04",
        "reused_from_bg_id": "L202B04",
        "location_id": "L202",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L202B04.png",
        "t2i_prompt": "기후 재난 이후인 2069년, 오래된 한국 공공도서관 열람실 안쪽을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 실내의 물리적 벽면과 생활 흔적을 기록한 현장 사진으로, 낡은 시설을 계속 사용해 온 현실적인 공간이다. 남쪽 생활 구역의 동쪽 끝, 벽 쪽 통로가 시작되는 지점에서 북북동쪽을 바라본다. 카메라는 바닥에서 약 1.6미터 높이의 서 있는 눈높이에 두고, 풀프레임 미러리스 카메라의 35밀리미터급 광각 렌즈 중 32밀리미터 화각으로 촬영한다. 오른쪽의 끊김 없이 이어지는 동쪽 벽면이 가까운 곳에서 먼 곳으로 이어지고, 왼쪽에는 통로와 간격을 둔 독립형 서가 및 그 주변 열람실 바닥이 보인다. 평면도는 공간 배치만 참고하며 위에서 내려다보는 구도는 사용하지 않는다.\n\n동쪽의 실제 벽 표면에 이른 아침 새로 그려진 커다란 크레파스 벽화가 통로를 따라 북쪽으로 길게 이어져 있다. 파란 바다와 해양 생물, 야자수, 캠핑 트럭의 그림을 벽 표면 안에만 표현한다. 크레파스를 여러 번 눌러 칠한 밀랍성 안료의 결, 거친 벽 요철에 걸려 끊어지는 선, 덧칠한 부분의 색 밀도가 가까운 부분에서 보인다. 그림 사이로 원래 벽의 낡은 도장면과 잔잔한 마모가 드러나며, 벽과 바닥이 만나는 경계 및 사선 원근이 벽화의 물리적 위치를 분명히 보여 준다. 벽화가 실제 바다나 별도 공간으로 열려 보이지 않게 한다. 사람, 얼굴, 인체 형상은 벽화 안을 포함해 어디에도 묘사하지 않는다. 남쪽 벽을 따른 생활 구역에는 상자와 책을 조합해 만든 임시 잠자리가 낮게 놓여 있고, 화면 가까운 아래쪽에 일부 보인다. 눌린 상자 모서리와 책의 닳은 종이 단면을 사실적으로 표현한다.\n\n화면 밖에서 유입되는 부드러운 이른 아침 자연광이 벽의 요철과 서가의 사용감을 비춘다. 실내의 오래된 콘크리트와 도장면, 서가 표면의 생활 마모와 옅은 얼룩은 차분한 회색으로 보이고, 새 크레파스의 파랑과 초록은 그 위에서 뚜렷하게 구별된다. 과장된 파손이나 추가 장비 없이 오래된 도서관의 재료감을 유지한다. 가까운 벽의 안료와 바닥은 또렷하고 먼 통로는 자연스럽게 부드러워지는 현실적인 심도를 사용한다. 과도한 보정이나 인위적인 조명 효과 없이 실제 장소에서 얻은 노출과 색을 유지하며, 그림 자체가 아니라 그림이 있는 공간을 찍은 사진으로 만든다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S47_Shot3",
            "guide_text": "남쪽 생활 구역의 동쪽 끝에서 벽 쪽 통로를 따라 북북동쪽을 바라보는 가로 구도다. 오른쪽의 대형 크레파스 벽화가 화면의 주된 면을 차지하도록 하고, 왼쪽 서가와 통로 바닥을 함께 남겨 실제 열람실의 깊이를 보여 준다. 남쪽 벽의 상자와 책 잠자리는 가까운 아래쪽에 일부만 담는다. 이른 아침 자연광 아래 낡은 벽과 선명한 안료의 대비를 유지하고, 벽화의 거친 표면과 벽 하단 경계를 보여 평면 그림임을 명확히 한다. 사람과 인체 형상은 넣지 않는다."
          }
        ],
        "shot_ids": [
          "S47_Shot3"
        ],
        "scenes": [],
        "parent_id": "L202B04",
        "ref_used": "reused_plate",
        "render_attempts": 0,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "At the eastern edge of number 3, near the south end of number 5, facing north-northeast along number 6 toward the far end of the wall.",
          "camera_height": "approximately 1.3 m, near a younger viewer's standing eye-level",
          "lens_hint": "28–32mm wide angle",
          "framing_notes": "Reveal number 17 across the real east-wall surface while preserving a visible wall-floor junction and the wall's northern termination. Keep number 9 at the left edge as interior context and a small portion of number 15 low in the foreground. The blue sea, marine life, palms, truck, and depicted figures must remain crayon imagery on the wall, never physical scenery or additional occupants."
        },
        "reference_decision": {
          "mode": "reference_derived",
          "render_action": "reuse_existing_plate",
          "reuse_target_bg_id": "L202B04",
          "selected_refs": [
            {
              "ref_bg_id": "L202B04",
              "physical_space_id": "space_01",
              "space_description": "Shared continuous physical space containing units 1 through 6 and fixed base markers 7 through 13."
            }
          ]
        },
        "shot_aware_plan_node_index": 1,
        "shot_aware_plan_mode": "reference_derived",
        "render_guidance": {
          "visible_space_directive": "Retain L202B04's positions of unit 3 in the near field, unit 1 ahead, marker 9 ahead, and units 5 and 6 toward the right. Keep the unit-6 surface in its established perimeter position and present its visible face obliquely; do not move marker 9 to expose more surface. Openings 12 and 13 are not committed in this view.",
          "camera_framing_directive": "Match camera unit 3 at [8, 6], looking toward unit 1 at [4, 6], with wide 90-degree coverage. Apply the staged opening composition at 앰버's waist height with its slight upward tilt: the visible marked surface runs diagonally through the upper right, occupying just under two-fifths of the frame, while the floor supplies scale. Preserve the reference's fixed background geometry.",
          "subject_position_directive": "For S47_Shot3, retain 찰리's full rear three-quarter figure left of center, viewed from behind and to one side. His head inclines toward the mark, and the drawing hand remains separated from his torso against the visible surface. 앰버 and 라울 remain outside this opening composition; depicted figures on the surface remain drawings rather than additional physical subjects.",
          "state_cue_directive": "Apply transient marker 17 to its committed unit-6 support surface as extensive and still being drawn, with the blunt crayon tip meeting that surface beyond the torso outline. Carry transient marker 15 only in the visible portion of its committed unit-3 context. Use restrained early-morning ambient light and the committed rich colors of marker 17 rather than inheriting L202B04's nighttime state. Keep the underlying fixed structure unchanged.",
          "negative_continuity_directive": "Exclude markers 14 and 16, including marker 14 inherited from L202B04. Avoid translating, duplicating, or reshaping marker 9 or the unit-6 support surface. Do not force openings 12 and 13 into this view or treat the full visibility superset as visible. Do not turn the contents of marker 17 into additional physical subjects."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_abandoned_library_main",
          "prior_bg_ids": [
            "L202B04"
          ],
          "attached_ref_labels": [
            "bg:L202B04"
          ],
          "ref_used": "reused_plate",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L202B02": {
        "status": "ok",
        "location_id": "L202",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L202B02.png",
        "t2i_prompt": "2069년 기후 재난 이후 대한민국의 오래된 도서관, 열람실 바깥의 인적 없는 건물 측면 구석을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 여전히 사용되는 공공건물의 외부이므로 완전히 붕괴한 폐허가 아니라, 보수가 늦어진 낡은 외벽과 좁은 포장 공간을 보여준다. 다른 통행로에서 바로 보이지 않는 조용한 모서리이며 중앙과 오른쪽에는 전신 구도를 수용할 수 있는 빈 공간을 남긴다. 사람, 손, 얼굴, 로봇, 시신, 휴대전화는 그리지 않는다.\n\n회백색 도장 콘크리트 외벽이 화면 왼쪽에서 뒤쪽으로 이어지고, 뒤쪽에서 직각으로 꺾이며 외진 구석을 만든다. 벽 아래와 바닥이 만나는 선을 화면 왼쪽 아래에서 뒤쪽 모서리까지 명확하게 보이게 한다. 외벽에는 실제 콘크리트의 거친 골재 질감, 작은 도막 박리, 가는 균열, 오래된 빗물 자국이 있다. 뒤쪽 모서리에 고정된 금속 빗물 배수관에는 군데군데 부식과 오래된 고정쇠가 보인다. 발치의 낡은 콘크리트 포장은 낮은 단차 없이 이어지며, 벽 하단의 짙은 습기 띠와 바닥의 불규칙한 젖은 얼룩이 맞닿는다. 전날 내린 비가 바닥의 얕은 패임에 조금 고여 있고, 표면 일부는 마르기 시작해 젖은 부분과 마른 부분의 질감 차이가 자연스럽다. 폭우나 현재 내리는 비, 과도한 침수는 없다.\n\n이른 아침의 부드러운 자연광이 위쪽 열린 공간에서 들어오고, 건물 구석은 약한 그늘에 잠겨 있다. 실제 회색 콘크리트와 차가운 아침빛이 만드는 절제된 회색 계열이며, 젖은 바닥에는 작고 약한 반사만 나타난다. 과장된 안개, 인공 발광, 미래형 장식은 넣지 않는다. 풀프레임 미러리스 카메라와 35밀리미터 렌즈로 지면에서 약 1.6미터 높이의 서 있는 사람 눈높이에서 촬영한다. 외벽을 비스듬히 바라보되 카메라는 거의 수평으로 두어 벽의 수직선과 발치 바닥을 함께 담는다. 가까운 외벽 표면부터 뒤쪽 모서리까지 위치 관계를 읽을 수 있는 자연스러운 피사계 심도, 실제 금속의 부식과 콘크리트의 생활 오염, 과도한 보정 없는 노출. 실제 장소 답사 사진과 구별되지 않는 사실적인 사진이며, 지나치게 말끔한 광고 사진이나 컴퓨터 생성 이미지, 삽화, 건축 조감도가 아니다. 위에서 내려다본 시점이나 평면도는 사용하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S47_Shot9",
            "guide_text": "손 근접 구도에 활용할 수 있도록 외벽의 거친 표면과 낮은 대비의 아침 그늘을 확보한다. 확대하더라도 외벽 균열과 빗물 자국의 위치를 바꾸거나 별도의 벽면을 만들지 않는다. 하단 바닥이 보이는 경우 공통 배경의 벽·바닥 접합선과 습기 띠를 그대로 연결한다. 이 배경 이미지에는 손이나 휴대전화를 그리지 않는다."
          },
          {
            "shot_id": "S47_Shot12",
            "guide_text": "전신 구도에 활용할 수 있도록 중앙과 오른쪽의 빈 공간, 발치의 젖은 포장면을 충분히 남긴다. 왼쪽 외벽과 뒤쪽 모서리의 배수관을 유지하고, 근접 구도의 배경과 동일한 균열·습기 띠·젖은 얼룩이 이어지게 한다. 눈높이의 자연스러운 원근과 이른 아침 자연광을 유지하며 사람이나 로봇은 배경에 그리지 않는다."
          }
        ],
        "shot_ids": [
          "S47_Shot9",
          "S47_Shot12"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "text_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {},
        "reference_decision": {
          "mode": "surface_role_direct_plate",
          "surface_role": "exterior_plate",
          "fp_id": "",
          "source_bg_ids": []
        },
        "effective_render_prompt": "2069년 기후 재난 이후 대한민국의 오래된 도서관, 열람실 바깥의 인적 없는 건물 측면 구석을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 여전히 사용되는 공공건물의 외부이므로 완전히 붕괴한 폐허가 아니라, 보수가 늦어진 낡은 외벽과 좁은 포장 공간을 보여준다. 다른 통행로에서 바로 보이지 않는 조용한 모서리이며 중앙과 오른쪽에는 전신 구도를 수용할 수 있는 빈 공간을 남긴다. 사람, 손, 얼굴, 로봇, 시신, 휴대전화는 그리지 않는다.\n\n회백색 도장 콘크리트 외벽이 화면 왼쪽에서 뒤쪽으로 이어지고, 뒤쪽에서 직각으로 꺾이며 외진 구석을 만든다. 벽 아래와 바닥이 만나는 선을 화면 왼쪽 아래에서 뒤쪽 모서리까지 명확하게 보이게 한다. 외벽에는 실제 콘크리트의 거친 골재 질감, 작은 도막 박리, 가는 균열, 오래된 빗물 자국이 있다. 뒤쪽 모서리에 고정된 금속 빗물 배수관에는 군데군데 부식과 오래된 고정쇠가 보인다. 발치의 낡은 콘크리트 포장은 낮은 단차 없이 이어지며, 벽 하단의 짙은 습기 띠와 바닥의 불규칙한 젖은 얼룩이 맞닿는다. 전날 내린 비가 바닥의 얕은 패임에 조금 고여 있고, 표면 일부는 마르기 시작해 젖은 부분과 마른 부분의 질감 차이가 자연스럽다. 폭우나 현재 내리는 비, 과도한 침수는 없다.\n\n이른 아침의 부드러운 자연광이 위쪽 열린 공간에서 들어오고, 건물 구석은 약한 그늘에 잠겨 있다. 실제 회색 콘크리트와 차가운 아침빛이 만드는 절제된 회색 계열이며, 젖은 바닥에는 작고 약한 반사만 나타난다. 과장된 안개, 인공 발광, 미래형 장식은 넣지 않는다. 풀프레임 미러리스 카메라와 35밀리미터 렌즈로 지면에서 약 1.6미터 높이의 서 있는 사람 눈높이에서 촬영한다. 외벽을 비스듬히 바라보되 카메라는 거의 수평으로 두어 벽의 수직선과 발치 바닥을 함께 담는다. 가까운 외벽 표면부터 뒤쪽 모서리까지 위치 관계를 읽을 수 있는 자연스러운 피사계 심도, 실제 금속의 부식과 콘크리트의 생활 오염, 과도한 보정 없는 노출. 실제 장소 답사 사진과 구별되지 않는 사실적인 사진이며, 지나치게 말끔한 광고 사진이나 컴퓨터 생성 이미지, 삽화, 건축 조감도가 아니다. 위에서 내려다본 시점이나 평면도는 사용하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_aware_plan_mode": "surface_role_direct_plate",
        "attached_reference_lineage": {
          "fp_id": "",
          "prior_bg_ids": [],
          "attached_ref_labels": [],
          "ref_used": "text_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L205B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L205",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L205B01.png",
        "t2i_prompt": "2069년 기후 재난 이후에도 기존 생활 시설을 유지해 사용하는 대한민국의 소규모 마트 내부. 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진으로, 실제 장소 답사 사진과 구별되지 않는 사실적인 배경이다. 미래라는 이유로 시설을 첨단 장비로 바꾸지 않고, 한국의 오래된 소형 소매점에서 볼 수 있는 실용적인 공간과 생활 설비의 재질을 유지한다.\n매장 남쪽 벽 가까이에서 북북동쪽을 바라본다. 카메라 높이는 서 있는 사람의 눈높이인 약 1.6미터, 35밀리미터 규격의 전체 화면 센서에 28밀리미터 광각 렌즈를 사용한 자연스러운 원근감이다. 중앙 상품 진열대 너머로 북서쪽 약품 코너와 그 북쪽 벽의 약품 진열대가 잘 보인다. 중앙 진열대 양 끝의 이동 공간을 유지하며, 화면 오른쪽에는 동쪽 통로와 남동쪽 관리인 구역이 분명히 읽히게 한다. 관리인 테이블은 중앙 상품 진열대 동쪽에 있고, 그 가까운 동쪽 벽에는 텔레비전이 있다. 북동쪽 실내 모서리의 보안 거울은 입구 쪽 통로를 향하며, 프레임 오른쪽 위에서 자연스럽게 보인다. 거울에는 빈 매장 공간만 반사되고 텔레비전 화면에는 인물이나 얼굴이 나타나지 않는다.\n낮의 자연광이 실내로 부드럽게 퍼져 약품 코너, 진열대의 면, 오른쪽 통로의 깊이를 드러낸다. 회색 계열의 차분한 실제 재료 색을 유지하고 밝은 부분과 그늘의 차이는 자연스럽게 표현한다. 금속 진열대의 도장 질감과 오래 사용한 표면의 은은한 마모, 테이블 상판의 실제 나뭇결, 벽과 바닥의 생활감 있는 재질을 세밀하게 보여준다. 천장과 진열대는 온전한 일상 시설의 형태다. 공간은 깨끗하고 정돈된 평상시 상태다.\n사람, 얼굴, 사람 형태의 형상 없이 빈 공간만 촬영한다. 자연스러운 피사계 심도로 주요 진열대와 오른쪽 통로의 배치가 함께 읽히며, 인위적인 색 보정이나 과장된 광원 효과를 사용하지 않는다. 지나치게 말끔한 상업용 사진이 아니라 실제 사용 중인 장소의 담백한 기록 사진이다. 위에서 내려다본 시점이나 평면도, 건축 도해가 아닌 눈높이의 실제 실내 사진. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S49_Shot14",
            "guide_text": "약품 코너와 약품 진열대를 화면 왼쪽 안쪽에, 중앙 상품 진열대를 중경에 두고 오른쪽 통로와 관리인 구역을 함께 확보한다. 약 1.6미터 눈높이의 광각 구도로 진열대 양 끝의 이동 공간을 읽을 수 있게 한다. 오른쪽 테이블과 텔레비전, 위쪽 모서리의 보안 거울은 기존 위치에서 자연스럽게 포함한다. 낮의 부드러운 자연광과 온전하고 정돈된 시설 상태를 유지하며, 배경에는 인물이나 별도의 사건 소품을 넣지 않는다."
          }
        ],
        "shot_ids": [
          "S49_Shot14"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Inside number 1 near the south wall, west of number 9, facing north-northeast across number 5 toward number 2, with number 3 on the right.",
          "camera_height": "eye-level standing, approximately 1.6 m",
          "lens_hint": "28mm wide angle",
          "framing_notes": "Keep numbers 2, 4, and 5 prominent, with the clear eastern aisle and attendant area readable on the right. Include numbers 7 and 8 where framing permits. This is the pre-gunfire background: shelving and ceiling remain intact, with no bullet holes, fallen products, weapons, or figures baked into the background."
        },
        "reference_decision": {
          "bg_id": "L205B01",
          "fp_id": "fp_l205_service_station",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L205B01 is an eligible clean anchor and establishes the fixed interior identity for S49_Shot14 without a prior reference. Camera unit 11 looks inward toward unit 1 using the listed marker-5 look-at cell and wide coverage, supporting the aisle and full-body staging while retaining the fixed arrangement of units 1, 2, and 3.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_l205_service_station.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The dwelling-identity anchor is seeded directly from the floor plan; no background reference is selected.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 11,
            "camera_cell": [
              3,
              4
            ],
            "look_at_unit": 1,
            "look_at_cell": [
              1,
              2
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad inward coverage toward marker 5 within unit 1, with units 2 and 3 to either side. The camera-cell collision with marker 9 is a supplied diagnostic, not permission to move the camera coordinate. This is a fixed plate framing; the consuming shot's lateral movement is not an additional geometry commitment."
          },
          "render_guidance": {
            "visible_space_directive": "Show the inward-facing portions of units 1, 2, and 3 from unit 11 at [3, 4], looking toward marker 5 at [1, 2] with a 90-degree wide lens. Establish marker 4 along the north side of unit 2, marker 5 centrally within unit 1, marker 6 within unit 3, and markers 7 and 8 in their supplied east-side positions. Respect occlusion; the visible-unit supersets do not establish unrestricted visibility.",
            "camera_framing_directive": "Use broad coverage from camera unit 11, camera_cell [3, 4], toward look_at_unit 1, look_at_cell [1, 2], with lens_enum wide and fov_deg 90. Preserve aisle depth and room for the staged foreground shoulders and distant full-body reveal. Keep fixed marker positions independent of shot-layer framing changes.",
            "subject_position_directive": "S49_Shot14 commits 앰버 and 라울 as unequal foreground shoulder edges, with 조일광's entire body beyond them along the aisle. Preserve clear composition space for those placements and the oblique weapon orientation directed toward the foreground subjects rather than the lens. Keep the clean background plate subject-free; these committed subjects belong to the consuming shot layer.",
            "state_cue_directive": "For the clean background plate, no committed state cue beyond \"clean residential space\" applies; no transient markers are listed, so refrain from inventing additional cues. Preserve numbered elements 1 through 8 in their fixed positions. S49_Shot14 specifies shelving still in place before the later collision and ambient interior illumination with restrained contrast; retain that intact state.",
            "negative_continuity_directive": "No ignore_numbered_elements or ignored_state_overlay_marker_numbers are supplied. Avoid repositioning markers 4, 5, 6, 7, or 8, converting the marker-9 cell collision into a layout change, or drawing units 12, 15, 16, and 17 behind the inward-facing camera. Do not introduce uncommitted overlays."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 11\n  - camera_cell: [3, 4]\n  - look_at_unit: 1\n  - look_at_cell: [1, 2]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad inward coverage toward marker 5 within unit 1, with units 2 and 3 to either side. The camera-cell collision with marker 9 is a supplied diagnostic, not permission to move the camera coordinate. This is a fixed plate framing; the consuming shot's lateral movement is not an additional geometry commitment.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the inward-facing portions of units 1, 2, and 3 from unit 11 at [3, 4], looking toward marker 5 at [1, 2] with a 90-degree wide lens. Establish marker 4 along the north side of unit 2, marker 5 centrally within unit 1, marker 6 within unit 3, and markers 7 and 8 in their supplied east-side positions. Respect occlusion; the visible-unit supersets do not establish unrestricted visibility.\n  - camera_framing_directive: Use broad coverage from camera unit 11, camera_cell [3, 4], toward look_at_unit 1, look_at_cell [1, 2], with lens_enum wide and fov_deg 90. Preserve aisle depth and room for the staged foreground shoulders and distant full-body reveal. Keep fixed marker positions independent of shot-layer framing changes.\n  - subject_position_directive: S49_Shot14 commits 앰버 and 라울 as unequal foreground shoulder edges, with 조일광's entire body beyond them along the aisle. Preserve clear composition space for those placements and the oblique weapon orientation directed toward the foreground subjects rather than the lens. Keep the clean background plate subject-free; these committed subjects belong to the consuming shot layer.\n  - state_cue_directive: For the clean background plate, no committed state cue beyond \"clean residential space\" applies; no transient markers are listed, so refrain from inventing additional cues. Preserve numbered elements 1 through 8 in their fixed positions. S49_Shot14 specifies shelving still in place before the later collision and ambient interior illumination with restrained contrast; retain that intact state.\n  - negative_continuity_directive: No ignore_numbered_elements or ignored_state_overlay_marker_numbers are supplied. Avoid repositioning markers 4, 5, 6, 7, or 8, converting the marker-9 cell collision into a layout change, or drawing units 12, 15, 16, and 17 behind the inward-facing camera. Do not introduce uncommitted overlays.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 11\n  - camera_cell: [3, 4]\n  - look_at_unit: 1\n  - look_at_cell: [1, 2]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad inward coverage toward marker 5 within unit 1, with units 2 and 3 to either side. The camera-cell collision with marker 9 is a supplied diagnostic, not permission to move the camera coordinate. This is a fixed plate framing; the consuming shot's lateral movement is not an additional geometry commitment.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the inward-facing portions of units 1, 2, and 3 from unit 11 at [3, 4], looking toward marker 5 at [1, 2] with a 90-degree wide lens. Establish marker 4 along the north side of unit 2, marker 5 centrally within unit 1, marker 6 within unit 3, and markers 7 and 8 in their supplied east-side positions. Respect occlusion; the visible-unit supersets do not establish unrestricted visibility.\n  - camera_framing_directive: Use broad coverage from camera unit 11, camera_cell [3, 4], toward look_at_unit 1, look_at_cell [1, 2], with lens_enum wide and fov_deg 90. Preserve aisle depth and room for the staged foreground shoulders and distant full-body reveal. Keep fixed marker positions independent of shot-layer framing changes.\n  - subject_position_directive: S49_Shot14 commits 앰버 and 라울 as unequal foreground shoulder edges, with 조일광's entire body beyond them along the aisle. Preserve clear composition space for those placements and the oblique weapon orientation directed toward the foreground subjects rather than the lens. Keep the clean background plate subject-free; these committed subjects belong to the consuming shot layer.\n  - state_cue_directive: For the clean background plate, no committed state cue beyond \"clean residential space\" applies; no transient markers are listed, so refrain from inventing additional cues. Preserve numbered elements 1 through 8 in their fixed positions. S49_Shot14 specifies shelving still in place before the later collision and ambient interior illumination with restrained contrast; retain that intact state.\n  - negative_continuity_directive: No ignore_numbered_elements or ignored_state_overlay_marker_numbers are supplied. Avoid repositioning markers 4, 5, 6, 7, or 8, converting the marker-9 cell collision into a layout change, or drawing units 12, 15, 16, and 17 behind the inward-facing camera. Do not introduce uncommitted overlays.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 11\n  - camera_cell: [3, 4]\n  - look_at_unit: 1\n  - look_at_cell: [1, 2]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad inward coverage toward marker 5 within unit 1, with units 2 and 3 to either side. The camera-cell collision with marker 9 is a supplied diagnostic, not permission to move the camera coordinate. This is a fixed plate framing; the consuming shot's lateral movement is not an additional geometry commitment.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the inward-facing portions of units 1, 2, and 3 from unit 11 at [3, 4], looking toward marker 5 at [1, 2] with a 90-degree wide lens. Establish marker 4 along the north side of unit 2, marker 5 centrally within unit 1, marker 6 within unit 3, and markers 7 and 8 in their supplied east-side positions. Respect occlusion; the visible-unit supersets do not establish unrestricted visibility.\n  - camera_framing_directive: Use broad coverage from camera unit 11, camera_cell [3, 4], toward look_at_unit 1, look_at_cell [1, 2], with lens_enum wide and fov_deg 90. Preserve aisle depth and room for the staged foreground shoulders and distant full-body reveal. Keep fixed marker positions independent of shot-layer framing changes.\n  - subject_position_directive: S49_Shot14 commits 앰버 and 라울 as unequal foreground shoulder edges, with 조일광's entire body beyond them along the aisle. Preserve clear composition space for those placements and the oblique weapon orientation directed toward the foreground subjects rather than the lens. Keep the clean background plate subject-free; these committed subjects belong to the consuming shot layer.\n  - state_cue_directive: For the clean background plate, no committed state cue beyond \"clean residential space\" applies; no transient markers are listed, so refrain from inventing additional cues. Preserve numbered elements 1 through 8 in their fixed positions. S49_Shot14 specifies shelving still in place before the later collision and ambient interior illumination with restrained contrast; retain that intact state.\n  - negative_continuity_directive: No ignore_numbered_elements or ignored_state_overlay_marker_numbers are supplied. Avoid repositioning markers 4, 5, 6, 7, or 8, converting the marker-9 cell collision into a layout change, or drawing units 12, 15, 16, and 17 behind the inward-facing camera. Do not introduce uncommitted overlays.\n\n2069년 기후 재난 이후에도 기존 생활 시설을 유지해 사용하는 대한민국의 소규모 마트 내부. 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진으로, 실제 장소 답사 사진과 구별되지 않는 사실적인 배경이다. 미래라는 이유로 시설을 첨단 장비로 바꾸지 않고, 한국의 오래된 소형 소매점에서 볼 수 있는 실용적인 공간과 생활 설비의 재질을 유지한다.\n매장 남쪽 벽 가까이에서 북북동쪽을 바라본다. 카메라 높이는 서 있는 사람의 눈높이인 약 1.6미터, 35밀리미터 규격의 전체 화면 센서에 28밀리미터 광각 렌즈를 사용한 자연스러운 원근감이다. 중앙 상품 진열대 너머로 북서쪽 약품 코너와 그 북쪽 벽의 약품 진열대가 잘 보인다. 중앙 진열대 양 끝의 이동 공간을 유지하며, 화면 오른쪽에는 동쪽 통로와 남동쪽 관리인 구역이 분명히 읽히게 한다. 관리인 테이블은 중앙 상품 진열대 동쪽에 있고, 그 가까운 동쪽 벽에는 텔레비전이 있다. 북동쪽 실내 모서리의 보안 거울은 입구 쪽 통로를 향하며, 프레임 오른쪽 위에서 자연스럽게 보인다. 거울에는 빈 매장 공간만 반사되고 텔레비전 화면에는 인물이나 얼굴이 나타나지 않는다.\n낮의 자연광이 실내로 부드럽게 퍼져 약품 코너, 진열대의 면, 오른쪽 통로의 깊이를 드러낸다. 회색 계열의 차분한 실제 재료 색을 유지하고 밝은 부분과 그늘의 차이는 자연스럽게 표현한다. 금속 진열대의 도장 질감과 오래 사용한 표면의 은은한 마모, 테이블 상판의 실제 나뭇결, 벽과 바닥의 생활감 있는 재질을 세밀하게 보여준다. 천장과 진열대는 온전한 일상 시설의 형태다. 공간은 깨끗하고 정돈된 평상시 상태다.\n사람, 얼굴, 사람 형태의 형상 없이 빈 공간만 촬영한다. 자연스러운 피사계 심도로 주요 진열대와 오른쪽 통로의 배치가 함께 읽히며, 인위적인 색 보정이나 과장된 광원 효과를 사용하지 않는다. 지나치게 말끔한 상업용 사진이 아니라 실제 사용 중인 장소의 담백한 기록 사진이다. 위에서 내려다본 시점이나 평면도, 건축 도해가 아닌 눈높이의 실제 실내 사진. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 11,
          "camera_cell": [
            3,
            4
          ],
          "look_at_unit": 1,
          "look_at_cell": [
            1,
            2
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad inward coverage toward marker 5 within unit 1, with units 2 and 3 to either side. The camera-cell collision with marker 9 is a supplied diagnostic, not permission to move the camera coordinate. This is a fixed plate framing; the consuming shot's lateral movement is not an additional geometry commitment."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Show the inward-facing portions of units 1, 2, and 3 from unit 11 at [3, 4], looking toward marker 5 at [1, 2] with a 90-degree wide lens. Establish marker 4 along the north side of unit 2, marker 5 centrally within unit 1, marker 6 within unit 3, and markers 7 and 8 in their supplied east-side positions. Respect occlusion; the visible-unit supersets do not establish unrestricted visibility.",
          "camera_framing_directive": "Use broad coverage from camera unit 11, camera_cell [3, 4], toward look_at_unit 1, look_at_cell [1, 2], with lens_enum wide and fov_deg 90. Preserve aisle depth and room for the staged foreground shoulders and distant full-body reveal. Keep fixed marker positions independent of shot-layer framing changes.",
          "subject_position_directive": "S49_Shot14 commits 앰버 and 라울 as unequal foreground shoulder edges, with 조일광's entire body beyond them along the aisle. Preserve clear composition space for those placements and the oblique weapon orientation directed toward the foreground subjects rather than the lens. Keep the clean background plate subject-free; these committed subjects belong to the consuming shot layer.",
          "state_cue_directive": "For the clean background plate, no committed state cue beyond \"clean residential space\" applies; no transient markers are listed, so refrain from inventing additional cues. Preserve numbered elements 1 through 8 in their fixed positions. S49_Shot14 specifies shelving still in place before the later collision and ambient interior illumination with restrained contrast; retain that intact state.",
          "negative_continuity_directive": "No ignore_numbered_elements or ignored_state_overlay_marker_numbers are supplied. Avoid repositioning markers 4, 5, 6, 7, or 8, converting the marker-9 cell collision into a layout change, or drawing units 12, 15, 16, and 17 behind the inward-facing camera. Do not introduce uncommitted overlays."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_l205_service_station",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_l205_service_station"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L205B02": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L205",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L205B02.png",
        "t2i_prompt": "기후 재난 이후인 2069년 대한민국의 오래된 주유소 바깥 도로변을 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 미래에도 남아 있는 한국의 소규모 주유소 외관과 일상적인 도로 포장 재료를 사실적으로 보여 준다. 낮의 자연광 아래 아스팔트의 골재, 콘크리트의 거친 표면, 주유 설비 금속의 자연스러운 산화와 오랜 사용감을 담는다. 과장된 폐허가 아니라 실제 장소를 기록한 듯한 담담한 외경이며, 재료 본래의 차가운 회색과 자연스러운 명암을 유지한다.\n\n도로변 쓰레기 둔덕의 동쪽, 도로 가까운 곳에서 서북서쪽을 바라본다. 카메라는 약 1.4미터 높이의 낮은 기립 시점에 두고, 35밀리미터 판형 기준 32밀리미터 렌즈의 적당히 넓은 화각으로 촬영한다. 동서로 이어지는 도로와 그 북쪽 가장자리를 따라 뻗은 갓길이 화면의 깊이를 만든다. 기존의 쓰레기 둔덕은 주유소 진출입로를 지난 갓길의 오른쪽 전경에 놓이며, 둔덕의 부피와 지면에 닿는 윤곽을 실제 크기로 읽을 수 있게 한다. 왼쪽 먼 곳에는 도로와 연결되는 주유소 진출입로와 그 안쪽 주유 공간이 보인다. 주유 공간 가운데의 주유기 섬, 그 뒤편 점포는 부차적인 크기로 유지한다. 점포 남쪽 벽의 동쪽 끝 가까이에 출입구가 있고 그 서쪽에는 주유 공간을 향한 전면 창이 있으며, 출입구 바로 밖의 진입 바닥은 주유 공간으로 이어진다. 가까운 도로 전경은 넓게 열어 두고 도로, 갓길, 둔덕의 공간 관계가 중심이 되게 한다.\n\n공간은 기존 배치가 흐트러지지 않은 평온한 기본 상태다. 사람, 얼굴, 사람 형상의 물체는 표현하지 않는다. 실제 렌즈의 원근감과 자연스러운 피사계 심도를 사용하고, 가까운 노면과 둔덕의 질감은 선명하게, 먼 점포는 거리감에 맞게 보이게 한다. 인위적인 색 보정이나 과장된 광원 없이 실제 장소 답사 사진과 구별되지 않는 사진으로 표현한다. 조감도나 평면도, 건축 도해가 아닌 지상 시점의 실사 사진이다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S49_Shot47",
            "guide_text": "오른쪽 전경의 쓰레기 둔덕과 도로 북쪽 갓길을 주요 공간 기준으로 삼는다. 주유소 진출입로와 점포는 왼쪽 원경에 작게 유지하고, 가까운 도로 면에 충분한 여백을 확보한다. 숏별 전경 요소는 이 기본 배경과 별도로 처리한다."
          },
          {
            "shot_id": "S49_Shot51",
            "guide_text": "앞선 숏과 동일한 기본 외경을 사용한다. 둔덕의 윤곽과 위치, 갓길의 진행 방향, 원경 주유소의 크기, 카메라 높이와 낮 자연광을 그대로 이어 간다. 숏별 전경 변화 때문에 배경의 배치나 조명을 변경하지 않는다."
          }
        ],
        "shot_ids": [
          "S49_Shot47",
          "S49_Shot51"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "Near number 15 east of number 17, facing west-northwest along number 16, with number 17 in the right foreground and numbers 14 and 12 farther left.",
          "camera_height": "low standing viewpoint, approximately 1.4 m",
          "lens_hint": "32mm moderately wide angle",
          "framing_notes": "Use the same clean exterior plate for both assigned shots. Emphasize the road, shoulder, and persistent mound; keep the shop and fuel forecourt secondary in the distance. Leave open foreground space for shot-specific vehicle, smoke, broken-glass, and rescue-person elements, none of which belong to this background or floor plan."
        },
        "reference_decision": {
          "bg_id": "L205B02",
          "fp_id": "fp_l205_service_station",
          "node_index": 1,
          "mode": "related_style_new_space",
          "is_dwelling_identity_anchor": false,
          "rationale": "S49_Shot47 and S49_Shot51 concern an exterior collision location rather than the interior view established by L205B01. Use L205B01 only for shared identity, not an interior layout lock. Camera unit 15 aims toward marker 14 at [6, 6] on the connection toward unit 16, providing broad coverage of the unit-16/17 side with unit 17 to the right. This is a location plate, not a claim that the exterior wide shot and the staged vehicle-interior medium shot share one camera. Their incompatible shot framings remain consuming-shot responsibilities.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L205B01.png"
          ],
          "source_bg_ids": [
            "L205B01"
          ],
          "fp_included": false,
          "reference_decision": {
            "selected_refs": [
              {
                "ref_bg_id": "L205B01",
                "physical_space_id": "fp_l205_service_station:units_1_2_3",
                "space_description": "Fixed interior space comprising units 1, 2, and 3."
              }
            ],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "single_style_reference_distinct_space",
            "why_single_ref_or_two_refs": "One earlier same-fp identity reference is sufficient. L205B01 does not depict the exterior unit-15/16/17 view required here, and no second earlier exterior reference exists. The shared target marker 1 does not make the chosen outward exterior slice the same physical view.",
            "physical_space_id_per_ref": [
              "fp_l205_service_station:units_1_2_3"
            ],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 15,
            "camera_cell": [
              8,
              5
            ],
            "look_at_unit": 16,
            "look_at_cell": [
              6,
              6
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad exterior framing from unit 15 toward the marker-14 connection on the unit-16 side, using the listed look-at candidate rather than substituting unit 16's unavailable center coordinate. Unit 17 lies right of this viewing axis. The single grid framing does not encode S49_Shot51's low interior viewpoint or its transient enclosing opening."
          },
          "render_guidance": {
            "visible_space_directive": "From unit 15 at [8, 5], look toward [6, 6] at marker 14 on the connection toward unit 16, using wide 90-degree coverage. Show the forward portion of unit 15, marker 14, and the unit-16/17 side. Keep unit 17 on the right-side ground region for S49_Shot47. The full target inventory is not a committed visible set: do not force unit 1, openings 9 and 10, or marker 13 into this selected slice. Carry shared identity from L205B01 without copying its interior arrangement into these exterior units.",
            "camera_framing_directive": "Use camera_unit 15, camera_cell [8, 5], look_at_unit 16, look_at_cell [6, 6], lens_enum wide, and fov_deg 90 for broad exterior coverage. Preserve a level horizon and right-side clearance for S49_Shot47's staged action, with unit 17 in the lower-right ground region. Treat S49_Shot51's medium interior framing as a separate consuming-shot layer; do not imply that this wide location plate supplies that camera geometry.",
            "subject_position_directive": "S49_Shot47 commits the camper in the middle-right, about one third of the image, above unit 17 with clearance above and no occupants visible. S49_Shot51 instead commits 은영's upper body on the left and 태진's on the right within the staged opening, inspecting occupants below frame. Reserve these as separate shot-layer arrangements rather than combining them in the clean location plate. No permanent subject placement is committed to the background.",
            "state_cue_directive": "For the clean background plate, no committed state cue beyond \"clean residential space\" applies; no transient markers are listed, so refrain from inventing additional cues. Preserve the fixed numbered exterior elements within the chosen view. Daylight is committed by both shots. S49_Shot47's airborne inversion and struck state, and S49_Shot51's broken opening, inverted interior edges, subtle smoke, and intermittent interior illumination, are distinct shot-specific layers rather than permanent changes to the floor-plan layout.",
            "negative_continuity_directive": "No ignore_numbered_elements or ignored_state_overlay_marker_numbers are supplied. Avoid importing markers 4 through 8 from L205B01 into units 15, 16, or 17, forcing markers outside the selected cone into frame, or treating visibility supersets as verified sightlines. Do not merge S49_Shot47 and S49_Shot51 overlays into one persistent state or infer a new fixed opening from shot-layer geometry."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows a related part of the same dwelling, not the current room. Inherit the overall material and lighting identity only; the new space is its own architectural room and must read as the same home.\n\nREFERENCE PLAN: mode='related_style_new_space'\n  - selected_refs[0]: ref_bg_id='L205B01' physical_space_id='fp_l205_service_station:units_1_2_3'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 15\n  - camera_cell: [8, 5]\n  - look_at_unit: 16\n  - look_at_cell: [6, 6]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad exterior framing from unit 15 toward the marker-14 connection on the unit-16 side, using the listed look-at candidate rather than substituting unit 16's unavailable center coordinate. Unit 17 lies right of this viewing axis. The single grid framing does not encode S49_Shot51's low interior viewpoint or its transient enclosing opening.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 15 at [8, 5], look toward [6, 6] at marker 14 on the connection toward unit 16, using wide 90-degree coverage. Show the forward portion of unit 15, marker 14, and the unit-16/17 side. Keep unit 17 on the right-side ground region for S49_Shot47. The full target inventory is not a committed visible set: do not force unit 1, openings 9 and 10, or marker 13 into this selected slice. Carry shared identity from L205B01 without copying its interior arrangement into these exterior units.\n  - camera_framing_directive: Use camera_unit 15, camera_cell [8, 5], look_at_unit 16, look_at_cell [6, 6], lens_enum wide, and fov_deg 90 for broad exterior coverage. Preserve a level horizon and right-side clearance for S49_Shot47's staged action, with unit 17 in the lower-right ground region. Treat S49_Shot51's medium interior framing as a separate consuming-shot layer; do not imply that this wide location plate supplies that camera geometry.\n  - subject_position_directive: S49_Shot47 commits the camper in the middle-right, about one third of the image, above unit 17 with clearance above and no occupants visible. S49_Shot51 instead commits 은영's upper body on the left and 태진's on the right within the staged opening, inspecting occupants below frame. Reserve these as separate shot-layer arrangements rather than combining them in the clean location plate. No permanent subject placement is committed to the background.\n  - state_cue_directive: For the clean background plate, no committed state cue beyond \"clean residential space\" applies; no transient markers are listed, so refrain from inventing additional cues. Preserve the fixed numbered exterior elements within the chosen view. Daylight is committed by both shots. S49_Shot47's airborne inversion and struck state, and S49_Shot51's broken opening, inverted interior edges, subtle smoke, and intermittent interior illumination, are distinct shot-specific layers rather than permanent changes to the floor-plan layout.\n  - negative_continuity_directive: No ignore_numbered_elements or ignored_state_overlay_marker_numbers are supplied. Avoid importing markers 4 through 8 from L205B01 into units 15, 16, or 17, forcing markers outside the selected cone into frame, or treating visibility supersets as verified sightlines. Do not merge S49_Shot47 and S49_Shot51 overlays into one persistent state or infer a new fixed opening from shot-layer geometry.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows a related part of the same dwelling, not the current room. Inherit the overall material and lighting identity only; the new space is its own architectural room and must read as the same home.\n\nREFERENCE PLAN: mode='related_style_new_space'\n  - selected_refs[0]: ref_bg_id='L205B01' physical_space_id='fp_l205_service_station:units_1_2_3'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 15\n  - camera_cell: [8, 5]\n  - look_at_unit: 16\n  - look_at_cell: [6, 6]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad exterior framing from unit 15 toward the marker-14 connection on the unit-16 side, using the listed look-at candidate rather than substituting unit 16's unavailable center coordinate. Unit 17 lies right of this viewing axis. The single grid framing does not encode S49_Shot51's low interior viewpoint or its transient enclosing opening.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 15 at [8, 5], look toward [6, 6] at marker 14 on the connection toward unit 16, using wide 90-degree coverage. Show the forward portion of unit 15, marker 14, and the unit-16/17 side. Keep unit 17 on the right-side ground region for S49_Shot47. The full target inventory is not a committed visible set: do not force unit 1, openings 9 and 10, or marker 13 into this selected slice. Carry shared identity from L205B01 without copying its interior arrangement into these exterior units.\n  - camera_framing_directive: Use camera_unit 15, camera_cell [8, 5], look_at_unit 16, look_at_cell [6, 6], lens_enum wide, and fov_deg 90 for broad exterior coverage. Preserve a level horizon and right-side clearance for S49_Shot47's staged action, with unit 17 in the lower-right ground region. Treat S49_Shot51's medium interior framing as a separate consuming-shot layer; do not imply that this wide location plate supplies that camera geometry.\n  - subject_position_directive: S49_Shot47 commits the camper in the middle-right, about one third of the image, above unit 17 with clearance above and no occupants visible. S49_Shot51 instead commits 은영's upper body on the left and 태진's on the right within the staged opening, inspecting occupants below frame. Reserve these as separate shot-layer arrangements rather than combining them in the clean location plate. No permanent subject placement is committed to the background.\n  - state_cue_directive: For the clean background plate, no committed state cue beyond \"clean residential space\" applies; no transient markers are listed, so refrain from inventing additional cues. Preserve the fixed numbered exterior elements within the chosen view. Daylight is committed by both shots. S49_Shot47's airborne inversion and struck state, and S49_Shot51's broken opening, inverted interior edges, subtle smoke, and intermittent interior illumination, are distinct shot-specific layers rather than permanent changes to the floor-plan layout.\n  - negative_continuity_directive: No ignore_numbered_elements or ignored_state_overlay_marker_numbers are supplied. Avoid importing markers 4 through 8 from L205B01 into units 15, 16, or 17, forcing markers outside the selected cone into frame, or treating visibility supersets as verified sightlines. Do not merge S49_Shot47 and S49_Shot51 overlays into one persistent state or infer a new fixed opening from shot-layer geometry.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows a related part of the same dwelling, not the current room. Inherit the overall material and lighting identity only; the new space is its own architectural room and must read as the same home.\n\nREFERENCE PLAN: mode='related_style_new_space'\n  - selected_refs[0]: ref_bg_id='L205B01' physical_space_id='fp_l205_service_station:units_1_2_3'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 15\n  - camera_cell: [8, 5]\n  - look_at_unit: 16\n  - look_at_cell: [6, 6]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad exterior framing from unit 15 toward the marker-14 connection on the unit-16 side, using the listed look-at candidate rather than substituting unit 16's unavailable center coordinate. Unit 17 lies right of this viewing axis. The single grid framing does not encode S49_Shot51's low interior viewpoint or its transient enclosing opening.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 15 at [8, 5], look toward [6, 6] at marker 14 on the connection toward unit 16, using wide 90-degree coverage. Show the forward portion of unit 15, marker 14, and the unit-16/17 side. Keep unit 17 on the right-side ground region for S49_Shot47. The full target inventory is not a committed visible set: do not force unit 1, openings 9 and 10, or marker 13 into this selected slice. Carry shared identity from L205B01 without copying its interior arrangement into these exterior units.\n  - camera_framing_directive: Use camera_unit 15, camera_cell [8, 5], look_at_unit 16, look_at_cell [6, 6], lens_enum wide, and fov_deg 90 for broad exterior coverage. Preserve a level horizon and right-side clearance for S49_Shot47's staged action, with unit 17 in the lower-right ground region. Treat S49_Shot51's medium interior framing as a separate consuming-shot layer; do not imply that this wide location plate supplies that camera geometry.\n  - subject_position_directive: S49_Shot47 commits the camper in the middle-right, about one third of the image, above unit 17 with clearance above and no occupants visible. S49_Shot51 instead commits 은영's upper body on the left and 태진's on the right within the staged opening, inspecting occupants below frame. Reserve these as separate shot-layer arrangements rather than combining them in the clean location plate. No permanent subject placement is committed to the background.\n  - state_cue_directive: For the clean background plate, no committed state cue beyond \"clean residential space\" applies; no transient markers are listed, so refrain from inventing additional cues. Preserve the fixed numbered exterior elements within the chosen view. Daylight is committed by both shots. S49_Shot47's airborne inversion and struck state, and S49_Shot51's broken opening, inverted interior edges, subtle smoke, and intermittent interior illumination, are distinct shot-specific layers rather than permanent changes to the floor-plan layout.\n  - negative_continuity_directive: No ignore_numbered_elements or ignored_state_overlay_marker_numbers are supplied. Avoid importing markers 4 through 8 from L205B01 into units 15, 16, or 17, forcing markers outside the selected cone into frame, or treating visibility supersets as verified sightlines. Do not merge S49_Shot47 and S49_Shot51 overlays into one persistent state or infer a new fixed opening from shot-layer geometry.\n\n기후 재난 이후인 2069년 대한민국의 오래된 주유소 바깥 도로변을 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 미래에도 남아 있는 한국의 소규모 주유소 외관과 일상적인 도로 포장 재료를 사실적으로 보여 준다. 낮의 자연광 아래 아스팔트의 골재, 콘크리트의 거친 표면, 주유 설비 금속의 자연스러운 산화와 오랜 사용감을 담는다. 과장된 폐허가 아니라 실제 장소를 기록한 듯한 담담한 외경이며, 재료 본래의 차가운 회색과 자연스러운 명암을 유지한다.\n\n도로변 쓰레기 둔덕의 동쪽, 도로 가까운 곳에서 서북서쪽을 바라본다. 카메라는 약 1.4미터 높이의 낮은 기립 시점에 두고, 35밀리미터 판형 기준 32밀리미터 렌즈의 적당히 넓은 화각으로 촬영한다. 동서로 이어지는 도로와 그 북쪽 가장자리를 따라 뻗은 갓길이 화면의 깊이를 만든다. 기존의 쓰레기 둔덕은 주유소 진출입로를 지난 갓길의 오른쪽 전경에 놓이며, 둔덕의 부피와 지면에 닿는 윤곽을 실제 크기로 읽을 수 있게 한다. 왼쪽 먼 곳에는 도로와 연결되는 주유소 진출입로와 그 안쪽 주유 공간이 보인다. 주유 공간 가운데의 주유기 섬, 그 뒤편 점포는 부차적인 크기로 유지한다. 점포 남쪽 벽의 동쪽 끝 가까이에 출입구가 있고 그 서쪽에는 주유 공간을 향한 전면 창이 있으며, 출입구 바로 밖의 진입 바닥은 주유 공간으로 이어진다. 가까운 도로 전경은 넓게 열어 두고 도로, 갓길, 둔덕의 공간 관계가 중심이 되게 한다.\n\n공간은 기존 배치가 흐트러지지 않은 평온한 기본 상태다. 사람, 얼굴, 사람 형상의 물체는 표현하지 않는다. 실제 렌즈의 원근감과 자연스러운 피사계 심도를 사용하고, 가까운 노면과 둔덕의 질감은 선명하게, 먼 점포는 거리감에 맞게 보이게 한다. 인위적인 색 보정이나 과장된 광원 없이 실제 장소 답사 사진과 구별되지 않는 사진으로 표현한다. 조감도나 평면도, 건축 도해가 아닌 지상 시점의 실사 사진이다. 16:9 가로 비율, 실제 카메라 촬영본",
        "camera_decision": {
          "camera_unit": 15,
          "camera_cell": [
            8,
            5
          ],
          "look_at_unit": 16,
          "look_at_cell": [
            6,
            6
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad exterior framing from unit 15 toward the marker-14 connection on the unit-16 side, using the listed look-at candidate rather than substituting unit 16's unavailable center coordinate. Unit 17 lies right of this viewing axis. The single grid framing does not encode S49_Shot51's low interior viewpoint or its transient enclosing opening."
        },
        "shot_aware_plan_node_index": 1,
        "shot_aware_plan_mode": "related_style_new_space",
        "render_guidance": {
          "visible_space_directive": "From unit 15 at [8, 5], look toward [6, 6] at marker 14 on the connection toward unit 16, using wide 90-degree coverage. Show the forward portion of unit 15, marker 14, and the unit-16/17 side. Keep unit 17 on the right-side ground region for S49_Shot47. The full target inventory is not a committed visible set: do not force unit 1, openings 9 and 10, or marker 13 into this selected slice. Carry shared identity from L205B01 without copying its interior arrangement into these exterior units.",
          "camera_framing_directive": "Use camera_unit 15, camera_cell [8, 5], look_at_unit 16, look_at_cell [6, 6], lens_enum wide, and fov_deg 90 for broad exterior coverage. Preserve a level horizon and right-side clearance for S49_Shot47's staged action, with unit 17 in the lower-right ground region. Treat S49_Shot51's medium interior framing as a separate consuming-shot layer; do not imply that this wide location plate supplies that camera geometry.",
          "subject_position_directive": "S49_Shot47 commits the camper in the middle-right, about one third of the image, above unit 17 with clearance above and no occupants visible. S49_Shot51 instead commits 은영's upper body on the left and 태진's on the right within the staged opening, inspecting occupants below frame. Reserve these as separate shot-layer arrangements rather than combining them in the clean location plate. No permanent subject placement is committed to the background.",
          "state_cue_directive": "For the clean background plate, no committed state cue beyond \"clean residential space\" applies; no transient markers are listed, so refrain from inventing additional cues. Preserve the fixed numbered exterior elements within the chosen view. Daylight is committed by both shots. S49_Shot47's airborne inversion and struck state, and S49_Shot51's broken opening, inverted interior edges, subtle smoke, and intermittent interior illumination, are distinct shot-specific layers rather than permanent changes to the floor-plan layout.",
          "negative_continuity_directive": "No ignore_numbered_elements or ignored_state_overlay_marker_numbers are supplied. Avoid importing markers 4 through 8 from L205B01 into units 15, 16, or 17, forcing markers outside the selected cone into frame, or treating visibility supersets as verified sightlines. Do not merge S49_Shot47 and S49_Shot51 overlays into one persistent state or infer a new fixed opening from shot-layer geometry."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_l205_service_station",
          "prior_bg_ids": [
            "L205B01"
          ],
          "attached_ref_labels": [
            "bg:L205B01"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L209B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L209",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L209B01.png",
        "t2i_prompt": "기후 재난 이후인 2069년 대한민국의 낡은 자동차 정비소 창고 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 오래된 정비 시설을 계속 사용하는 현실적인 공간이며, 낮 동안 들어오는 자연광이 콘크리트 바닥과 벽을 부드럽게 밝힌다. 실제 디지털 일안 반사식 카메라와 35밀리미터급 렌즈로 촬영한 장소 기록 사진처럼 표현한다. 남서쪽 회복 자리 가까이에서 동쪽과 북동쪽 수리 구역을 바라보며, 카메라 높이는 바닥에서 약 1.6미터인 서 있는 사람의 눈높이로 둔다. 전경의 회복 자리에서 중앙 통로를 거쳐 수리 구역까지 시선이 자연스럽게 이어지는 수평 구도이며, 위에서 내려다보는 시점이나 평면도 구도가 아니다.\n\n회복 구역은 남서쪽 모서리에 있고 중앙 통로와 수리 구역을 향해 열려 있다. 간이침대는 회복 구역의 서쪽에 남북 방향으로 놓여 있으며 머리 쪽은 북쪽이다. 서쪽과 중앙의 통행 공간은 서쪽 벽의 출입문, 회복 자리, 동쪽 정비 공간을 연결한다. 출입문은 회복 자리와 서쪽 벽의 포스터 무리 사이에 있다. 서쪽 벽의 북서쪽 부분과 북쪽 벽의 서쪽 부분에는 오래된 록 음악 공연 포스터들이 붙어 있다. 포스터는 인물 사진이나 얼굴 없이 바랜 한글 활자와 추상적인 인쇄 도형으로만 구성하고, 실존 밴드 이름은 쓰지 않는다. 북쪽 벽 중앙 부근에는 작업대가 있고, 그 바로 동쪽 벽에는 고정된 공구 걸이가 있다. 북동쪽 모서리에는 대형 스피커가 놓여 있으며 차량과 작업 통로를 침범하지 않는다.\n\n동쪽 수리 구역 중앙에는 망가진 캠핑카가 수리 중인 상태로 놓여 있다. 차체는 남북 방향이고 앞부분이 북쪽을 향한다. 낡고 손상된 차체 외장의 상태를 사실적으로 보여주되, 별도의 부품 더미나 장비를 임의로 추가하지 않는다. 캠핑카 서쪽의 작업 통로는 간이침대 쪽에서 분명하게 보이도록 비워 둔다. 커다란 펜치 한 개가 간이침대 북쪽 절반의 바로 동쪽 바닥에 놓여 있다. 침대에서 손을 뻗으면 닿을 만한 거리이지만 주 통행로 밖이며, 전경 바닥에서 위치와 형태를 식별할 수 있다.\n\n콘크리트의 실제 기공과 오래된 사용 얼룩, 금속 표면의 무딘 산화와 마모, 간이침대 천의 직조, 스피커 표면의 잔흠집, 포스터 종이의 바랜 인쇄 질감을 세밀하고 과장 없이 담는다. 차가운 회색 계열은 실제 재료와 낮빛에서 자연스럽게 나타나고 포스터의 잔존 색채만 작게 드러난다. 밝은 부분과 그늘 모두 세부가 남는 현실적인 노출과 자연스러운 피사계 심도, 후처리 없는 일상적인 현장 사진의 질감. 지나치게 깨끗한 홍보 사진이나 컴퓨터 합성 이미지, 삽화, 건축 시각화가 아니라 실제 장소에서 찍은 사진이어야 한다. 사람, 얼굴, 사람 형태의 형상은 포스터와 반사면을 포함해 어디에도 없다. 16:9 가로 비율, 실제 카메라 촬영본.",
        "shot_guides": [
          {
            "shot_id": "S50_Shot4",
            "guide_text": "회복 자리에서 수리 구역을 내다보는 공간 관계가 읽히도록 사용한다. 간이침대와 가까운 바닥의 펜치를 전경의 기준으로 삼고, 그 너머 캠핑카 서쪽 작업 통로가 가려지지 않게 한다. 배경만 유지하며 인물이나 사람 형태의 형상을 추가하지 않는다."
          },
          {
            "shot_id": "S50_Shot9",
            "guide_text": "같은 낮빛과 고정 배치를 유지한다. 화면을 잘라 사용할 때에도 캠핑카의 앞부분이 북쪽을 향하는 방향성과 회복 자리에서 이어지는 통로의 관계를 바꾸지 않는다. 벽의 포스터와 북동쪽 스피커는 원래 위치를 유지한다."
          },
          {
            "shot_id": "S50_Shot10",
            "guide_text": "펜치는 간이침대 북쪽 절반의 바로 동쪽 바닥, 주 통행로 밖에 그대로 둔다. 회복 자리와 캠핑카 수리 구역의 거리 및 방향을 앞선 배경과 일치시키고, 추가 손상이나 새로운 물체 없이 동일한 수리 상태와 자연광을 유지한다."
          }
        ],
        "shot_ids": [
          "S50_Shot4",
          "S50_Shot9",
          "S50_Shot10"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Near the south end of number 5 within number 1, facing north-northeast across number 3 toward number 13 in number 2 and number 8 beyond it.",
          "camera_height": "Low seated-eye viewpoint, approximately 1.1 m; staging suggestion rather than a source-specified measurement.",
          "lens_hint": "24mm wide angle",
          "framing_notes": "Use one consistent recovery-to-repair composition for all assigned shots. Keep the cot edge and number 14 low in the foreground, the camper and its accessible working side in the middle distance, and the speaker beyond. Include the poster arrays and pedestrian entrance toward the left, with the north-wall workbench and tool rack behind the repair area. Preserve clear spatial separation between the resting position and the mechanic's working position. The camper is still under repair; do not substitute its later repaired state. Numbers are references only and are not printed in the background."
        },
        "reference_decision": {
          "bg_id": "L209B01",
          "fp_id": "fp_repair_warehouse",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L209B01 is the sole ready BG and the sole supplied anchor candidate. Use the explicitly widened fallback candidate set: this anchor is not clean_background_expected and retains transient markers 13 and 14. With no reference catalog, establish identity directly from the floor plan. Camera unit 1 looking toward unit 2 provides broad coverage toward the staged foreground-to-background relationship in S50_Shot4 and the shared fixed setting. S50_Shot9 and S50_Shot10 commit different shot framings; this single BG camera is a representative view, not a claim that their approach and reverse angle are simultaneously reproduced.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_repair_warehouse.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The identity anchor is rendered fresh from the floor plan; no previously rendered same-fp reference is supplied.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 1,
            "camera_cell": [
              7,
              2
            ],
            "look_at_unit": 2,
            "look_at_cell": [
              1,
              6
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad representative coverage from unit 1 toward unit 2, aimed at fixed marker 7 using an exact listed look-at candidate. Include unit 3 where it falls within this view. The shot-specific medium and reverse close framings remain distinct staging requirements, not additional camera decisions for this node."
          },
          "render_guidance": {
            "visible_space_directive": "Establish the view from unit 1 toward unit 2 with unit 3 in the intervening coverage. Preserve the north-side positions of markers 6, 7, 8 and 10 and the west-side position of marker 9 where visible. Keep marker 5 at its committed position in unit 1 even when outside this framing. Treat the visibility lists as supersets: do not force openings 11 or 12, or unit 4, into this view, and do not infer opening adjacency from their cells.",
            "camera_framing_directive": "Use camera unit 1 at [7, 2], looking toward unit 2 at [1, 6], with a wide lens and 90-degree field of view. Maintain broad coverage and readable depth toward unit 2. Use this as the representative fixed-space view; do not combine the separate approach in S50_Shot9 and reverse close view in S50_Shot10 into one perspective.",
            "subject_position_directive": "For S50_Shot4, preserve staging space for 현우 seated in the left foreground with his reaching arm above marker 14 in the lower center, and 태진 farther right with her back toward camera beside marker 13. The other consuming shots supply separate subject compositions: S50_Shot9 places 태진 left of center beside a right-side partial view of marker 13, while S50_Shot10 places 현우 on the right in a reverse close view. Do not duplicate these subjects or merge their shot-specific poses into the representative background.",
            "state_cue_directive": "This BG is explicitly not clean_background_expected. Carry transient marker 13 under repair and marker 14 on the floor, not yet grasped, at natural scale beneath the staged reaching hand in S50_Shot4. Show only the staged visible side of marker 13, without illustrating hidden damage as a cutaway. Maintain the committed neutral ambient interior illumination and restrained contrast. Markers 9 and 10 remain attached, with no invented readable titles.",
            "negative_continuity_directive": "No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating fixed markers 5, 6, 7, 8, 9 or 10 to satisfy incompatible shot framings. Avoid treating transient markers 13 and 14 as permanent fixtures, enlarging marker 14 for emphasis, or forcing markers 11 and 12 into an unsupported view. Avoid combining separate shot perspectives or adding subjects beyond the supplied staging."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [7, 2]\n  - look_at_unit: 2\n  - look_at_cell: [1, 6]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad representative coverage from unit 1 toward unit 2, aimed at fixed marker 7 using an exact listed look-at candidate. Include unit 3 where it falls within this view. The shot-specific medium and reverse close framings remain distinct staging requirements, not additional camera decisions for this node.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish the view from unit 1 toward unit 2 with unit 3 in the intervening coverage. Preserve the north-side positions of markers 6, 7, 8 and 10 and the west-side position of marker 9 where visible. Keep marker 5 at its committed position in unit 1 even when outside this framing. Treat the visibility lists as supersets: do not force openings 11 or 12, or unit 4, into this view, and do not infer opening adjacency from their cells.\n  - camera_framing_directive: Use camera unit 1 at [7, 2], looking toward unit 2 at [1, 6], with a wide lens and 90-degree field of view. Maintain broad coverage and readable depth toward unit 2. Use this as the representative fixed-space view; do not combine the separate approach in S50_Shot9 and reverse close view in S50_Shot10 into one perspective.\n  - subject_position_directive: For S50_Shot4, preserve staging space for 현우 seated in the left foreground with his reaching arm above marker 14 in the lower center, and 태진 farther right with her back toward camera beside marker 13. The other consuming shots supply separate subject compositions: S50_Shot9 places 태진 left of center beside a right-side partial view of marker 13, while S50_Shot10 places 현우 on the right in a reverse close view. Do not duplicate these subjects or merge their shot-specific poses into the representative background.\n  - state_cue_directive: This BG is explicitly not clean_background_expected. Carry transient marker 13 under repair and marker 14 on the floor, not yet grasped, at natural scale beneath the staged reaching hand in S50_Shot4. Show only the staged visible side of marker 13, without illustrating hidden damage as a cutaway. Maintain the committed neutral ambient interior illumination and restrained contrast. Markers 9 and 10 remain attached, with no invented readable titles.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating fixed markers 5, 6, 7, 8, 9 or 10 to satisfy incompatible shot framings. Avoid treating transient markers 13 and 14 as permanent fixtures, enlarging marker 14 for emphasis, or forcing markers 11 and 12 into an unsupported view. Avoid combining separate shot perspectives or adding subjects beyond the supplied staging.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [7, 2]\n  - look_at_unit: 2\n  - look_at_cell: [1, 6]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad representative coverage from unit 1 toward unit 2, aimed at fixed marker 7 using an exact listed look-at candidate. Include unit 3 where it falls within this view. The shot-specific medium and reverse close framings remain distinct staging requirements, not additional camera decisions for this node.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish the view from unit 1 toward unit 2 with unit 3 in the intervening coverage. Preserve the north-side positions of markers 6, 7, 8 and 10 and the west-side position of marker 9 where visible. Keep marker 5 at its committed position in unit 1 even when outside this framing. Treat the visibility lists as supersets: do not force openings 11 or 12, or unit 4, into this view, and do not infer opening adjacency from their cells.\n  - camera_framing_directive: Use camera unit 1 at [7, 2], looking toward unit 2 at [1, 6], with a wide lens and 90-degree field of view. Maintain broad coverage and readable depth toward unit 2. Use this as the representative fixed-space view; do not combine the separate approach in S50_Shot9 and reverse close view in S50_Shot10 into one perspective.\n  - subject_position_directive: For S50_Shot4, preserve staging space for 현우 seated in the left foreground with his reaching arm above marker 14 in the lower center, and 태진 farther right with her back toward camera beside marker 13. The other consuming shots supply separate subject compositions: S50_Shot9 places 태진 left of center beside a right-side partial view of marker 13, while S50_Shot10 places 현우 on the right in a reverse close view. Do not duplicate these subjects or merge their shot-specific poses into the representative background.\n  - state_cue_directive: This BG is explicitly not clean_background_expected. Carry transient marker 13 under repair and marker 14 on the floor, not yet grasped, at natural scale beneath the staged reaching hand in S50_Shot4. Show only the staged visible side of marker 13, without illustrating hidden damage as a cutaway. Maintain the committed neutral ambient interior illumination and restrained contrast. Markers 9 and 10 remain attached, with no invented readable titles.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating fixed markers 5, 6, 7, 8, 9 or 10 to satisfy incompatible shot framings. Avoid treating transient markers 13 and 14 as permanent fixtures, enlarging marker 14 for emphasis, or forcing markers 11 and 12 into an unsupported view. Avoid combining separate shot perspectives or adding subjects beyond the supplied staging.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [7, 2]\n  - look_at_unit: 2\n  - look_at_cell: [1, 6]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad representative coverage from unit 1 toward unit 2, aimed at fixed marker 7 using an exact listed look-at candidate. Include unit 3 where it falls within this view. The shot-specific medium and reverse close framings remain distinct staging requirements, not additional camera decisions for this node.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish the view from unit 1 toward unit 2 with unit 3 in the intervening coverage. Preserve the north-side positions of markers 6, 7, 8 and 10 and the west-side position of marker 9 where visible. Keep marker 5 at its committed position in unit 1 even when outside this framing. Treat the visibility lists as supersets: do not force openings 11 or 12, or unit 4, into this view, and do not infer opening adjacency from their cells.\n  - camera_framing_directive: Use camera unit 1 at [7, 2], looking toward unit 2 at [1, 6], with a wide lens and 90-degree field of view. Maintain broad coverage and readable depth toward unit 2. Use this as the representative fixed-space view; do not combine the separate approach in S50_Shot9 and reverse close view in S50_Shot10 into one perspective.\n  - subject_position_directive: For S50_Shot4, preserve staging space for 현우 seated in the left foreground with his reaching arm above marker 14 in the lower center, and 태진 farther right with her back toward camera beside marker 13. The other consuming shots supply separate subject compositions: S50_Shot9 places 태진 left of center beside a right-side partial view of marker 13, while S50_Shot10 places 현우 on the right in a reverse close view. Do not duplicate these subjects or merge their shot-specific poses into the representative background.\n  - state_cue_directive: This BG is explicitly not clean_background_expected. Carry transient marker 13 under repair and marker 14 on the floor, not yet grasped, at natural scale beneath the staged reaching hand in S50_Shot4. Show only the staged visible side of marker 13, without illustrating hidden damage as a cutaway. Maintain the committed neutral ambient interior illumination and restrained contrast. Markers 9 and 10 remain attached, with no invented readable titles.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating fixed markers 5, 6, 7, 8, 9 or 10 to satisfy incompatible shot framings. Avoid treating transient markers 13 and 14 as permanent fixtures, enlarging marker 14 for emphasis, or forcing markers 11 and 12 into an unsupported view. Avoid combining separate shot perspectives or adding subjects beyond the supplied staging.\n\n기후 재난 이후인 2069년 대한민국의 낡은 자동차 정비소 창고 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 오래된 정비 시설을 계속 사용하는 현실적인 공간이며, 낮 동안 들어오는 자연광이 콘크리트 바닥과 벽을 부드럽게 밝힌다. 실제 디지털 일안 반사식 카메라와 35밀리미터급 렌즈로 촬영한 장소 기록 사진처럼 표현한다. 남서쪽 회복 자리 가까이에서 동쪽과 북동쪽 수리 구역을 바라보며, 카메라 높이는 바닥에서 약 1.6미터인 서 있는 사람의 눈높이로 둔다. 전경의 회복 자리에서 중앙 통로를 거쳐 수리 구역까지 시선이 자연스럽게 이어지는 수평 구도이며, 위에서 내려다보는 시점이나 평면도 구도가 아니다.\n\n회복 구역은 남서쪽 모서리에 있고 중앙 통로와 수리 구역을 향해 열려 있다. 간이침대는 회복 구역의 서쪽에 남북 방향으로 놓여 있으며 머리 쪽은 북쪽이다. 서쪽과 중앙의 통행 공간은 서쪽 벽의 출입문, 회복 자리, 동쪽 정비 공간을 연결한다. 출입문은 회복 자리와 서쪽 벽의 포스터 무리 사이에 있다. 서쪽 벽의 북서쪽 부분과 북쪽 벽의 서쪽 부분에는 오래된 록 음악 공연 포스터들이 붙어 있다. 포스터는 인물 사진이나 얼굴 없이 바랜 한글 활자와 추상적인 인쇄 도형으로만 구성하고, 실존 밴드 이름은 쓰지 않는다. 북쪽 벽 중앙 부근에는 작업대가 있고, 그 바로 동쪽 벽에는 고정된 공구 걸이가 있다. 북동쪽 모서리에는 대형 스피커가 놓여 있으며 차량과 작업 통로를 침범하지 않는다.\n\n동쪽 수리 구역 중앙에는 망가진 캠핑카가 수리 중인 상태로 놓여 있다. 차체는 남북 방향이고 앞부분이 북쪽을 향한다. 낡고 손상된 차체 외장의 상태를 사실적으로 보여주되, 별도의 부품 더미나 장비를 임의로 추가하지 않는다. 캠핑카 서쪽의 작업 통로는 간이침대 쪽에서 분명하게 보이도록 비워 둔다. 커다란 펜치 한 개가 간이침대 북쪽 절반의 바로 동쪽 바닥에 놓여 있다. 침대에서 손을 뻗으면 닿을 만한 거리이지만 주 통행로 밖이며, 전경 바닥에서 위치와 형태를 식별할 수 있다.\n\n콘크리트의 실제 기공과 오래된 사용 얼룩, 금속 표면의 무딘 산화와 마모, 간이침대 천의 직조, 스피커 표면의 잔흠집, 포스터 종이의 바랜 인쇄 질감을 세밀하고 과장 없이 담는다. 차가운 회색 계열은 실제 재료와 낮빛에서 자연스럽게 나타나고 포스터의 잔존 색채만 작게 드러난다. 밝은 부분과 그늘 모두 세부가 남는 현실적인 노출과 자연스러운 피사계 심도, 후처리 없는 일상적인 현장 사진의 질감. 지나치게 깨끗한 홍보 사진이나 컴퓨터 합성 이미지, 삽화, 건축 시각화가 아니라 실제 장소에서 찍은 사진이어야 한다. 사람, 얼굴, 사람 형태의 형상은 포스터와 반사면을 포함해 어디에도 없다. 16:9 가로 비율, 실제 카메라 촬영본.\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 1,
          "camera_cell": [
            7,
            2
          ],
          "look_at_unit": 2,
          "look_at_cell": [
            1,
            6
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad representative coverage from unit 1 toward unit 2, aimed at fixed marker 7 using an exact listed look-at candidate. Include unit 3 where it falls within this view. The shot-specific medium and reverse close framings remain distinct staging requirements, not additional camera decisions for this node."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Establish the view from unit 1 toward unit 2 with unit 3 in the intervening coverage. Preserve the north-side positions of markers 6, 7, 8 and 10 and the west-side position of marker 9 where visible. Keep marker 5 at its committed position in unit 1 even when outside this framing. Treat the visibility lists as supersets: do not force openings 11 or 12, or unit 4, into this view, and do not infer opening adjacency from their cells.",
          "camera_framing_directive": "Use camera unit 1 at [7, 2], looking toward unit 2 at [1, 6], with a wide lens and 90-degree field of view. Maintain broad coverage and readable depth toward unit 2. Use this as the representative fixed-space view; do not combine the separate approach in S50_Shot9 and reverse close view in S50_Shot10 into one perspective.",
          "subject_position_directive": "For S50_Shot4, preserve staging space for 현우 seated in the left foreground with his reaching arm above marker 14 in the lower center, and 태진 farther right with her back toward camera beside marker 13. The other consuming shots supply separate subject compositions: S50_Shot9 places 태진 left of center beside a right-side partial view of marker 13, while S50_Shot10 places 현우 on the right in a reverse close view. Do not duplicate these subjects or merge their shot-specific poses into the representative background.",
          "state_cue_directive": "This BG is explicitly not clean_background_expected. Carry transient marker 13 under repair and marker 14 on the floor, not yet grasped, at natural scale beneath the staged reaching hand in S50_Shot4. Show only the staged visible side of marker 13, without illustrating hidden damage as a cutaway. Maintain the committed neutral ambient interior illumination and restrained contrast. Markers 9 and 10 remain attached, with no invented readable titles.",
          "negative_continuity_directive": "No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating fixed markers 5, 6, 7, 8, 9 or 10 to satisfy incompatible shot framings. Avoid treating transient markers 13 and 14 as permanent fixtures, enlarging marker 14 for emphasis, or forcing markers 11 and 12 into an unsupported view. Avoid combining separate shot perspectives or adding subjects beyond the supplied staging."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_repair_warehouse",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_repair_warehouse"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L211B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L211",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L211B01.png",
        "t2i_prompt": "2069년 기후 재난 이후 한국에서 계속 사용되는 컨테이너 간이식당 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 공동 식사 공간만 담는다. 실제 미러리스 카메라와 35밀리미터 환산 초점거리의 렌즈로, 서쪽 출입 경계 바로 안쪽의 약 1.6미터 높이에서 동북동 방향을 바라본다. 남쪽 벽을 따라 이어지는 통로가 전경에서 안쪽으로 자연스럽게 연결되고, 중앙에서 동쪽에 자리한 긴 공동 식탁과 그 뒤 북쪽 벽의 창이 함께 보이는 구도다. 위에서 내려다보지 않는 서 있는 사람의 눈높이 원근감과 자연스러운 피사계 심도를 유지한다.\n\n참조 평면도는 직사각형 실내의 구조와 기존 가구의 위치를 파악하는 용도로만 사용한다. 식탁의 긴 방향은 동서로 놓여 있고, 북쪽 긴 의자는 식탁과 북쪽 벽 사이에, 남쪽 긴 의자는 식탁의 남쪽에 놓여 남쪽 통로를 비워 둔다. 한국의 소박한 현장 간이식당처럼 실용적인 컨테이너 벽체, 금속 창틀, 오래 사용한 식탁과 긴 의자의 표면을 사실적으로 표현한다. 도장된 금속의 잔잔한 마모와 이음매의 묵은 때, 식탁과 의자의 실제 나뭇결과 생활 마찰 자국은 보이되, 공간은 관리되어 계속 사용할 수 있는 상태다. 미래라는 이유로 새로운 첨단 설비를 추가하지 않는다.\n\n공동 식탁의 식사 자리에는 국밥이 남아 있는 식기와 금속 숟가락, 젓가락이 놓여 있어 낮 식사 도중의 상태임을 보여 준다. 식기는 식탁 위에 안정적으로 놓여 있으며 식탁과 의자는 평소 배치를 유지한다. 북쪽 창으로 들어오는 부드러운 낮의 자연광이 식기 가장자리와 식탁 표면을 비추고, 식탁 아래에는 실제 실내에서 생기는 옅은 그림자가 드리운다. 회색 벽체의 차분한 색과 목재 및 음식의 자연스러운 온기를 과장 없이 담는다. 인물, 얼굴, 사람 형태의 형상은 어디에도 묘사하지 않는다. 과도한 보정이나 인위적인 광택 없이 실제 장소 기록 사진과 구별되지 않는 재질, 노출, 색감을 사용한다. 평면도나 건축 도해가 아닌 실내 현장 사진. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S51_Shot10",
            "guide_text": "서쪽 출입 경계 쪽의 약 1.6미터 눈높이에서 공동 식탁과 북쪽 창을 함께 담는다. 식탁 위에는 사용 중인 국밥 식기와 수저를 유지하고, 양쪽 긴 의자와 남쪽 통로의 위치 관계가 읽히게 한다. 낮의 부드러운 창빛과 일상적인 식사 공간의 상태를 유지하며, 대화의 감정 강도를 공간 파손이나 가구의 흐트러짐으로 표현하지 않는다. 배경에는 인물이나 사람 형태의 형상을 넣지 않는다."
          }
        ],
        "shot_ids": [
          "S51_Shot10"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Near number 3 (entrance threshold), just inside number 5 (entrance door), facing east-northeast across number 4 (circulation aisle) toward number 7 (communal dining table) and number 6 (dining window).",
          "camera_height": "eye-level standing, approximately 1.6 m",
          "lens_hint": "28–35mm equivalent moderate wide angle",
          "framing_notes": "Include numbers 7, 8, and 9 as the stable dining arrangement, with number 10 on the tabletop. Keep the aisle readable in the foreground. The room remains intact and orderly despite the tense conversation; do not add broken furniture, displaced seating, or damage."
        },
        "reference_decision": {
          "bg_id": "L211B01",
          "fp_id": "fp_container_diner",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L211B01 belongs to the supplied anchor candidate set and establishes the fixed identity for both staged BGs. The supplied fallback permits this selection despite clean_background_expected=false; marker 10 remains transient rather than part of the fixed identity. Camera unit 3 looking into unit 2 supports S51_Shot10's close foreground staging with a limited interior background.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_container_diner.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The first node establishes identity directly from the floor plan; no previously rendered reference is supplied.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 3,
            "camera_cell": [
              5,
              1
            ],
            "look_at_unit": 2,
            "look_at_cell": [
              4,
              5
            ],
            "lens_enum": "normal",
            "fov_deg": 50,
            "framing_notes": "Neutral coverage from unit 3 toward base marker 7 in unit 2. The close over-shoulder composition is supplied by the foreground staging, not by expanding the background to include every target unit. The planar coordinates do not specify subject height or camera pitch."
          },
          "render_guidance": {
            "visible_space_directive": "Show the forward portion of unit 2 within unit 1, viewed from unit 3 toward marker 7. Retain the floor-plan positions of markers 6, 7, 8 and 9 wherever they survive the close foreground crop. Unit 4 and opening 5 are not required in this view; the visibility candidate lists are supersets, not instructions to show every listed element.",
            "camera_framing_directive": "Use camera unit 3 at [5, 1], looking into unit 2 at [4, 5], with normal lens coverage at 50 degrees. Maintain neutral background coverage and let the staged close foreground leave only a narrow, softly resolved interior region.",
            "subject_position_directive": "Follow S51_Shot10: 현우's three-quarter face occupies center-right, leaning into the reprimand; only a narrow edge of 앰버's turned shoulder appears at left. His attention remains toward her face outside that edge rather than toward the lens. Preserve the staged slightly low viewing relationship without inventing grid positions for either subject or adding unrelated subjects.",
            "state_cue_directive": "Carry transient marker 10, In-use soup meal settings, only where visible within the committed crop. clean_background_expected is false. Preserve the staged occupied-conversation state and consistent ambient light with controlled contrast; the action does not introduce a new lighting effect.",
            "negative_continuity_directive": "Exclude marker 11 and ignored overlay 11. Avoid treating marker 10 as a persistent fixture. Avoid relocating markers 6, 7, 8 or 9, forcing unit 4 or opening 5 into the forward crop, or treating the visibility supersets as guaranteed co-visibility."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [5, 1]\n  - look_at_unit: 2\n  - look_at_cell: [4, 5]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral coverage from unit 3 toward base marker 7 in unit 2. The close over-shoulder composition is supplied by the foreground staging, not by expanding the background to include every target unit. The planar coordinates do not specify subject height or camera pitch.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward portion of unit 2 within unit 1, viewed from unit 3 toward marker 7. Retain the floor-plan positions of markers 6, 7, 8 and 9 wherever they survive the close foreground crop. Unit 4 and opening 5 are not required in this view; the visibility candidate lists are supersets, not instructions to show every listed element.\n  - camera_framing_directive: Use camera unit 3 at [5, 1], looking into unit 2 at [4, 5], with normal lens coverage at 50 degrees. Maintain neutral background coverage and let the staged close foreground leave only a narrow, softly resolved interior region.\n  - subject_position_directive: Follow S51_Shot10: 현우's three-quarter face occupies center-right, leaning into the reprimand; only a narrow edge of 앰버's turned shoulder appears at left. His attention remains toward her face outside that edge rather than toward the lens. Preserve the staged slightly low viewing relationship without inventing grid positions for either subject or adding unrelated subjects.\n  - state_cue_directive: Carry transient marker 10, In-use soup meal settings, only where visible within the committed crop. clean_background_expected is false. Preserve the staged occupied-conversation state and consistent ambient light with controlled contrast; the action does not introduce a new lighting effect.\n  - negative_continuity_directive: Exclude marker 11 and ignored overlay 11. Avoid treating marker 10 as a persistent fixture. Avoid relocating markers 6, 7, 8 or 9, forcing unit 4 or opening 5 into the forward crop, or treating the visibility supersets as guaranteed co-visibility.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [5, 1]\n  - look_at_unit: 2\n  - look_at_cell: [4, 5]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral coverage from unit 3 toward base marker 7 in unit 2. The close over-shoulder composition is supplied by the foreground staging, not by expanding the background to include every target unit. The planar coordinates do not specify subject height or camera pitch.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward portion of unit 2 within unit 1, viewed from unit 3 toward marker 7. Retain the floor-plan positions of markers 6, 7, 8 and 9 wherever they survive the close foreground crop. Unit 4 and opening 5 are not required in this view; the visibility candidate lists are supersets, not instructions to show every listed element.\n  - camera_framing_directive: Use camera unit 3 at [5, 1], looking into unit 2 at [4, 5], with normal lens coverage at 50 degrees. Maintain neutral background coverage and let the staged close foreground leave only a narrow, softly resolved interior region.\n  - subject_position_directive: Follow S51_Shot10: 현우's three-quarter face occupies center-right, leaning into the reprimand; only a narrow edge of 앰버's turned shoulder appears at left. His attention remains toward her face outside that edge rather than toward the lens. Preserve the staged slightly low viewing relationship without inventing grid positions for either subject or adding unrelated subjects.\n  - state_cue_directive: Carry transient marker 10, In-use soup meal settings, only where visible within the committed crop. clean_background_expected is false. Preserve the staged occupied-conversation state and consistent ambient light with controlled contrast; the action does not introduce a new lighting effect.\n  - negative_continuity_directive: Exclude marker 11 and ignored overlay 11. Avoid treating marker 10 as a persistent fixture. Avoid relocating markers 6, 7, 8 or 9, forcing unit 4 or opening 5 into the forward crop, or treating the visibility supersets as guaranteed co-visibility.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [5, 1]\n  - look_at_unit: 2\n  - look_at_cell: [4, 5]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral coverage from unit 3 toward base marker 7 in unit 2. The close over-shoulder composition is supplied by the foreground staging, not by expanding the background to include every target unit. The planar coordinates do not specify subject height or camera pitch.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward portion of unit 2 within unit 1, viewed from unit 3 toward marker 7. Retain the floor-plan positions of markers 6, 7, 8 and 9 wherever they survive the close foreground crop. Unit 4 and opening 5 are not required in this view; the visibility candidate lists are supersets, not instructions to show every listed element.\n  - camera_framing_directive: Use camera unit 3 at [5, 1], looking into unit 2 at [4, 5], with normal lens coverage at 50 degrees. Maintain neutral background coverage and let the staged close foreground leave only a narrow, softly resolved interior region.\n  - subject_position_directive: Follow S51_Shot10: 현우's three-quarter face occupies center-right, leaning into the reprimand; only a narrow edge of 앰버's turned shoulder appears at left. His attention remains toward her face outside that edge rather than toward the lens. Preserve the staged slightly low viewing relationship without inventing grid positions for either subject or adding unrelated subjects.\n  - state_cue_directive: Carry transient marker 10, In-use soup meal settings, only where visible within the committed crop. clean_background_expected is false. Preserve the staged occupied-conversation state and consistent ambient light with controlled contrast; the action does not introduce a new lighting effect.\n  - negative_continuity_directive: Exclude marker 11 and ignored overlay 11. Avoid treating marker 10 as a persistent fixture. Avoid relocating markers 6, 7, 8 or 9, forcing unit 4 or opening 5 into the forward crop, or treating the visibility supersets as guaranteed co-visibility.\n\n2069년 기후 재난 이후 한국에서 계속 사용되는 컨테이너 간이식당 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 공동 식사 공간만 담는다. 실제 미러리스 카메라와 35밀리미터 환산 초점거리의 렌즈로, 서쪽 출입 경계 바로 안쪽의 약 1.6미터 높이에서 동북동 방향을 바라본다. 남쪽 벽을 따라 이어지는 통로가 전경에서 안쪽으로 자연스럽게 연결되고, 중앙에서 동쪽에 자리한 긴 공동 식탁과 그 뒤 북쪽 벽의 창이 함께 보이는 구도다. 위에서 내려다보지 않는 서 있는 사람의 눈높이 원근감과 자연스러운 피사계 심도를 유지한다.\n\n참조 평면도는 직사각형 실내의 구조와 기존 가구의 위치를 파악하는 용도로만 사용한다. 식탁의 긴 방향은 동서로 놓여 있고, 북쪽 긴 의자는 식탁과 북쪽 벽 사이에, 남쪽 긴 의자는 식탁의 남쪽에 놓여 남쪽 통로를 비워 둔다. 한국의 소박한 현장 간이식당처럼 실용적인 컨테이너 벽체, 금속 창틀, 오래 사용한 식탁과 긴 의자의 표면을 사실적으로 표현한다. 도장된 금속의 잔잔한 마모와 이음매의 묵은 때, 식탁과 의자의 실제 나뭇결과 생활 마찰 자국은 보이되, 공간은 관리되어 계속 사용할 수 있는 상태다. 미래라는 이유로 새로운 첨단 설비를 추가하지 않는다.\n\n공동 식탁의 식사 자리에는 국밥이 남아 있는 식기와 금속 숟가락, 젓가락이 놓여 있어 낮 식사 도중의 상태임을 보여 준다. 식기는 식탁 위에 안정적으로 놓여 있으며 식탁과 의자는 평소 배치를 유지한다. 북쪽 창으로 들어오는 부드러운 낮의 자연광이 식기 가장자리와 식탁 표면을 비추고, 식탁 아래에는 실제 실내에서 생기는 옅은 그림자가 드리운다. 회색 벽체의 차분한 색과 목재 및 음식의 자연스러운 온기를 과장 없이 담는다. 인물, 얼굴, 사람 형태의 형상은 어디에도 묘사하지 않는다. 과도한 보정이나 인위적인 광택 없이 실제 장소 기록 사진과 구별되지 않는 재질, 노출, 색감을 사용한다. 평면도나 건축 도해가 아닌 실내 현장 사진. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 3,
          "camera_cell": [
            5,
            1
          ],
          "look_at_unit": 2,
          "look_at_cell": [
            4,
            5
          ],
          "lens_enum": "normal",
          "fov_deg": 50,
          "framing_notes": "Neutral coverage from unit 3 toward base marker 7 in unit 2. The close over-shoulder composition is supplied by the foreground staging, not by expanding the background to include every target unit. The planar coordinates do not specify subject height or camera pitch."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Show the forward portion of unit 2 within unit 1, viewed from unit 3 toward marker 7. Retain the floor-plan positions of markers 6, 7, 8 and 9 wherever they survive the close foreground crop. Unit 4 and opening 5 are not required in this view; the visibility candidate lists are supersets, not instructions to show every listed element.",
          "camera_framing_directive": "Use camera unit 3 at [5, 1], looking into unit 2 at [4, 5], with normal lens coverage at 50 degrees. Maintain neutral background coverage and let the staged close foreground leave only a narrow, softly resolved interior region.",
          "subject_position_directive": "Follow S51_Shot10: 현우's three-quarter face occupies center-right, leaning into the reprimand; only a narrow edge of 앰버's turned shoulder appears at left. His attention remains toward her face outside that edge rather than toward the lens. Preserve the staged slightly low viewing relationship without inventing grid positions for either subject or adding unrelated subjects.",
          "state_cue_directive": "Carry transient marker 10, In-use soup meal settings, only where visible within the committed crop. clean_background_expected is false. Preserve the staged occupied-conversation state and consistent ambient light with controlled contrast; the action does not introduce a new lighting effect.",
          "negative_continuity_directive": "Exclude marker 11 and ignored overlay 11. Avoid treating marker 10 as a persistent fixture. Avoid relocating markers 6, 7, 8 or 9, forcing unit 4 or opening 5 into the forward crop, or treating the visibility supersets as guaranteed co-visibility."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_container_diner",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_container_diner"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L211B03": {
        "status": "ok",
        "is_reuse": true,
        "render_action": "reuse_existing_plate",
        "reuse_target_bg_id": "L211B01",
        "reused_from_bg_id": "L211B01",
        "location_id": "L211",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L211B01.png",
        "t2i_prompt": "기후 재난 이후 2069년 무렵의 한국에서 기존 컨테이너를 활용하는 간이식당 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 다음 날 아침의 조용한 실내이며, 북쪽 식당 창으로 들어오는 부드러운 자연광이 차가운 회색 금속 벽과 오래 사용한 가구를 비춘다. 직사각형 컨테이너 내부의 중앙과 동쪽에 식사 공간이 있고, 동서 방향으로 긴 공동 식탁의 북쪽과 남쪽에 긴 의자가 놓여 있다. 북쪽 긴 의자는 식탁과 창이 있는 벽 사이에 있으며, 남쪽 긴 의자 뒤의 통로는 비워 둔다. 이 배치는 유지하되 가까운 구도 때문에 창과 식탁, 긴 의자의 일부만 배경으로 보인다. 컨테이너 금속 내벽의 도장 마모와 옅은 산화 흔적, 식탁과 긴 의자의 실제 나뭇결과 오래된 사용 흔적을 절제하여 담는다.\n식사 공간 옆 가까운 전경에 손에 들어 읽는 위치의 낡은 편지가 크게 보인다. 편지를 잡는 부분은 화면 아래로 완전히 잘려 나가며, 화면에는 종이만 들어오고 사람이나 손 등 신체 일부는 보이지 않는다. 편지는 가구 위에 놓거나 표면에 부착하지 않는다. 누렇게 바랜 종이 섬유와 부드럽게 닳은 가장자리, 오래 접힌 자국이 아침빛에서 자연스럽게 드러난다. 종이의 따뜻한 색과 실내의 회색은 실제 재료와 빛의 차이로만 나타낸다.\n실제 미러리스 카메라의 약 35밀리미터 렌즈로 선 자세의 눈높이인 약 1.6미터에서 촬영하며, 약 1.3~1.5미터 높이에 있는 편지 쪽으로 시선을 조금 낮춘다. 최종 화면은 65~85밀리미터 상당의 좁은 화각처럼 잘라 편지를 중심으로 잡고 기존 식당은 제한적으로만 남긴다. 편지에 초점을 맞추고 뒤쪽 가구와 창은 자연스러운 심도로 부드러워지되 공간의 관계는 알아볼 수 있게 한다. 사람, 얼굴, 인체 형태의 형상은 전혀 없는 배경 사진. 과도한 보정 없이 실제 장소 기록 사진과 구별되지 않는 재료 질감과 노출을 유지하며, 그림이나 컴퓨터 합성 이미지가 아닌 실제 사진으로 표현한다. 위에서 내려다본 구도나 평면도, 건축 도해가 아니다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S51_Shot14",
            "guide_text": "낡은 편지가 전경의 주된 면적을 차지하도록 가까이 잡는다. 편지 아래의 잡는 부분은 화면 밖으로 잘라 신체가 보이지 않게 하고, 종이의 접힌 자국과 섬유에 초점을 둔다. 뒤에는 같은 공동 식탁과 긴 의자, 북쪽 창의 일부만 자연스럽게 흐려진 상태로 남긴다. 다음 날 아침의 부드러운 창빛과 조용한 실내 분위기를 유지한다."
          }
        ],
        "shot_ids": [
          "S51_Shot14"
        ],
        "scenes": [],
        "parent_id": "L211B01",
        "ref_used": "reused_plate",
        "render_attempts": 0,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "Near the eastern portion of number 4 (circulation aisle), facing north toward number 7 (communal dining table), number 8 (north dining bench), and number 6 (dining window), with number 11 (worn handheld letter) close to the foreground.",
          "camera_height": "approximately 1.3–1.5 m, adjusted to the handheld letter",
          "lens_hint": "65–85mm equivalent close framing",
          "framing_notes": "Frame the handheld letter prominently with only a limited portion of the existing dining room behind it. Preserve the same table, benches, and window positions. Do not create an evidence display, introduce the departed robot, or carry over the active daytime meal settings."
        },
        "reference_decision": {
          "mode": "reference_derived",
          "render_action": "reuse_existing_plate",
          "reuse_target_bg_id": "L211B01",
          "selected_refs": [
            {
              "ref_bg_id": "L211B01",
              "physical_space_id": "fp_container_diner_space_1",
              "space_description": "The continuous interior identified by base marker 1, including unit 2 and fixed markers 6, 7, 8 and 9."
            }
          ]
        },
        "shot_aware_plan_node_index": 1,
        "shot_aware_plan_mode": "reference_derived",
        "render_guidance": {
          "visible_space_directive": "Retain L211B01's fixed unit-2 interior within unit 1 behind the close foreground crop. Keep marker 7 central-eastern with its east-west axis, marker 8 north of it, marker 9 south of it, and opening 6 on the northern wall. Show only the portions surviving the staged crop; additional openings or units are not required.",
          "camera_framing_directive": "Use camera unit 3 at [5, 1], looking into unit 2 at [4, 5], with a normal lens and 50-degree neutral coverage, matching L211B01's planar base. Keep the foreground reading composition close rather than converting the background into a broad establishing view.",
          "subject_position_directive": "Follow S51_Shot14's static, steeply downward subjective view from 현우's raised eye position. Keep 현우 entirely absent and 앰버's face above the frame. Show her gripping hands and cropped torso around marker 11, whose written face occupies the central third at natural scale and is seen directly.",
          "state_cue_directive": "Carry transient marker 11, Worn handheld letter, with worn paper and uneven handwriting. Preserve the supplied written content: 고마워. 해남에 오게 되면 꼭 들러. 앰버 널 기억할게 .친구 찰리. Use the staged setting-appropriate daytime illumination, restrained contrast and legibility without perceptual distortion. clean_background_expected is false; marker 11 is a transient foreground cue, not a fixed fixture.",
          "negative_continuity_directive": "Exclude marker 10 and ignored overlay 10, including any carryover from L211B01. Avoid moving fixed markers 6, 7, 8 or 9 to accommodate marker 11. Avoid copying L211B01's subject layer, exposing units outside the committed crop, or adding an uncommitted opening or reflected view."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_container_diner",
          "prior_bg_ids": [
            "L211B01"
          ],
          "attached_ref_labels": [
            "bg:L211B01"
          ],
          "ref_used": "reused_plate",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L211B02": {
        "status": "ok",
        "location_id": "L211",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L211B02.png",
        "t2i_prompt": "기후 재난 이후인 2069년 대한민국의 생활 거점에 남아 사용 중인 컨테이너 식당 외부. 다음 날 아침, 막 출발하는 차량에서 옆쪽으로 바라보이는 식당 쪽 풍경만 촬영한 빈 배경판이다. 실제 미러리스 카메라와 35밀리미터급 렌즈로 촬영한 다큐멘터리 풍 사진으로, 지면에서 약 1.6미터 높이의 수평 눈높이를 유지한다. 차량이 떠나는 진입로 쪽에서 식당 정면을 조금 비스듬히 바라보며, 식당 외벽과 출입구, 그 앞의 빈 마당이 함께 보인다. 차량 속 인물 뒤에 놓일 외부 풍경이므로 차량 실내, 좌석, 창틀, 유리 반사는 그리지 않으며 식당 내부를 주된 공간으로 보여주지 않는다.\n\n국내 외곽에서 볼 수 있는 재사용 철제 컨테이너 가설 식당의 현실적인 구조. 골이 진 도장 강판 벽체, 알루미늄틀 미닫이창, 닫힌 금속 출입문, 문 앞의 낮은 콘크리트 디딤단, 출입구 위의 작은 골강판 차양과 낡은 한글 ‘식당’ 표지가 보인다. 외벽에는 햇빛에 바랜 도장과 이음매의 국소적인 녹, 빗물 자국과 소박한 보수 흔적이 있다. 창은 외부 하늘을 은은하게 반사하고 내부는 어둡게 가려져 있다. 마당은 다져진 흙과 자갈이 섞인 바닥이며, 옅은 바퀴 자국과 가장자리의 드문 풀이 보인다. 식당은 계속 쓰이는 생활 시설로 보이고, 무너진 폐허나 과장된 미래 장치를 덧붙이지 않는다.\n\n낮게 들어오는 아침 자연광이 강판의 요철과 디딤단의 거친 표면을 드러낸다. 그늘은 차분한 회색이고 햇빛이 닿은 부분에만 옅은 온기가 남는다. 밝은 하늘과 그늘의 노출 차이는 실제 카메라처럼 자연스럽게 유지한다. 작별 뒤의 조용한 빈 공간을 보여주되 인위적인 안개나 극적인 역광은 넣지 않는다. 실제 금속의 부식, 콘크리트의 마모, 흙과 자갈의 불규칙한 질감을 살리고 자연스러운 심도로 식당의 형태를 알아볼 수 있게 한다. 매끈하게 정리된 광고 사진이 아니라 현장에서 촬영한 장소 기록 사진이어야 한다. 사람, 얼굴, 인물 반사, 로봇, 시신과 혈흔은 없다. 조감도나 평면도가 아닌 지상 눈높이의 실제 풍경이다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S51_Shot19",
            "guide_text": "차량 속 인물 뒤로 보일 외부 배경으로 사용한다. 출발 진입로에서 식당 쪽을 비스듬히 바라보는 수평 눈높이를 유지하고, 컨테이너 외벽과 출입구, 빈 마당이 읽히게 한다. 다음 날 아침의 자연광과 사용 중인 식당의 소박한 마모를 유지한다. 작별하는 사람이나 차량 실내를 배경에 미리 그리지 말고, 출발감을 위한 과도한 흐림 없이 외부 풍경만 확보한다."
          }
        ],
        "shot_ids": [
          "S51_Shot19"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "text_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {},
        "reference_decision": {
          "mode": "surface_role_direct_plate",
          "surface_role": "exterior_plate",
          "fp_id": "",
          "source_bg_ids": []
        },
        "effective_render_prompt": "기후 재난 이후인 2069년 대한민국의 생활 거점에 남아 사용 중인 컨테이너 식당 외부. 다음 날 아침, 막 출발하는 차량에서 옆쪽으로 바라보이는 식당 쪽 풍경만 촬영한 빈 배경판이다. 실제 미러리스 카메라와 35밀리미터급 렌즈로 촬영한 다큐멘터리 풍 사진으로, 지면에서 약 1.6미터 높이의 수평 눈높이를 유지한다. 차량이 떠나는 진입로 쪽에서 식당 정면을 조금 비스듬히 바라보며, 식당 외벽과 출입구, 그 앞의 빈 마당이 함께 보인다. 차량 속 인물 뒤에 놓일 외부 풍경이므로 차량 실내, 좌석, 창틀, 유리 반사는 그리지 않으며 식당 내부를 주된 공간으로 보여주지 않는다.\n\n국내 외곽에서 볼 수 있는 재사용 철제 컨테이너 가설 식당의 현실적인 구조. 골이 진 도장 강판 벽체, 알루미늄틀 미닫이창, 닫힌 금속 출입문, 문 앞의 낮은 콘크리트 디딤단, 출입구 위의 작은 골강판 차양과 낡은 한글 ‘식당’ 표지가 보인다. 외벽에는 햇빛에 바랜 도장과 이음매의 국소적인 녹, 빗물 자국과 소박한 보수 흔적이 있다. 창은 외부 하늘을 은은하게 반사하고 내부는 어둡게 가려져 있다. 마당은 다져진 흙과 자갈이 섞인 바닥이며, 옅은 바퀴 자국과 가장자리의 드문 풀이 보인다. 식당은 계속 쓰이는 생활 시설로 보이고, 무너진 폐허나 과장된 미래 장치를 덧붙이지 않는다.\n\n낮게 들어오는 아침 자연광이 강판의 요철과 디딤단의 거친 표면을 드러낸다. 그늘은 차분한 회색이고 햇빛이 닿은 부분에만 옅은 온기가 남는다. 밝은 하늘과 그늘의 노출 차이는 실제 카메라처럼 자연스럽게 유지한다. 작별 뒤의 조용한 빈 공간을 보여주되 인위적인 안개나 극적인 역광은 넣지 않는다. 실제 금속의 부식, 콘크리트의 마모, 흙과 자갈의 불규칙한 질감을 살리고 자연스러운 심도로 식당의 형태를 알아볼 수 있게 한다. 매끈하게 정리된 광고 사진이 아니라 현장에서 촬영한 장소 기록 사진이어야 한다. 사람, 얼굴, 인물 반사, 로봇, 시신과 혈흔은 없다. 조감도나 평면도가 아닌 지상 눈높이의 실제 풍경이다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_aware_plan_mode": "surface_role_direct_plate",
        "attached_reference_lineage": {
          "fp_id": "",
          "prior_bg_ids": [],
          "attached_ref_labels": [],
          "ref_used": "text_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L220B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L220",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L220B01.png",
        "t2i_prompt": "2069년 기후 재난 이후 대한민국에 남은 훼손된 성당 예배당 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 실제 장소의 기록 사진처럼 표현한다. 참고 평면도는 공간의 배치와 고정 시설의 관계만 파악하는 자료로 사용한다. 예배당 중앙 공간의 남서쪽에 서서 북동쪽을 바라보며, 북쪽 단상과 의례용 의자가 정면 안쪽에, 철창 미닫이문이 화면 오른쪽에 보이도록 촬영한다. 촬영 높이는 약 1.6미터, 35밀리미터 규격의 전면형 감지기를 갖춘 실제 미러리스 카메라와 28밀리미터 광각 렌즈를 사용한 자연스러운 원근감이다. 위에서 내려다보는 구도가 아니라 서 있는 사람의 눈높이 구도다.\n\n넓게 열린 예배당 바닥 너머로 북쪽 단상이 보이고, 단상 남쪽 가장자리 중앙의 계단이 바닥과 이어진다. 단상 북쪽 중앙에는 예배당 안쪽을 향해 남쪽으로 놓인 의례용 의자가 있다. 서쪽·남쪽·동쪽 둘레를 따라 이어지는 이층 회랑과 그 안쪽 가장자리의 난간은 동일한 구조로 연결된다. 남쪽 회랑은 촬영 위치 뒤로 이어지는 배치로 이해하고, 화면에는 시야에 들어오는 측면 회랑만 자연스럽게 담는다. 단상 앞 공간의 동쪽에는 북동쪽 부속 대기실이 있으며, 그 서쪽 벽의 철창 미닫이문이 단상 앞을 향한다. 철창문 서쪽, 단상의 남동쪽에 이어지는 이동 여유 공간은 비워 둔다. 이동식 강철 케이지 한 개는 부속 대기실 쪽에서 철창문 문턱을 지나 서쪽 이동 여유 공간으로 일부 나온 임시 위치에 둔다. 케이지가 통과할 수 있도록 철창문은 옆으로 열려 있고, 문과 케이지는 서로 독립된 금속 구조로 읽힌다. 케이지를 예배당 중앙에 고정된 시설처럼 배치하지 않는다.\n\n서쪽 외벽 중간과 동쪽 외벽 중간의 스테인드글라스 창으로 낮의 자연광이 들어온다. 동쪽 창은 부속 대기실보다 남쪽에 있다. 직접 햇빛이 드는 창에서는 유리 색을 통과한 빛이 바닥에 국소적으로 맺히고, 반대편에서는 부드러운 낮빛이 들어와 실제 건물 내부처럼 명암이 이어진다. 재난 이전 한국의 근현대 성당에서 볼 법한 콘크리트 바탕과 미장 마감, 스테인드글라스의 금속 결합부를 현실적인 시공 방식으로 표현한다. 훼손된 벽 마감의 벌어진 균열과 벗겨짐, 오래된 누수 얼룩, 닳은 계단 모서리, 금속 난간과 철창의 부식, 의자의 실제 목재 결을 가까이서도 확인할 수 있다. 강철 케이지에는 실제 용접 이음매와 사용으로 닳은 금속 표면이 보인다. 전체는 재료 본래의 차분한 회색을 중심으로 하되 스테인드글라스를 통과한 빛만 제한적으로 색을 띤다. 자연스러운 피사계 심도와 과장하지 않은 노출로 단상, 의자, 철창문, 케이지의 공간 관계가 읽히게 한다. 사람, 얼굴, 인체 형태의 조형물이나 유리 속 인물 도상은 넣지 않는다. 과도하게 말끔한 홍보용 사진이 아닌 현장 기록이며, 삽화나 컴퓨터 생성 영상, 건축 시각화, 평면도처럼 보이지 않게 한다. 인위적인 색 보정이나 특수 발광 효과 없이 촬영한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S58_Shot5",
            "guide_text": "남서쪽 눈높이에서 북동쪽을 보는 기본 구도를 사용한다. 북쪽 단상과 의례용 의자, 오른쪽 철창문 및 문턱에 걸쳐 나온 케이지의 상대 위치를 명확히 보여 준다. 사람 없이 낮의 예배당 배경만 유지한다."
          },
          {
            "shot_id": "S58_Shot15",
            "guide_text": "같은 배경의 단상 계단, 의자, 측면 이층 회랑과 난간을 공간 연결의 기준으로 삼는다. 구도를 조정하더라도 철창문과 케이지의 위치 및 열림 상태를 바꾸지 않고, 스테인드글라스 자연광의 방향과 재료 질감을 유지한다."
          },
          {
            "shot_id": "S58_Shot25",
            "guide_text": "북동쪽 부속 대기실, 그 서쪽 철창문, 단상 남동쪽 이동 여유 공간의 연결 관계를 유지한다. 케이지는 동일한 문턱 위치의 한 개로 유지하며 예배당 중앙에 추가하지 않는다. 단상과 의자, 낮빛의 연속성을 보존하고 인물은 넣지 않는다."
          }
        ],
        "shot_ids": [
          "S58_Shot5",
          "S58_Shot15",
          "S58_Shot25"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "In the southwest portion of number 1 (open nave), forward of number 7 (balcony access stair), facing diagonally northeast toward numbers 3 and 5 (dais and chair), with number 8 (barred opening) to frame right.",
          "camera_height": "Standing eye level, approximately 1.6 m",
          "lens_hint": "24–28mm wide angle",
          "framing_notes": "Use the same spatial camera anchor across the listed shots. Include the dais, chair, dais-front clearance, barred opening, and the upper side balconies with their balustrade. Retain the stained-glass openings as architectural anchors and leave the nave foreground open for scene staging. Number 9 is visible only as permitted by the opaque gate and its current state. Number 14 is an overlay reference for the cage-emergence portion, not an instruction to show the cage in every shot; preserve the clear earlier floor and respect later gate occlusion. Crowd placement, archers, gate operation, and daylight beams belong to scene-specific depiction, not the floor-plan image."
        },
        "reference_decision": {
          "bg_id": "L220B01",
          "fp_id": "fp_church_sanctuary",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L220B01 is the sole ready BG and the sole supplied anchor candidate. Select it under the documented ramped fallback despite clean_background_expected=false and transient marker 14; do not misclassify it as clean. No reference catalog entries exist. Camera unit 1 facing the unit 9 boundary at opening 8 provides an oblique, broad representative view for S58_Shot15 and preserves approach context. S58_Shot5 and S58_Shot25 have different framing and state requirements; their shot-specific compositions must not be collapsed into simultaneous subject or opening states in this representative plate.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_church_sanctuary.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "not_applicable_no_prior_reference",
            "why_single_ref_or_two_refs": "Fresh floor-plan anchor; no earlier same-fp node or catalog reference is available.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 1,
            "camera_cell": [
              4,
              4
            ],
            "look_at_unit": 9,
            "look_at_cell": [
              1,
              7
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad oblique coverage from unit 1 toward opening 8 at the boundary of unit 9, using exact listed coordinates. Use S58_Shot15 as the representative framing: retain approach floor and surrounding architecture, with the revealed full-body subject right of center. The look-at cell targets opening 8 rather than the unit 9 marker center. This single camera decision does not separately encode the lateral composition of S58_Shot5 or the close crop of S58_Shot25."
          },
          "render_guidance": {
            "visible_space_directive": "Show the forward portion of unit 1 toward unit 10 and opening 8, with unit 9 visible only to the extent exposed through opening 8. Retain the in-cone portions of units 3 and 4 and base marker 5 in their floor-plan positions. Treat visible-unit and visible-opening lists as supersets, not guaranteed visibility; do not force all target markers into this forward-facing view. Preserve the fixed relationship of unit 9 east of unit 10 and opening 8 on its west boundary.",
            "camera_framing_directive": "Use camera unit 1 at [4, 4], looking toward unit 9 via [1, 7], with a wide lens and 90-degree field of view. Provide broad architectural and floor coverage. For the representative S58_Shot15 composition, maintain the committed oblique view below the subject's head, with floor beneath the feet; neither opening 8 nor transient marker 14 should occupy more than two-fifths of the image. S58_Shot25's narrow right-edge fragment is a shot-specific crop requirement, not the full extent of this broad plate.",
            "subject_position_directive": "Keep subject arrangements separate by consuming shot. S58_Shot15 commits 찰리 right of center, full body visible within marker 14 beyond opening 8, with a slight head tilt toward the off-screen left call. S58_Shot5 commits 백산 just right of center with one foot raised and floor beneath it, while 군중들 form a lower background band bowing at varied depths. S58_Shot25 commits 앰버 in the left two-thirds, reaching into the right side while pulled backward; retain the other staged figures outside that crop. Do not combine these separate shot arrangements into one group.",
            "state_cue_directive": "This BG is not marked clean. Include transient marker 14 as the committed movable enclosure associated with opening 8. For the representative S58_Shot15 state, opening 8 is displaced enough to reveal the full figure within marker 14. S58_Shot25 instead requires opening 8 closed, visible only as a narrow fragment; treat these as distinct shot states rather than simultaneous states. Preserve the staged damaged interior and established stained-glass daylight, with controlled metal highlights and no separate illumination for marker 14. No specific damage pattern is committed.",
            "negative_continuity_directive": "The ignore and ignored-overlay lists are empty. Avoid relocating fixed markers 3, 4, 5, 8, 9, 10, or 13 to satisfy individual crops; preserve their floor-plan positions even when outside the frame. Do not treat transient marker 14 as a permanent fixture. Do not force units 6 or 7, opening 2, or other out-of-cone markers into the selected view. Avoid simultaneously depicting incompatible states of marker 8 or importing all consuming-shot subject arrangements into the representative plate."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [4, 4]\n  - look_at_unit: 9\n  - look_at_cell: [1, 7]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad oblique coverage from unit 1 toward opening 8 at the boundary of unit 9, using exact listed coordinates. Use S58_Shot15 as the representative framing: retain approach floor and surrounding architecture, with the revealed full-body subject right of center. The look-at cell targets opening 8 rather than the unit 9 marker center. This single camera decision does not separately encode the lateral composition of S58_Shot5 or the close crop of S58_Shot25.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward portion of unit 1 toward unit 10 and opening 8, with unit 9 visible only to the extent exposed through opening 8. Retain the in-cone portions of units 3 and 4 and base marker 5 in their floor-plan positions. Treat visible-unit and visible-opening lists as supersets, not guaranteed visibility; do not force all target markers into this forward-facing view. Preserve the fixed relationship of unit 9 east of unit 10 and opening 8 on its west boundary.\n  - camera_framing_directive: Use camera unit 1 at [4, 4], looking toward unit 9 via [1, 7], with a wide lens and 90-degree field of view. Provide broad architectural and floor coverage. For the representative S58_Shot15 composition, maintain the committed oblique view below the subject's head, with floor beneath the feet; neither opening 8 nor transient marker 14 should occupy more than two-fifths of the image. S58_Shot25's narrow right-edge fragment is a shot-specific crop requirement, not the full extent of this broad plate.\n  - subject_position_directive: Keep subject arrangements separate by consuming shot. S58_Shot15 commits 찰리 right of center, full body visible within marker 14 beyond opening 8, with a slight head tilt toward the off-screen left call. S58_Shot5 commits 백산 just right of center with one foot raised and floor beneath it, while 군중들 form a lower background band bowing at varied depths. S58_Shot25 commits 앰버 in the left two-thirds, reaching into the right side while pulled backward; retain the other staged figures outside that crop. Do not combine these separate shot arrangements into one group.\n  - state_cue_directive: This BG is not marked clean. Include transient marker 14 as the committed movable enclosure associated with opening 8. For the representative S58_Shot15 state, opening 8 is displaced enough to reveal the full figure within marker 14. S58_Shot25 instead requires opening 8 closed, visible only as a narrow fragment; treat these as distinct shot states rather than simultaneous states. Preserve the staged damaged interior and established stained-glass daylight, with controlled metal highlights and no separate illumination for marker 14. No specific damage pattern is committed.\n  - negative_continuity_directive: The ignore and ignored-overlay lists are empty. Avoid relocating fixed markers 3, 4, 5, 8, 9, 10, or 13 to satisfy individual crops; preserve their floor-plan positions even when outside the frame. Do not treat transient marker 14 as a permanent fixture. Do not force units 6 or 7, opening 2, or other out-of-cone markers into the selected view. Avoid simultaneously depicting incompatible states of marker 8 or importing all consuming-shot subject arrangements into the representative plate.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [4, 4]\n  - look_at_unit: 9\n  - look_at_cell: [1, 7]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad oblique coverage from unit 1 toward opening 8 at the boundary of unit 9, using exact listed coordinates. Use S58_Shot15 as the representative framing: retain approach floor and surrounding architecture, with the revealed full-body subject right of center. The look-at cell targets opening 8 rather than the unit 9 marker center. This single camera decision does not separately encode the lateral composition of S58_Shot5 or the close crop of S58_Shot25.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward portion of unit 1 toward unit 10 and opening 8, with unit 9 visible only to the extent exposed through opening 8. Retain the in-cone portions of units 3 and 4 and base marker 5 in their floor-plan positions. Treat visible-unit and visible-opening lists as supersets, not guaranteed visibility; do not force all target markers into this forward-facing view. Preserve the fixed relationship of unit 9 east of unit 10 and opening 8 on its west boundary.\n  - camera_framing_directive: Use camera unit 1 at [4, 4], looking toward unit 9 via [1, 7], with a wide lens and 90-degree field of view. Provide broad architectural and floor coverage. For the representative S58_Shot15 composition, maintain the committed oblique view below the subject's head, with floor beneath the feet; neither opening 8 nor transient marker 14 should occupy more than two-fifths of the image. S58_Shot25's narrow right-edge fragment is a shot-specific crop requirement, not the full extent of this broad plate.\n  - subject_position_directive: Keep subject arrangements separate by consuming shot. S58_Shot15 commits 찰리 right of center, full body visible within marker 14 beyond opening 8, with a slight head tilt toward the off-screen left call. S58_Shot5 commits 백산 just right of center with one foot raised and floor beneath it, while 군중들 form a lower background band bowing at varied depths. S58_Shot25 commits 앰버 in the left two-thirds, reaching into the right side while pulled backward; retain the other staged figures outside that crop. Do not combine these separate shot arrangements into one group.\n  - state_cue_directive: This BG is not marked clean. Include transient marker 14 as the committed movable enclosure associated with opening 8. For the representative S58_Shot15 state, opening 8 is displaced enough to reveal the full figure within marker 14. S58_Shot25 instead requires opening 8 closed, visible only as a narrow fragment; treat these as distinct shot states rather than simultaneous states. Preserve the staged damaged interior and established stained-glass daylight, with controlled metal highlights and no separate illumination for marker 14. No specific damage pattern is committed.\n  - negative_continuity_directive: The ignore and ignored-overlay lists are empty. Avoid relocating fixed markers 3, 4, 5, 8, 9, 10, or 13 to satisfy individual crops; preserve their floor-plan positions even when outside the frame. Do not treat transient marker 14 as a permanent fixture. Do not force units 6 or 7, opening 2, or other out-of-cone markers into the selected view. Avoid simultaneously depicting incompatible states of marker 8 or importing all consuming-shot subject arrangements into the representative plate.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [4, 4]\n  - look_at_unit: 9\n  - look_at_cell: [1, 7]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad oblique coverage from unit 1 toward opening 8 at the boundary of unit 9, using exact listed coordinates. Use S58_Shot15 as the representative framing: retain approach floor and surrounding architecture, with the revealed full-body subject right of center. The look-at cell targets opening 8 rather than the unit 9 marker center. This single camera decision does not separately encode the lateral composition of S58_Shot5 or the close crop of S58_Shot25.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward portion of unit 1 toward unit 10 and opening 8, with unit 9 visible only to the extent exposed through opening 8. Retain the in-cone portions of units 3 and 4 and base marker 5 in their floor-plan positions. Treat visible-unit and visible-opening lists as supersets, not guaranteed visibility; do not force all target markers into this forward-facing view. Preserve the fixed relationship of unit 9 east of unit 10 and opening 8 on its west boundary.\n  - camera_framing_directive: Use camera unit 1 at [4, 4], looking toward unit 9 via [1, 7], with a wide lens and 90-degree field of view. Provide broad architectural and floor coverage. For the representative S58_Shot15 composition, maintain the committed oblique view below the subject's head, with floor beneath the feet; neither opening 8 nor transient marker 14 should occupy more than two-fifths of the image. S58_Shot25's narrow right-edge fragment is a shot-specific crop requirement, not the full extent of this broad plate.\n  - subject_position_directive: Keep subject arrangements separate by consuming shot. S58_Shot15 commits 찰리 right of center, full body visible within marker 14 beyond opening 8, with a slight head tilt toward the off-screen left call. S58_Shot5 commits 백산 just right of center with one foot raised and floor beneath it, while 군중들 form a lower background band bowing at varied depths. S58_Shot25 commits 앰버 in the left two-thirds, reaching into the right side while pulled backward; retain the other staged figures outside that crop. Do not combine these separate shot arrangements into one group.\n  - state_cue_directive: This BG is not marked clean. Include transient marker 14 as the committed movable enclosure associated with opening 8. For the representative S58_Shot15 state, opening 8 is displaced enough to reveal the full figure within marker 14. S58_Shot25 instead requires opening 8 closed, visible only as a narrow fragment; treat these as distinct shot states rather than simultaneous states. Preserve the staged damaged interior and established stained-glass daylight, with controlled metal highlights and no separate illumination for marker 14. No specific damage pattern is committed.\n  - negative_continuity_directive: The ignore and ignored-overlay lists are empty. Avoid relocating fixed markers 3, 4, 5, 8, 9, 10, or 13 to satisfy individual crops; preserve their floor-plan positions even when outside the frame. Do not treat transient marker 14 as a permanent fixture. Do not force units 6 or 7, opening 2, or other out-of-cone markers into the selected view. Avoid simultaneously depicting incompatible states of marker 8 or importing all consuming-shot subject arrangements into the representative plate.\n\n2069년 기후 재난 이후 대한민국에 남은 훼손된 성당 예배당 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 실제 장소의 기록 사진처럼 표현한다. 참고 평면도는 공간의 배치와 고정 시설의 관계만 파악하는 자료로 사용한다. 예배당 중앙 공간의 남서쪽에 서서 북동쪽을 바라보며, 북쪽 단상과 의례용 의자가 정면 안쪽에, 철창 미닫이문이 화면 오른쪽에 보이도록 촬영한다. 촬영 높이는 약 1.6미터, 35밀리미터 규격의 전면형 감지기를 갖춘 실제 미러리스 카메라와 28밀리미터 광각 렌즈를 사용한 자연스러운 원근감이다. 위에서 내려다보는 구도가 아니라 서 있는 사람의 눈높이 구도다.\n\n넓게 열린 예배당 바닥 너머로 북쪽 단상이 보이고, 단상 남쪽 가장자리 중앙의 계단이 바닥과 이어진다. 단상 북쪽 중앙에는 예배당 안쪽을 향해 남쪽으로 놓인 의례용 의자가 있다. 서쪽·남쪽·동쪽 둘레를 따라 이어지는 이층 회랑과 그 안쪽 가장자리의 난간은 동일한 구조로 연결된다. 남쪽 회랑은 촬영 위치 뒤로 이어지는 배치로 이해하고, 화면에는 시야에 들어오는 측면 회랑만 자연스럽게 담는다. 단상 앞 공간의 동쪽에는 북동쪽 부속 대기실이 있으며, 그 서쪽 벽의 철창 미닫이문이 단상 앞을 향한다. 철창문 서쪽, 단상의 남동쪽에 이어지는 이동 여유 공간은 비워 둔다. 이동식 강철 케이지 한 개는 부속 대기실 쪽에서 철창문 문턱을 지나 서쪽 이동 여유 공간으로 일부 나온 임시 위치에 둔다. 케이지가 통과할 수 있도록 철창문은 옆으로 열려 있고, 문과 케이지는 서로 독립된 금속 구조로 읽힌다. 케이지를 예배당 중앙에 고정된 시설처럼 배치하지 않는다.\n\n서쪽 외벽 중간과 동쪽 외벽 중간의 스테인드글라스 창으로 낮의 자연광이 들어온다. 동쪽 창은 부속 대기실보다 남쪽에 있다. 직접 햇빛이 드는 창에서는 유리 색을 통과한 빛이 바닥에 국소적으로 맺히고, 반대편에서는 부드러운 낮빛이 들어와 실제 건물 내부처럼 명암이 이어진다. 재난 이전 한국의 근현대 성당에서 볼 법한 콘크리트 바탕과 미장 마감, 스테인드글라스의 금속 결합부를 현실적인 시공 방식으로 표현한다. 훼손된 벽 마감의 벌어진 균열과 벗겨짐, 오래된 누수 얼룩, 닳은 계단 모서리, 금속 난간과 철창의 부식, 의자의 실제 목재 결을 가까이서도 확인할 수 있다. 강철 케이지에는 실제 용접 이음매와 사용으로 닳은 금속 표면이 보인다. 전체는 재료 본래의 차분한 회색을 중심으로 하되 스테인드글라스를 통과한 빛만 제한적으로 색을 띤다. 자연스러운 피사계 심도와 과장하지 않은 노출로 단상, 의자, 철창문, 케이지의 공간 관계가 읽히게 한다. 사람, 얼굴, 인체 형태의 조형물이나 유리 속 인물 도상은 넣지 않는다. 과도하게 말끔한 홍보용 사진이 아닌 현장 기록이며, 삽화나 컴퓨터 생성 영상, 건축 시각화, 평면도처럼 보이지 않게 한다. 인위적인 색 보정이나 특수 발광 효과 없이 촬영한다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 1,
          "camera_cell": [
            4,
            4
          ],
          "look_at_unit": 9,
          "look_at_cell": [
            1,
            7
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad oblique coverage from unit 1 toward opening 8 at the boundary of unit 9, using exact listed coordinates. Use S58_Shot15 as the representative framing: retain approach floor and surrounding architecture, with the revealed full-body subject right of center. The look-at cell targets opening 8 rather than the unit 9 marker center. This single camera decision does not separately encode the lateral composition of S58_Shot5 or the close crop of S58_Shot25."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Show the forward portion of unit 1 toward unit 10 and opening 8, with unit 9 visible only to the extent exposed through opening 8. Retain the in-cone portions of units 3 and 4 and base marker 5 in their floor-plan positions. Treat visible-unit and visible-opening lists as supersets, not guaranteed visibility; do not force all target markers into this forward-facing view. Preserve the fixed relationship of unit 9 east of unit 10 and opening 8 on its west boundary.",
          "camera_framing_directive": "Use camera unit 1 at [4, 4], looking toward unit 9 via [1, 7], with a wide lens and 90-degree field of view. Provide broad architectural and floor coverage. For the representative S58_Shot15 composition, maintain the committed oblique view below the subject's head, with floor beneath the feet; neither opening 8 nor transient marker 14 should occupy more than two-fifths of the image. S58_Shot25's narrow right-edge fragment is a shot-specific crop requirement, not the full extent of this broad plate.",
          "subject_position_directive": "Keep subject arrangements separate by consuming shot. S58_Shot15 commits 찰리 right of center, full body visible within marker 14 beyond opening 8, with a slight head tilt toward the off-screen left call. S58_Shot5 commits 백산 just right of center with one foot raised and floor beneath it, while 군중들 form a lower background band bowing at varied depths. S58_Shot25 commits 앰버 in the left two-thirds, reaching into the right side while pulled backward; retain the other staged figures outside that crop. Do not combine these separate shot arrangements into one group.",
          "state_cue_directive": "This BG is not marked clean. Include transient marker 14 as the committed movable enclosure associated with opening 8. For the representative S58_Shot15 state, opening 8 is displaced enough to reveal the full figure within marker 14. S58_Shot25 instead requires opening 8 closed, visible only as a narrow fragment; treat these as distinct shot states rather than simultaneous states. Preserve the staged damaged interior and established stained-glass daylight, with controlled metal highlights and no separate illumination for marker 14. No specific damage pattern is committed.",
          "negative_continuity_directive": "The ignore and ignored-overlay lists are empty. Avoid relocating fixed markers 3, 4, 5, 8, 9, 10, or 13 to satisfy individual crops; preserve their floor-plan positions even when outside the frame. Do not treat transient marker 14 as a permanent fixture. Do not force units 6 or 7, opening 2, or other out-of-cone markers into the selected view. Avoid simultaneously depicting incompatible states of marker 8 or importing all consuming-shot subject arrangements into the representative plate."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_church_sanctuary",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_church_sanctuary"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L229B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L229",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L229B01.png",
        "t2i_prompt": "2069년 기후 재난 이후 대한민국의 성당 앞마당을 격투장으로 사용하는 공간을 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 사람, 얼굴, 인체 형태의 형상 없이 공간과 시설만 담는다. 한국의 근현대 성당에서 볼 수 있는 벽돌과 콘크리트 전면부, 오래 사용한 철제 시설과 목재 좌석의 실재하는 재질을 표현한다. 과도하게 폐허화하지 않고, 콘크리트의 묵은 얼룩, 철재의 산화와 접합부 마모, 목재의 결과 닳은 모서리가 자연스럽게 보이게 한다.\n\n남쪽 관중석의 격투장 쪽 가장자리에서 북쪽을 바라본다. 카메라는 서 있는 사람의 눈높이 약 1.6미터, 렌즈는 35밀리미터 광각이며, 남쪽 관중석 일부만 화면 아래에 좁게 걸친다. 중앙의 직사각형 격투장 바닥을 넓게 담고 서쪽에서 동쪽으로 이어지는 시야와 빈 공간을 확보한다. 왼쪽에는 서쪽 관중석과 분리된 승강 개구부 및 그 안의 케이지 조립체가 보인다. 케이지는 올라온 높이에서 보이며, 동쪽 면의 출입구는 격투장 중앙을 향한다. 오른쪽에는 동쪽 관중석이 자리하고, 양쪽 관중석이 중앙 공간을 둘러싸는 관계가 분명하게 읽힌다. 북쪽 먼 곳에는 남향의 단상과 그 중앙 의자가 보이고, 뒤로 이어지는 순환 통로와 성당 앞 문턱 구역, 북쪽 전면 중앙의 성당 출입구가 깊이감을 만든다. 시설의 상대 위치와 통행 공간은 제공된 배치 자료를 따른다.\n\n서쪽 관중석의 격투장 쪽 가장자리에는 임시 횃불 하나가 타오르며, 케이지 출입구와 빠져나가는 통로를 막지 않는다. 동쪽 관중석의 격투장 쪽 가장자리에도 임시 횃불 하나가 타오르며, 중앙을 가로지르는 동서 방향의 열린 공간 밖에 놓인다. 낮게 들어오는 노을의 자연광이 바닥과 성당 전면을 비추고, 두 횃불의 주황빛은 가까운 철재와 좌석 가장자리에만 국소적으로 반사된다. 그늘에는 자연스러운 차가운 회색이 남아 있고, 하늘빛과 불빛의 밝기 차이는 실제 촬영에서처럼 절제되어 있다. 격투장과 관중석은 기존 구조가 온전하게 유지된 상태다.\n\n실제 장소 답사 사진처럼 사실적인 원근과 자연스러운 피사계 심도를 사용한다. 가까운 바닥의 거친 질감부터 먼 의자와 출입구까지 공간 관계를 읽을 수 있게 하되 모든 표면을 인위적으로 똑같이 선명하게 만들지 않는다. 인공적인 색 보정이나 과장된 광원 효과 없이 촬영한 사진이며, 삽화나 컴퓨터 생성 이미지, 건축 시각화가 아니다. 위에서 내려다보는 구도나 평면도 표현을 사용하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S60_Shot4",
            "guide_text": "남쪽 관중석 앞에서 약 1.6미터 눈높이와 35밀리미터 광각으로 북쪽을 보는 넓은 배경을 사용한다. 왼쪽 케이지, 오른쪽 동쪽 관중석, 먼 중앙의 단상 의자를 함께 확보한다. 격투장 중앙부터 동쪽까지 이어지는 대치 축은 비워 두고, 남쪽 좌석은 좁은 전경으로만 걸친다. 양쪽 임시 횃불은 이 축과 케이지 출입 동선을 가리지 않게 한다. 노을의 주변광과 횃불의 국소적인 따뜻한 빛을 유지하며, 인물이나 관중 없이 기존 시설이 온전한 공간만 담는다."
          }
        ],
        "shot_ids": [
          "S60_Shot4"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_2",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "At the arena-facing edge of number 7, looking north across number 1 toward numbers 8 and 9; keep numbers 2 through 4 to frame left and number 6 to frame right.",
          "camera_height": "standing eye level, approximately 1.6 m",
          "lens_hint": "28–35mm wide angle",
          "framing_notes": "Preserve a broad, unobstructed west-to-east confrontation axis across number 1, with space for the smaller combatant near the center and the larger opponent farther east. Include the raised cage assembly at frame left, the surrounding stands, and the distant leader seat. Number 7 may form a narrow foreground edge. The background overlay supplies cheering spectators, temporary torches 16 and 17, and the sunset state. Depict the moment before bombardment: no explosions, new craters, smoke clouds, scattered casualties, or breached seating. Actors and effects are not floor-plan symbols."
        },
        "reference_decision": {
          "bg_id": "L229B01",
          "fp_id": "fp_church_forecourt_arena",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L229B01 is the sole ready BG and sole supplied anchor candidate; select it under the dossier's explicit fallback despite clean_background_expected=false. No reference catalog is available. For S60_Shot4, camera unit 15 looking toward marker 9 in unit 8 provides broad northward coverage across unit 1 toward target units 8, 10 and 13. The supplied discrete camera candidates do not encode the staged exit-adjacent camera position, so this is a geometry-constrained coverage plan rather than an exact reconstruction of that position.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_church_forecourt_arena.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The first and only node establishes identity directly from the floor plan; no earlier same-fp reference exists.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 15,
            "camera_cell": [
              9,
              5
            ],
            "look_at_unit": 8,
            "look_at_cell": [
              2,
              5
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad northward coverage from the exact unit-15 candidate toward marker 9 within unit 8. Preserve the staged left-versus-right subject separation within this static view. The exit-adjacent position and moving-camera instructions cannot be represented by the supplied camera candidates; do not simulate them by relocating fixed markers."
          },
          "render_guidance": {
            "visible_space_directive": "Compose the northward view across unit 1 toward unit 8, with units 10 and 13 farther behind. Preserve the plan positions of base markers 2, 3, 4, 5, 6, 7, 9 and 14 wherever visible. Markers 2 and 4 lie in the left portion of this broad view, and marker 14 lies farther north. Visibility enumerations are supersets, not guaranteed unobstructed sightlines; retain actual occlusion by fixed elements rather than forcing every referenced marker into view.",
            "camera_framing_directive": "Use camera unit 15 at [9, 5], looking toward unit 8 at [2, 5], with a wide lens and 90-degree field of view. Provide broad coverage and an open visible interval within unit 1 for the staged separation. Treat this as a static composition; the supplied geometry does not commit the lateral track or upward tilt. Do not shift the camera to an unlisted exit-adjacent coordinate.",
            "subject_position_directive": "S60_Shot4 commits 찰리 near the left edge, seen from the left rear quarter while stepping outward and scanning off-screen, and B-200 right of center with the complete heavier silhouette, feet planted and head oriented toward 찰리. Preserve an open strip of unit 1 between them and keep spectators outside the composition. These are screen-relative staging cues, not permission to invent subject grid coordinates or move fixed elements to reproduce an unavailable camera position.",
            "state_cue_directive": "Carry transient markers 16 and 17 as the supplied Temporary west torch and Temporary east torch. Use the committed sunset illumination and arena torchlight while retaining tonal detail for both staged bodies. Marker 4 is open after arrival at ground level, and unit 1 retains the staged open interval before the fight. clean_background_expected is false; preserve these committed cues without adding further state changes.",
            "negative_continuity_directive": "The ignore and ignored-overlay lists are empty. Avoid relocating markers 2, 3, 4, 5, 6, 7 or 9 to compensate for the camera-position limitation. Do not force markers 11 and 12 or other out-of-cone content into this northward composition. Do not treat visibility supersets as proof of unobstructed sightlines, invent additional overlays beyond markers 16 and 17, or import identity from an unavailable reference."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 15\n  - camera_cell: [9, 5]\n  - look_at_unit: 8\n  - look_at_cell: [2, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad northward coverage from the exact unit-15 candidate toward marker 9 within unit 8. Preserve the staged left-versus-right subject separation within this static view. The exit-adjacent position and moving-camera instructions cannot be represented by the supplied camera candidates; do not simulate them by relocating fixed markers.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Compose the northward view across unit 1 toward unit 8, with units 10 and 13 farther behind. Preserve the plan positions of base markers 2, 3, 4, 5, 6, 7, 9 and 14 wherever visible. Markers 2 and 4 lie in the left portion of this broad view, and marker 14 lies farther north. Visibility enumerations are supersets, not guaranteed unobstructed sightlines; retain actual occlusion by fixed elements rather than forcing every referenced marker into view.\n  - camera_framing_directive: Use camera unit 15 at [9, 5], looking toward unit 8 at [2, 5], with a wide lens and 90-degree field of view. Provide broad coverage and an open visible interval within unit 1 for the staged separation. Treat this as a static composition; the supplied geometry does not commit the lateral track or upward tilt. Do not shift the camera to an unlisted exit-adjacent coordinate.\n  - subject_position_directive: S60_Shot4 commits 찰리 near the left edge, seen from the left rear quarter while stepping outward and scanning off-screen, and B-200 right of center with the complete heavier silhouette, feet planted and head oriented toward 찰리. Preserve an open strip of unit 1 between them and keep spectators outside the composition. These are screen-relative staging cues, not permission to invent subject grid coordinates or move fixed elements to reproduce an unavailable camera position.\n  - state_cue_directive: Carry transient markers 16 and 17 as the supplied Temporary west torch and Temporary east torch. Use the committed sunset illumination and arena torchlight while retaining tonal detail for both staged bodies. Marker 4 is open after arrival at ground level, and unit 1 retains the staged open interval before the fight. clean_background_expected is false; preserve these committed cues without adding further state changes.\n  - negative_continuity_directive: The ignore and ignored-overlay lists are empty. Avoid relocating markers 2, 3, 4, 5, 6, 7 or 9 to compensate for the camera-position limitation. Do not force markers 11 and 12 or other out-of-cone content into this northward composition. Do not treat visibility supersets as proof of unobstructed sightlines, invent additional overlays beyond markers 16 and 17, or import identity from an unavailable reference.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 15\n  - camera_cell: [9, 5]\n  - look_at_unit: 8\n  - look_at_cell: [2, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad northward coverage from the exact unit-15 candidate toward marker 9 within unit 8. Preserve the staged left-versus-right subject separation within this static view. The exit-adjacent position and moving-camera instructions cannot be represented by the supplied camera candidates; do not simulate them by relocating fixed markers.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Compose the northward view across unit 1 toward unit 8, with units 10 and 13 farther behind. Preserve the plan positions of base markers 2, 3, 4, 5, 6, 7, 9 and 14 wherever visible. Markers 2 and 4 lie in the left portion of this broad view, and marker 14 lies farther north. Visibility enumerations are supersets, not guaranteed unobstructed sightlines; retain actual occlusion by fixed elements rather than forcing every referenced marker into view.\n  - camera_framing_directive: Use camera unit 15 at [9, 5], looking toward unit 8 at [2, 5], with a wide lens and 90-degree field of view. Provide broad coverage and an open visible interval within unit 1 for the staged separation. Treat this as a static composition; the supplied geometry does not commit the lateral track or upward tilt. Do not shift the camera to an unlisted exit-adjacent coordinate.\n  - subject_position_directive: S60_Shot4 commits 찰리 near the left edge, seen from the left rear quarter while stepping outward and scanning off-screen, and B-200 right of center with the complete heavier silhouette, feet planted and head oriented toward 찰리. Preserve an open strip of unit 1 between them and keep spectators outside the composition. These are screen-relative staging cues, not permission to invent subject grid coordinates or move fixed elements to reproduce an unavailable camera position.\n  - state_cue_directive: Carry transient markers 16 and 17 as the supplied Temporary west torch and Temporary east torch. Use the committed sunset illumination and arena torchlight while retaining tonal detail for both staged bodies. Marker 4 is open after arrival at ground level, and unit 1 retains the staged open interval before the fight. clean_background_expected is false; preserve these committed cues without adding further state changes.\n  - negative_continuity_directive: The ignore and ignored-overlay lists are empty. Avoid relocating markers 2, 3, 4, 5, 6, 7 or 9 to compensate for the camera-position limitation. Do not force markers 11 and 12 or other out-of-cone content into this northward composition. Do not treat visibility supersets as proof of unobstructed sightlines, invent additional overlays beyond markers 16 and 17, or import identity from an unavailable reference.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 15\n  - camera_cell: [9, 5]\n  - look_at_unit: 8\n  - look_at_cell: [2, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad northward coverage from the exact unit-15 candidate toward marker 9 within unit 8. Preserve the staged left-versus-right subject separation within this static view. The exit-adjacent position and moving-camera instructions cannot be represented by the supplied camera candidates; do not simulate them by relocating fixed markers.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Compose the northward view across unit 1 toward unit 8, with units 10 and 13 farther behind. Preserve the plan positions of base markers 2, 3, 4, 5, 6, 7, 9 and 14 wherever visible. Markers 2 and 4 lie in the left portion of this broad view, and marker 14 lies farther north. Visibility enumerations are supersets, not guaranteed unobstructed sightlines; retain actual occlusion by fixed elements rather than forcing every referenced marker into view.\n  - camera_framing_directive: Use camera unit 15 at [9, 5], looking toward unit 8 at [2, 5], with a wide lens and 90-degree field of view. Provide broad coverage and an open visible interval within unit 1 for the staged separation. Treat this as a static composition; the supplied geometry does not commit the lateral track or upward tilt. Do not shift the camera to an unlisted exit-adjacent coordinate.\n  - subject_position_directive: S60_Shot4 commits 찰리 near the left edge, seen from the left rear quarter while stepping outward and scanning off-screen, and B-200 right of center with the complete heavier silhouette, feet planted and head oriented toward 찰리. Preserve an open strip of unit 1 between them and keep spectators outside the composition. These are screen-relative staging cues, not permission to invent subject grid coordinates or move fixed elements to reproduce an unavailable camera position.\n  - state_cue_directive: Carry transient markers 16 and 17 as the supplied Temporary west torch and Temporary east torch. Use the committed sunset illumination and arena torchlight while retaining tonal detail for both staged bodies. Marker 4 is open after arrival at ground level, and unit 1 retains the staged open interval before the fight. clean_background_expected is false; preserve these committed cues without adding further state changes.\n  - negative_continuity_directive: The ignore and ignored-overlay lists are empty. Avoid relocating markers 2, 3, 4, 5, 6, 7 or 9 to compensate for the camera-position limitation. Do not force markers 11 and 12 or other out-of-cone content into this northward composition. Do not treat visibility supersets as proof of unobstructed sightlines, invent additional overlays beyond markers 16 and 17, or import identity from an unavailable reference.\n\n2069년 기후 재난 이후 대한민국의 성당 앞마당을 격투장으로 사용하는 공간을 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 사람, 얼굴, 인체 형태의 형상 없이 공간과 시설만 담는다. 한국의 근현대 성당에서 볼 수 있는 벽돌과 콘크리트 전면부, 오래 사용한 철제 시설과 목재 좌석의 실재하는 재질을 표현한다. 과도하게 폐허화하지 않고, 콘크리트의 묵은 얼룩, 철재의 산화와 접합부 마모, 목재의 결과 닳은 모서리가 자연스럽게 보이게 한다.\n\n남쪽 관중석의 격투장 쪽 가장자리에서 북쪽을 바라본다. 카메라는 서 있는 사람의 눈높이 약 1.6미터, 렌즈는 35밀리미터 광각이며, 남쪽 관중석 일부만 화면 아래에 좁게 걸친다. 중앙의 직사각형 격투장 바닥을 넓게 담고 서쪽에서 동쪽으로 이어지는 시야와 빈 공간을 확보한다. 왼쪽에는 서쪽 관중석과 분리된 승강 개구부 및 그 안의 케이지 조립체가 보인다. 케이지는 올라온 높이에서 보이며, 동쪽 면의 출입구는 격투장 중앙을 향한다. 오른쪽에는 동쪽 관중석이 자리하고, 양쪽 관중석이 중앙 공간을 둘러싸는 관계가 분명하게 읽힌다. 북쪽 먼 곳에는 남향의 단상과 그 중앙 의자가 보이고, 뒤로 이어지는 순환 통로와 성당 앞 문턱 구역, 북쪽 전면 중앙의 성당 출입구가 깊이감을 만든다. 시설의 상대 위치와 통행 공간은 제공된 배치 자료를 따른다.\n\n서쪽 관중석의 격투장 쪽 가장자리에는 임시 횃불 하나가 타오르며, 케이지 출입구와 빠져나가는 통로를 막지 않는다. 동쪽 관중석의 격투장 쪽 가장자리에도 임시 횃불 하나가 타오르며, 중앙을 가로지르는 동서 방향의 열린 공간 밖에 놓인다. 낮게 들어오는 노을의 자연광이 바닥과 성당 전면을 비추고, 두 횃불의 주황빛은 가까운 철재와 좌석 가장자리에만 국소적으로 반사된다. 그늘에는 자연스러운 차가운 회색이 남아 있고, 하늘빛과 불빛의 밝기 차이는 실제 촬영에서처럼 절제되어 있다. 격투장과 관중석은 기존 구조가 온전하게 유지된 상태다.\n\n실제 장소 답사 사진처럼 사실적인 원근과 자연스러운 피사계 심도를 사용한다. 가까운 바닥의 거친 질감부터 먼 의자와 출입구까지 공간 관계를 읽을 수 있게 하되 모든 표면을 인위적으로 똑같이 선명하게 만들지 않는다. 인공적인 색 보정이나 과장된 광원 효과 없이 촬영한 사진이며, 삽화나 컴퓨터 생성 이미지, 건축 시각화가 아니다. 위에서 내려다보는 구도나 평면도 표현을 사용하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThe LAST attached image is a TOP-DOWN INTERIOR FLOOR PLAN of the building at this location — a STRUCTURAL REFERENCE ONLY, never content to draw. It defines the building's real scale: its footprint, room count, and the placement of its doors and windows. Render the scene so the building's exterior size, number of storeys, and the scale and placement of its doors and windows stay consistent with that plan. Do NOT draw the floor plan itself, its lines, text or numbers anywhere in the image.",
        "camera_decision": {
          "camera_unit": 15,
          "camera_cell": [
            9,
            5
          ],
          "look_at_unit": 8,
          "look_at_cell": [
            2,
            5
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad northward coverage from the exact unit-15 candidate toward marker 9 within unit 8. Preserve the staged left-versus-right subject separation within this static view. The exit-adjacent position and moving-camera instructions cannot be represented by the supplied camera candidates; do not simulate them by relocating fixed markers."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Compose the northward view across unit 1 toward unit 8, with units 10 and 13 farther behind. Preserve the plan positions of base markers 2, 3, 4, 5, 6, 7, 9 and 14 wherever visible. Markers 2 and 4 lie in the left portion of this broad view, and marker 14 lies farther north. Visibility enumerations are supersets, not guaranteed unobstructed sightlines; retain actual occlusion by fixed elements rather than forcing every referenced marker into view.",
          "camera_framing_directive": "Use camera unit 15 at [9, 5], looking toward unit 8 at [2, 5], with a wide lens and 90-degree field of view. Provide broad coverage and an open visible interval within unit 1 for the staged separation. Treat this as a static composition; the supplied geometry does not commit the lateral track or upward tilt. Do not shift the camera to an unlisted exit-adjacent coordinate.",
          "subject_position_directive": "S60_Shot4 commits 찰리 near the left edge, seen from the left rear quarter while stepping outward and scanning off-screen, and B-200 right of center with the complete heavier silhouette, feet planted and head oriented toward 찰리. Preserve an open strip of unit 1 between them and keep spectators outside the composition. These are screen-relative staging cues, not permission to invent subject grid coordinates or move fixed elements to reproduce an unavailable camera position.",
          "state_cue_directive": "Carry transient markers 16 and 17 as the supplied Temporary west torch and Temporary east torch. Use the committed sunset illumination and arena torchlight while retaining tonal detail for both staged bodies. Marker 4 is open after arrival at ground level, and unit 1 retains the staged open interval before the fight. clean_background_expected is false; preserve these committed cues without adding further state changes.",
          "negative_continuity_directive": "The ignore and ignored-overlay lists are empty. Avoid relocating markers 2, 3, 4, 5, 6, 7 or 9 to compensate for the camera-position limitation. Do not force markers 11 and 12 or other out-of-cone content into this northward composition. Do not treat visibility supersets as proof of unobstructed sightlines, invent additional overlays beyond markers 16 and 17, or import identity from an unavailable reference."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_church_forecourt_arena",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_church_forecourt_arena",
            "building_fp:fp_church_sanctuary"
          ],
          "ref_used": "refs_2",
          "db_write_policy": "checkpoint_only"
        },
        "building_fp_ref": {
          "fp_id": "fp_church_sanctuary",
          "indoor_loc_sid": "L220",
          "group_id": "bg_village_church_arena",
          "fp_asset_id": "eb1ca846-26de-4897-9f0d-2b62d0c8924f"
        }
      },
      "L229B03": {
        "status": "ok",
        "location_id": "L229",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L229B03.png",
        "t2i_prompt": "2069년 기후 재난 이후 대한민국의 낡은 야외 급수 시설에서 물탱크가 붕괴하고 대량의 물이 쏟아진 직후, 노을 진 저녁의 텅 빈 현장을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 기존 한국 생활 기반 시설의 현실적인 콘크리트 기초와 금속 급수 설비가 오래 사용된 채 남아 있다. 찌그러져 주저앉은 금속 물탱크의 하부와 벌어진 접합부, 휘어진 지지대, 끊어진 급수관을 화면 가장자리와 뒤쪽에 배치한다. 갈라진 콘크리트 바닥에는 얕게 고인 물과 아직 낮은 곳으로 흐르는 물줄기, 잔물결, 씻겨 내려온 진흙과 콘크리트 파편이 남아 있다. 방류 직후의 물막이 바닥의 미세한 요철을 따라 이어지고, 파손된 금속 가장자리에서는 남은 물이 떨어진다. 오래된 녹 자국과 물때 위로 새로 젖어 어두워진 부분, 부서진 콘크리트의 거친 골재와 불규칙한 젖은 표면을 실제 재질 그대로 보여 준다.\n서 있는 사람의 눈높이 약 1.6미터에서 실제 디지털 미러리스 카메라와 35밀리미터급 렌즈로 촬영한다. 현장 가장자리에서 맞은편의 젖은 지면과 낮게 무너진 설비를 비스듬히 바라보되 위에서 내려다보는 조감도나 도면 시점은 아니다. 가까운 인물 촬영 뒤에 이어질 배경으로 사용할 수 있도록 중앙에는 복잡한 구조물을 피하고 물에 젖은 회색 바닥의 연속적인 질감을 충분히 남긴다. 주변 탱크 잔해는 맥락을 알아볼 수 있을 정도로 보이며, 거리에 따른 자연스러운 초점 저하를 유지하고 과도하게 흐리지 않는다. 낮게 들어오는 저녁 햇빛이 고인 물과 금속의 일부에만 옅은 주황빛으로 반사되고, 그늘은 자연스러운 차가운 회색이다. 밝고 어두운 부분의 세부가 남는 현실적인 노출, 과장 없는 색과 자연광, 인위적인 색 보정 없는 실제 현장 기록 사진. 깨끗하게 정돈된 홍보 사진이나 컴퓨터 합성 이미지, 그림, 건축 시각화가 아니다. 사람, 얼굴, 신체, 시신, 혈흔은 없으며 인물용 가면과 그 파편도 배경에 추가하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S60_Shot52",
            "guide_text": "깨진 가면과 드러난 얼굴의 근접 촬영 뒤에 사용할 빈 배경이다. 이 이미지에는 인물이나 가면을 그리지 않고, 중앙에 물막과 잔물결이 남은 젖은 지면을 확보한다. 가장자리의 찌그러진 탱크 하부와 콘크리트 파편으로 붕괴 현장의 연속성을 유지한다. 노을의 약한 주황색 반사와 차가운 회색 그늘을 유지하고, 주변 잔해가 근접 촬영의 주된 대상보다 눈에 띄지 않도록 한다."
          }
        ],
        "shot_ids": [
          "S60_Shot52"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_2",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {},
        "reference_decision": {
          "mode": "surface_role_direct_plate",
          "surface_role": "exterior_plate",
          "fp_id": "",
          "source_bg_ids": []
        },
        "effective_render_prompt": "2069년 기후 재난 이후 대한민국의 낡은 야외 급수 시설에서 물탱크가 붕괴하고 대량의 물이 쏟아진 직후, 노을 진 저녁의 텅 빈 현장을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 기존 한국 생활 기반 시설의 현실적인 콘크리트 기초와 금속 급수 설비가 오래 사용된 채 남아 있다. 찌그러져 주저앉은 금속 물탱크의 하부와 벌어진 접합부, 휘어진 지지대, 끊어진 급수관을 화면 가장자리와 뒤쪽에 배치한다. 갈라진 콘크리트 바닥에는 얕게 고인 물과 아직 낮은 곳으로 흐르는 물줄기, 잔물결, 씻겨 내려온 진흙과 콘크리트 파편이 남아 있다. 방류 직후의 물막이 바닥의 미세한 요철을 따라 이어지고, 파손된 금속 가장자리에서는 남은 물이 떨어진다. 오래된 녹 자국과 물때 위로 새로 젖어 어두워진 부분, 부서진 콘크리트의 거친 골재와 불규칙한 젖은 표면을 실제 재질 그대로 보여 준다.\n서 있는 사람의 눈높이 약 1.6미터에서 실제 디지털 미러리스 카메라와 35밀리미터급 렌즈로 촬영한다. 현장 가장자리에서 맞은편의 젖은 지면과 낮게 무너진 설비를 비스듬히 바라보되 위에서 내려다보는 조감도나 도면 시점은 아니다. 가까운 인물 촬영 뒤에 이어질 배경으로 사용할 수 있도록 중앙에는 복잡한 구조물을 피하고 물에 젖은 회색 바닥의 연속적인 질감을 충분히 남긴다. 주변 탱크 잔해는 맥락을 알아볼 수 있을 정도로 보이며, 거리에 따른 자연스러운 초점 저하를 유지하고 과도하게 흐리지 않는다. 낮게 들어오는 저녁 햇빛이 고인 물과 금속의 일부에만 옅은 주황빛으로 반사되고, 그늘은 자연스러운 차가운 회색이다. 밝고 어두운 부분의 세부가 남는 현실적인 노출, 과장 없는 색과 자연광, 인위적인 색 보정 없는 실제 현장 기록 사진. 깨끗하게 정돈된 홍보 사진이나 컴퓨터 합성 이미지, 그림, 건축 시각화가 아니다. 사람, 얼굴, 신체, 시신, 혈흔은 없으며 인물용 가면과 그 파편도 배경에 추가하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본\n\nOne attached image is a PHOTOREAL RENDER of this SAME place — the same physical location, possibly seen from a different angle or at a different moment. Treat it as the PLACE IDENTITY reference. Keep this render consistent with it: the same spatial layout and architecture, the same surface materials and colors, and the same permanently installed fixtures and furniture. Lettering visible in the reference is reproduced EXACTLY — same characters, same mark, same position; never invent different wording from render to render. Camera angle, framing, lighting, time of day and weather follow THIS prompt — do NOT copy the reference's composition or mood; only the place's physical identity carries over.\n\nThe LAST attached image is a TOP-DOWN INTERIOR FLOOR PLAN of the building at this location — a STRUCTURAL REFERENCE ONLY, never content to draw. It defines the building's real scale: its footprint, room count, and the placement of its doors and windows. Render the scene so the building's exterior size, number of storeys, and the scale and placement of its doors and windows stay consistent with that plan. Do NOT draw the floor plan itself, its lines, text or numbers anywhere in the image.",
        "shot_aware_plan_mode": "surface_role_direct_plate",
        "attached_reference_lineage": {
          "fp_id": "",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "same_loc_anchor:L229B01",
            "building_fp:fp_church_sanctuary"
          ],
          "ref_used": "refs_2",
          "db_write_policy": "checkpoint_only"
        },
        "building_fp_ref": {
          "fp_id": "fp_church_sanctuary",
          "indoor_loc_sid": "L220",
          "group_id": "bg_village_church_arena",
          "fp_asset_id": "eb1ca846-26de-4897-9f0d-2b62d0c8924f"
        },
        "same_loc_anchor_ref": {
          "anchor_bg_id": "L229B01",
          "loc_id": "L229"
        }
      },
      "L229B02": {
        "status": "ok",
        "location_id": "L229",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L229B02.png",
        "t2i_prompt": "기후 재난 이후 시간이 흐른 미래 한국의 고요한 산 능선을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사건의 흔적을 과장하지 않은 자연 지면과 붉은 저녁빛만으로 이루어진 빈 배경이다. 실제 미러리스 카메라의 35밀리미터급 렌즈를 사용하고, 서 있는 사람의 눈높이 약 1.6미터에서 능선의 완만한 비탈 너머를 살짝 내려다본다. 수직으로 내려찍는 시점이 아니라 지면의 깊이와 먼 능선이 함께 느껴지는 시점이다. 화면 아래와 중앙에는 빗물에 씻겨 드러난 작은 돌, 불규칙하게 다져진 흙, 듬성듬성 다시 자란 풀과 마른 풀줄기가 놓이고, 위쪽 가장자리에는 낮게 이어지는 산등성이와 좁은 저녁 하늘이 보인다. 한국 산지의 흙길과 낮은 산줄기에서 볼 수 있는 소박한 자연 지형이며, 미래를 나타내기 위한 건축물이나 장비는 추가하지 않는다. 낮은 해의 붉고 따뜻한 빛이 흙과 풀 끝을 비스듬히 스치고, 그늘은 자연스러운 회색을 유지한다. 노을의 붉은색은 실제 일몰에서 가능한 농도로 표현하며 지면 전체를 붉게 물들이지 않는다. 가까운 전경을 위한 빈 공간을 확보하고 지면과 먼 산줄기는 렌즈의 자연스러운 얕은 피사계 심도로 부드럽게 흐려지되, 돌의 거친 표면과 흙 알갱이, 풀의 불규칙한 결은 식별될 정도로 남긴다. 중앙에는 시선을 빼앗는 큰 돌이나 물체를 두지 않는다. 인물, 얼굴, 인간의 손, 금속 손, 로봇, 시신, 혈흔은 전혀 없는 배경만 촬영한다. 격투장, 관중석, 난간, 실내 구조물, 인공 조명, 전투 잔해는 넣지 않는다. 과도한 보정 없이 자연광과 실제 재질을 기록한 현장 참고 사진으로, 정돈된 광고 사진이나 컴퓨터 합성 이미지, 그림, 건축 시각화가 아니다. 평면도나 조감도 없이 사람 눈높이의 실제 공간감을 유지한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S60_Shot63",
            "guide_text": "맞잡은 인간의 손과 금속 손을 별도 전경으로 배치할 수 있도록 화면 중앙과 아래쪽에 부드럽게 흐려진 흙과 풀 배경을 확보한다. 배경 자체에는 손이나 몸체를 그리지 않는다. 눈높이 약 1.6미터의 완만한 하향 시선과 35밀리미터급 렌즈의 공간감을 유지하고, 먼 능선과 붉은 저녁 하늘은 위쪽에 좁게 둔다. 자연 지면의 낮은 대비와 비스듬한 따뜻한 일몰광으로 시간이 흐른 뒤의 고요함을 전달하며, 관중석이나 격투장 요소는 완전히 배제한다."
          }
        ],
        "shot_ids": [
          "S60_Shot63"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_2",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {},
        "reference_decision": {
          "mode": "surface_role_direct_plate",
          "surface_role": "exterior_plate",
          "fp_id": "",
          "source_bg_ids": []
        },
        "effective_render_prompt": "기후 재난 이후 시간이 흐른 미래 한국의 고요한 산 능선을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사건의 흔적을 과장하지 않은 자연 지면과 붉은 저녁빛만으로 이루어진 빈 배경이다. 실제 미러리스 카메라의 35밀리미터급 렌즈를 사용하고, 서 있는 사람의 눈높이 약 1.6미터에서 능선의 완만한 비탈 너머를 살짝 내려다본다. 수직으로 내려찍는 시점이 아니라 지면의 깊이와 먼 능선이 함께 느껴지는 시점이다. 화면 아래와 중앙에는 빗물에 씻겨 드러난 작은 돌, 불규칙하게 다져진 흙, 듬성듬성 다시 자란 풀과 마른 풀줄기가 놓이고, 위쪽 가장자리에는 낮게 이어지는 산등성이와 좁은 저녁 하늘이 보인다. 한국 산지의 흙길과 낮은 산줄기에서 볼 수 있는 소박한 자연 지형이며, 미래를 나타내기 위한 건축물이나 장비는 추가하지 않는다. 낮은 해의 붉고 따뜻한 빛이 흙과 풀 끝을 비스듬히 스치고, 그늘은 자연스러운 회색을 유지한다. 노을의 붉은색은 실제 일몰에서 가능한 농도로 표현하며 지면 전체를 붉게 물들이지 않는다. 가까운 전경을 위한 빈 공간을 확보하고 지면과 먼 산줄기는 렌즈의 자연스러운 얕은 피사계 심도로 부드럽게 흐려지되, 돌의 거친 표면과 흙 알갱이, 풀의 불규칙한 결은 식별될 정도로 남긴다. 중앙에는 시선을 빼앗는 큰 돌이나 물체를 두지 않는다. 인물, 얼굴, 인간의 손, 금속 손, 로봇, 시신, 혈흔은 전혀 없는 배경만 촬영한다. 격투장, 관중석, 난간, 실내 구조물, 인공 조명, 전투 잔해는 넣지 않는다. 과도한 보정 없이 자연광과 실제 재질을 기록한 현장 참고 사진으로, 정돈된 광고 사진이나 컴퓨터 합성 이미지, 그림, 건축 시각화가 아니다. 평면도나 조감도 없이 사람 눈높이의 실제 공간감을 유지한다. 16:9 가로 비율, 실제 카메라 촬영본\n\nOne attached image is a PHOTOREAL RENDER of this SAME place — the same physical location, possibly seen from a different angle or at a different moment. Treat it as the PLACE IDENTITY reference. Keep this render consistent with it: the same spatial layout and architecture, the same surface materials and colors, and the same permanently installed fixtures and furniture. Lettering visible in the reference is reproduced EXACTLY — same characters, same mark, same position; never invent different wording from render to render. Camera angle, framing, lighting, time of day and weather follow THIS prompt — do NOT copy the reference's composition or mood; only the place's physical identity carries over.\n\nThe LAST attached image is a TOP-DOWN INTERIOR FLOOR PLAN of the building at this location — a STRUCTURAL REFERENCE ONLY, never content to draw. It defines the building's real scale: its footprint, room count, and the placement of its doors and windows. Render the scene so the building's exterior size, number of storeys, and the scale and placement of its doors and windows stay consistent with that plan. Do NOT draw the floor plan itself, its lines, text or numbers anywhere in the image.",
        "shot_aware_plan_mode": "surface_role_direct_plate",
        "attached_reference_lineage": {
          "fp_id": "",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "same_loc_anchor:L229B01",
            "building_fp:fp_church_sanctuary"
          ],
          "ref_used": "refs_2",
          "db_write_policy": "checkpoint_only"
        },
        "building_fp_ref": {
          "fp_id": "fp_church_sanctuary",
          "indoor_loc_sid": "L220",
          "group_id": "bg_village_church_arena",
          "fp_asset_id": "eb1ca846-26de-4897-9f0d-2b62d0c8924f"
        },
        "same_loc_anchor_ref": {
          "anchor_bg_id": "L229B01",
          "loc_id": "L229"
        }
      },
      "L222B02": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L222",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L222B02.png",
        "t2i_prompt": "2069년 기후 재난 이후 한국의 낡은 지하 감방을 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 공간의 현장 기록 사진이며, 그림이나 컴퓨터 생성 영상, 건축 시각화가 아닌 실제 장소와 구별되지 않는 사실적인 촬영본이다. 감방 북동쪽 벽 가까이에서 남서쪽 쇠창살 전면을 비스듬히 바라본다. 카메라는 서 있는 사람의 눈높이인 약 1.6미터, 렌즈는 35밀리미터 환산 화각으로 설정한다. 내려다보는 평면도 구도가 아니라 공간 안에서 벽과 바닥, 쇠창살의 깊이를 함께 보는 수평 중심의 구도다.\n\n직사각형 감방의 북쪽·동쪽·서쪽은 단단한 콘크리트 벽으로 막혀 있고 남쪽 전면은 철제 쇠창살로 구획된다. 쇠창살 전면의 동쪽 끝에 있는 출입문은 화면 왼쪽에 두고, 창살 너머로 좁은 외부 통로가 조금 보이게 한다. 별도의 칸막이가 없는 북서쪽 잠자리 구석은 화면 오른쪽에 들어온다. 그 구석의 두 벽 밑에 느슨하게 쌓인 건초 더미가 있으며, 마른 줄기 하나하나의 거친 섬유와 눌린 결이 자연스럽다. 건초 구석의 바로 남동쪽에 해당하는 감방 서쪽 중앙 바닥에는 얕게 고인 물이 있다. 물은 화면 오른쪽 아래 바닥에 보이고, 출입문으로 향하는 바닥 동선까지 퍼지지 않는다. 수면에는 주변의 어두운 벽과 쇠창살이 약하게 반사된다.\n\n낮이지만 지하 내부는 어둡고, 쇠창살 너머 통로 쪽에서 전달되는 희미한 간접 자연광만으로 공간의 형태가 읽힌다. 실제 콘크리트의 잔골재와 거친 표면, 바닥의 오래된 마모와 습기 얼룩, 철제 창살의 불균일한 산화와 손때를 과장 없이 담는다. 재난 이후에도 사용되어 온 한국의 실용적인 지하 시설처럼 투박한 재료와 제작 흔적을 유지한다. 자연스럽게 차가운 회색이 중심이 되고 건초의 탁한 황갈색이 작게 대비된다. 어두운 구석의 명암을 인위적으로 밝히지 않고, 실제 렌즈의 자연스러운 심도로 쇠창살과 구석의 위치 관계를 알아볼 수 있게 한다. 후처리나 극적인 조명 효과 없이 일상적인 사용감이 남은 공간을 담는다. 사람, 얼굴, 인체 형태의 형상은 전혀 없다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S59_Shot10",
            "guide_text": "감방 북동쪽에서 남서쪽을 보는 공통 배경을 사용한다. 쇠창살 전면을 알아볼 수 있게 유지하고, 출입문은 화면 왼쪽, 건초 구석은 오른쪽, 고인 물은 오른쪽 아래에 둔다. 창살 너머 좁은 통로가 일부 보이도록 한다. 배경에는 인물이나 동작용 소품을 추가하지 않는다."
          },
          {
            "shot_id": "S59_Shot18",
            "guide_text": "앞 장면과 동일한 감방 상태와 촬영 방향을 유지한다. 더 좁게 잘라 쓰더라도 쇠창살, 건초 구석, 고인 물의 실제 위치와 크기 관계를 바꾸지 않는다. 낮의 희미한 간접광과 어두운 콘크리트의 질감을 동일하게 유지하고, 장면의 세부 연출을 배경 표면의 새로운 흔적으로 바꾸지 않는다."
          }
        ],
        "shot_ids": [
          "S59_Shot10",
          "S59_Shot18"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "inside number 1 near the northeast wall, facing diagonally southwest toward number 2, with number 4 at frame right and number 3 toward frame left",
          "camera_height": "low seated eye level, approximately 1.0 m",
          "lens_hint": "35mm equivalent, moderately wide contextual view",
          "framing_notes": "Use one consistent background viewpoint for both shots, allowing tighter subject crops without relocating structural anchors. Keep the barred frontage recognizable, with the hay corner at frame right and pooled water on the lower-right floor. The narrow access strip may be glimpsed through the bars. Preserve the same dim daytime underground state and both overlays. Food handling and bodily scars belong to subject staging, not the background; add no environmental bloodstains or visible radiation effects."
        },
        "reference_decision": {
          "bg_id": "L222B02",
          "fp_id": "fp_dungeon_cell",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L222B02 is the sole renderable BG and sole supplied anchor candidate. Declare it the dwelling-identity anchor using the documented ramped fallback; its clean_background_expected remains false and markers 6 and 7 remain transient. No prior references exist. An interior camera in unit 1 aimed toward opening 3 on the boundary toward unit 5 supports the oblique frontage context of S59_Shot10 and the shared structural background for the tighter S59_Shot18 crop. The discrete geometry does not encode either shot's exact camera height or close-up distance.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_dungeon_cell.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "Render the anchor from the supplied floor plan; the reference catalog and earlier-node set are empty.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 1,
            "camera_cell": [
              4,
              4
            ],
            "look_at_unit": 5,
            "look_at_cell": [
              7,
              8
            ],
            "lens_enum": "normal",
            "fov_deg": 50,
            "framing_notes": "Neutral coverage from unit 1, aimed obliquely at opening 3 toward unit 5. Both coordinates are copied from unit 1's candidate arrays. The aim cell is the boundary opening, not unit 5's center. Use the advertised normal-lens FOV; the view-cone records do not provide an exact cone for this opening-centered aim. Treat visibility supersets conservatively."
          },
          "render_guidance": {
            "visible_space_directive": "Show the interior portion of unit 1 facing its south boundary, with opening 3 at the aim and the adjoining portion of opening 2 where it enters the normal-lens frame. Unit 5 may appear only through that boundary where actually visible. Base marker 4 remains the northwest, unpartitioned part of unit 1 and is not required to appear in this south-facing view. Preserve the base-plan positions of markers 1 through 5 rather than forcing all target units into the crop.",
            "camera_framing_directive": "Use camera_unit 1 at [4, 4], looking toward unit 5 through the opening-centered look_at_cell [7, 8], with normal lens and 50-degree neutral coverage. Maintain an interior, oblique boundary view. Treat this as the shared structural framing; the distinct close crops and heights committed by S59_Shot10 and S59_Shot18 are shot-specific staging, not additional coordinate candidates or camera operations.",
            "subject_position_directive": "For S59_Shot10, preserve the staged lower-left extended hand and lower-center offered object, with the other subject beyond it at right beside opening 2; both subjects remain on the interior side, with portions of their inclined faces and torsos providing scale. For S59_Shot18, preserve the separate oblique abdomen crop, with the raised hem and gripping hand at the upper edge and the face and other subject outside the crop. These are separate consuming-shot arrangements, not a combined tableau; add no uncommitted subjects.",
            "state_cue_directive": "clean_background_expected is false. Carry the committed transient overlays 6 (Loose hay pile) and 7 (Pooled floor water) only where visible; their precise placement is not supplied, so do not promote them to permanent fixtures. Preserve opening 2 intact as committed by S59_Shot10. Use restrained ambient illumination with readable detail and no unsupported source or color. Keep the offered-object action and the lifted-shirt injury reveal specific to their respective shots rather than treating them as fixed background state.",
            "negative_continuity_directive": "No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating markers 2 or 3, adding a partition around marker 4, treating markers 6 or 7 as permanent structure, or forcing units 4 and 5 into view merely because they occur in visibility supersets. Avoid uncommitted structural damage, additional fixtures, and merging the two shot-specific subject arrangements."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [4, 4]\n  - look_at_unit: 5\n  - look_at_cell: [7, 8]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: \"Neutral coverage from unit 1, aimed obliquely at opening 3 toward unit 5. Both coordinates are copied from unit 1's candidate arrays. The aim cell is the boundary opening, not unit 5's center. Use the advertised normal-lens FOV; the view-cone records do not provide an exact cone for this opening-centered aim. Treat visibility supersets conservatively.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the interior portion of unit 1 facing its south boundary, with opening 3 at the aim and the adjoining portion of opening 2 where it enters the normal-lens frame. Unit 5 may appear only through that boundary where actually visible. Base marker 4 remains the northwest, unpartitioned part of unit 1 and is not required to appear in this south-facing view. Preserve the base-plan positions of markers 1 through 5 rather than forcing all target units into the crop.\n  - camera_framing_directive: Use camera_unit 1 at [4, 4], looking toward unit 5 through the opening-centered look_at_cell [7, 8], with normal lens and 50-degree neutral coverage. Maintain an interior, oblique boundary view. Treat this as the shared structural framing; the distinct close crops and heights committed by S59_Shot10 and S59_Shot18 are shot-specific staging, not additional coordinate candidates or camera operations.\n  - subject_position_directive: For S59_Shot10, preserve the staged lower-left extended hand and lower-center offered object, with the other subject beyond it at right beside opening 2; both subjects remain on the interior side, with portions of their inclined faces and torsos providing scale. For S59_Shot18, preserve the separate oblique abdomen crop, with the raised hem and gripping hand at the upper edge and the face and other subject outside the crop. These are separate consuming-shot arrangements, not a combined tableau; add no uncommitted subjects.\n  - state_cue_directive: clean_background_expected is false. Carry the committed transient overlays 6 (Loose hay pile) and 7 (Pooled floor water) only where visible; their precise placement is not supplied, so do not promote them to permanent fixtures. Preserve opening 2 intact as committed by S59_Shot10. Use restrained ambient illumination with readable detail and no unsupported source or color. Keep the offered-object action and the lifted-shirt injury reveal specific to their respective shots rather than treating them as fixed background state.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating markers 2 or 3, adding a partition around marker 4, treating markers 6 or 7 as permanent structure, or forcing units 4 and 5 into view merely because they occur in visibility supersets. Avoid uncommitted structural damage, additional fixtures, and merging the two shot-specific subject arrangements.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [4, 4]\n  - look_at_unit: 5\n  - look_at_cell: [7, 8]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: \"Neutral coverage from unit 1, aimed obliquely at opening 3 toward unit 5. Both coordinates are copied from unit 1's candidate arrays. The aim cell is the boundary opening, not unit 5's center. Use the advertised normal-lens FOV; the view-cone records do not provide an exact cone for this opening-centered aim. Treat visibility supersets conservatively.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the interior portion of unit 1 facing its south boundary, with opening 3 at the aim and the adjoining portion of opening 2 where it enters the normal-lens frame. Unit 5 may appear only through that boundary where actually visible. Base marker 4 remains the northwest, unpartitioned part of unit 1 and is not required to appear in this south-facing view. Preserve the base-plan positions of markers 1 through 5 rather than forcing all target units into the crop.\n  - camera_framing_directive: Use camera_unit 1 at [4, 4], looking toward unit 5 through the opening-centered look_at_cell [7, 8], with normal lens and 50-degree neutral coverage. Maintain an interior, oblique boundary view. Treat this as the shared structural framing; the distinct close crops and heights committed by S59_Shot10 and S59_Shot18 are shot-specific staging, not additional coordinate candidates or camera operations.\n  - subject_position_directive: For S59_Shot10, preserve the staged lower-left extended hand and lower-center offered object, with the other subject beyond it at right beside opening 2; both subjects remain on the interior side, with portions of their inclined faces and torsos providing scale. For S59_Shot18, preserve the separate oblique abdomen crop, with the raised hem and gripping hand at the upper edge and the face and other subject outside the crop. These are separate consuming-shot arrangements, not a combined tableau; add no uncommitted subjects.\n  - state_cue_directive: clean_background_expected is false. Carry the committed transient overlays 6 (Loose hay pile) and 7 (Pooled floor water) only where visible; their precise placement is not supplied, so do not promote them to permanent fixtures. Preserve opening 2 intact as committed by S59_Shot10. Use restrained ambient illumination with readable detail and no unsupported source or color. Keep the offered-object action and the lifted-shirt injury reveal specific to their respective shots rather than treating them as fixed background state.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating markers 2 or 3, adding a partition around marker 4, treating markers 6 or 7 as permanent structure, or forcing units 4 and 5 into view merely because they occur in visibility supersets. Avoid uncommitted structural damage, additional fixtures, and merging the two shot-specific subject arrangements.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [4, 4]\n  - look_at_unit: 5\n  - look_at_cell: [7, 8]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: \"Neutral coverage from unit 1, aimed obliquely at opening 3 toward unit 5. Both coordinates are copied from unit 1's candidate arrays. The aim cell is the boundary opening, not unit 5's center. Use the advertised normal-lens FOV; the view-cone records do not provide an exact cone for this opening-centered aim. Treat visibility supersets conservatively.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the interior portion of unit 1 facing its south boundary, with opening 3 at the aim and the adjoining portion of opening 2 where it enters the normal-lens frame. Unit 5 may appear only through that boundary where actually visible. Base marker 4 remains the northwest, unpartitioned part of unit 1 and is not required to appear in this south-facing view. Preserve the base-plan positions of markers 1 through 5 rather than forcing all target units into the crop.\n  - camera_framing_directive: Use camera_unit 1 at [4, 4], looking toward unit 5 through the opening-centered look_at_cell [7, 8], with normal lens and 50-degree neutral coverage. Maintain an interior, oblique boundary view. Treat this as the shared structural framing; the distinct close crops and heights committed by S59_Shot10 and S59_Shot18 are shot-specific staging, not additional coordinate candidates or camera operations.\n  - subject_position_directive: For S59_Shot10, preserve the staged lower-left extended hand and lower-center offered object, with the other subject beyond it at right beside opening 2; both subjects remain on the interior side, with portions of their inclined faces and torsos providing scale. For S59_Shot18, preserve the separate oblique abdomen crop, with the raised hem and gripping hand at the upper edge and the face and other subject outside the crop. These are separate consuming-shot arrangements, not a combined tableau; add no uncommitted subjects.\n  - state_cue_directive: clean_background_expected is false. Carry the committed transient overlays 6 (Loose hay pile) and 7 (Pooled floor water) only where visible; their precise placement is not supplied, so do not promote them to permanent fixtures. Preserve opening 2 intact as committed by S59_Shot10. Use restrained ambient illumination with readable detail and no unsupported source or color. Keep the offered-object action and the lifted-shirt injury reveal specific to their respective shots rather than treating them as fixed background state.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating markers 2 or 3, adding a partition around marker 4, treating markers 6 or 7 as permanent structure, or forcing units 4 and 5 into view merely because they occur in visibility supersets. Avoid uncommitted structural damage, additional fixtures, and merging the two shot-specific subject arrangements.\n\n2069년 기후 재난 이후 한국의 낡은 지하 감방을 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 공간의 현장 기록 사진이며, 그림이나 컴퓨터 생성 영상, 건축 시각화가 아닌 실제 장소와 구별되지 않는 사실적인 촬영본이다. 감방 북동쪽 벽 가까이에서 남서쪽 쇠창살 전면을 비스듬히 바라본다. 카메라는 서 있는 사람의 눈높이인 약 1.6미터, 렌즈는 35밀리미터 환산 화각으로 설정한다. 내려다보는 평면도 구도가 아니라 공간 안에서 벽과 바닥, 쇠창살의 깊이를 함께 보는 수평 중심의 구도다.\n\n직사각형 감방의 북쪽·동쪽·서쪽은 단단한 콘크리트 벽으로 막혀 있고 남쪽 전면은 철제 쇠창살로 구획된다. 쇠창살 전면의 동쪽 끝에 있는 출입문은 화면 왼쪽에 두고, 창살 너머로 좁은 외부 통로가 조금 보이게 한다. 별도의 칸막이가 없는 북서쪽 잠자리 구석은 화면 오른쪽에 들어온다. 그 구석의 두 벽 밑에 느슨하게 쌓인 건초 더미가 있으며, 마른 줄기 하나하나의 거친 섬유와 눌린 결이 자연스럽다. 건초 구석의 바로 남동쪽에 해당하는 감방 서쪽 중앙 바닥에는 얕게 고인 물이 있다. 물은 화면 오른쪽 아래 바닥에 보이고, 출입문으로 향하는 바닥 동선까지 퍼지지 않는다. 수면에는 주변의 어두운 벽과 쇠창살이 약하게 반사된다.\n\n낮이지만 지하 내부는 어둡고, 쇠창살 너머 통로 쪽에서 전달되는 희미한 간접 자연광만으로 공간의 형태가 읽힌다. 실제 콘크리트의 잔골재와 거친 표면, 바닥의 오래된 마모와 습기 얼룩, 철제 창살의 불균일한 산화와 손때를 과장 없이 담는다. 재난 이후에도 사용되어 온 한국의 실용적인 지하 시설처럼 투박한 재료와 제작 흔적을 유지한다. 자연스럽게 차가운 회색이 중심이 되고 건초의 탁한 황갈색이 작게 대비된다. 어두운 구석의 명암을 인위적으로 밝히지 않고, 실제 렌즈의 자연스러운 심도로 쇠창살과 구석의 위치 관계를 알아볼 수 있게 한다. 후처리나 극적인 조명 효과 없이 일상적인 사용감이 남은 공간을 담는다. 사람, 얼굴, 인체 형태의 형상은 전혀 없다. 16:9 가로 비율, 실제 카메라 촬영본",
        "camera_decision": {
          "camera_unit": 1,
          "camera_cell": [
            4,
            4
          ],
          "look_at_unit": 5,
          "look_at_cell": [
            7,
            8
          ],
          "lens_enum": "normal",
          "fov_deg": 50,
          "framing_notes": "Neutral coverage from unit 1, aimed obliquely at opening 3 toward unit 5. Both coordinates are copied from unit 1's candidate arrays. The aim cell is the boundary opening, not unit 5's center. Use the advertised normal-lens FOV; the view-cone records do not provide an exact cone for this opening-centered aim. Treat visibility supersets conservatively."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Show the interior portion of unit 1 facing its south boundary, with opening 3 at the aim and the adjoining portion of opening 2 where it enters the normal-lens frame. Unit 5 may appear only through that boundary where actually visible. Base marker 4 remains the northwest, unpartitioned part of unit 1 and is not required to appear in this south-facing view. Preserve the base-plan positions of markers 1 through 5 rather than forcing all target units into the crop.",
          "camera_framing_directive": "Use camera_unit 1 at [4, 4], looking toward unit 5 through the opening-centered look_at_cell [7, 8], with normal lens and 50-degree neutral coverage. Maintain an interior, oblique boundary view. Treat this as the shared structural framing; the distinct close crops and heights committed by S59_Shot10 and S59_Shot18 are shot-specific staging, not additional coordinate candidates or camera operations.",
          "subject_position_directive": "For S59_Shot10, preserve the staged lower-left extended hand and lower-center offered object, with the other subject beyond it at right beside opening 2; both subjects remain on the interior side, with portions of their inclined faces and torsos providing scale. For S59_Shot18, preserve the separate oblique abdomen crop, with the raised hem and gripping hand at the upper edge and the face and other subject outside the crop. These are separate consuming-shot arrangements, not a combined tableau; add no uncommitted subjects.",
          "state_cue_directive": "clean_background_expected is false. Carry the committed transient overlays 6 (Loose hay pile) and 7 (Pooled floor water) only where visible; their precise placement is not supplied, so do not promote them to permanent fixtures. Preserve opening 2 intact as committed by S59_Shot10. Use restrained ambient illumination with readable detail and no unsupported source or color. Keep the offered-object action and the lifted-shirt injury reveal specific to their respective shots rather than treating them as fixed background state.",
          "negative_continuity_directive": "No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating markers 2 or 3, adding a partition around marker 4, treating markers 6 or 7 as permanent structure, or forcing units 4 and 5 into view merely because they occur in visibility supersets. Avoid uncommitted structural damage, additional fixtures, and merging the two shot-specific subject arrangements."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_dungeon_cell",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_dungeon_cell"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L222B01": {
        "status": "ok",
        "location_id": "L222",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L222B01.png",
        "t2i_prompt": "실제 카메라로 촬영한 다큐멘터리 풍 사진. 한국의 전통 목판 제작에서 볼 수 있는 칼자국과 나뭇결이 남은 물리적인 목판 표면을 화면 가득 담은 배경용 촬영본이다. 감방이나 특정 건축물, 실제 군중이 있는 장소를 재현하지 않는다. 인물 없는 목판의 재료감과 추상적인 흔적만으로 회상 삽입 장면의 압박감을 받친다. 목판 하단에는 짧고 불규칙한 새김과 검은 먹의 흔적이 촘촘하게 겹쳐 있고, 위쪽으로 갈수록 넓고 무거운 먹빛 면이 자리한다. 이 흔적들은 사람의 머리, 신체, 얼굴 또는 실루엣으로 읽히지 않는 비구상적인 표면 무늬다. 중앙 상부는 후속 장면 요소를 배치할 수 있도록 세부 무늬를 절제한다. 주변의 제한된 부분에만 낡은 금박의 작은 잔편이 붙어 있어 차가운 회색과 먹빛 사이에 둔한 금빛이 드러난다. 가면이나 얼굴 형태는 만들지 않는다. 실제 목재의 갈라진 결, 조각칼이 지나간 홈, 홈 안에 남은 먹, 가장자리의 마모와 작은 얼룩을 선명하고 사실적으로 기록한다. 회상이라는 이유로 미래 장비나 현재의 폐허 풍경을 덧붙이지 않는다. 세워진 목판을 높이 약 1.6미터의 서 있는 사람 눈높이에서 35밀리미터급 렌즈를 장착한 미러리스 카메라로 거의 정면 촬영한다. 카메라와 목판 사이의 실제 거리감 및 자연스러운 피사계 심도를 유지하고 주변 공간은 프레임 밖으로 제외한다. 부드럽게 퍼진 자연광으로 재료의 미세한 요철만 드러내며, 뚜렷한 태양 방향이나 특정 시간대의 긴 그림자는 강조하지 않는다. 과장된 보정 없는 실제 사물 기록 사진으로, 깨끗한 상품 사진이나 컴퓨터 생성 이미지, 삽화, 건축 시각화가 아니다. 위에서 내려다보는 구도나 평면도가 아니다. 사람, 얼굴, 인체 형상, 시신, 혈흔, 글자는 없다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S59_Shot36",
            "guide_text": "목판 표면이 가로 화면 전체를 채우도록 거의 정면으로 잡는다. 하단에는 촘촘한 비구상적 새김을 두고 중앙 상부는 후속 요소를 위한 여백으로 남긴다. 위압감은 상부 먹빛 면의 무게와 주변의 둔한 금박 잔편으로 표현한다. 배경 자체에는 인물, 군중, 얼굴이나 가면을 그리지 않으며, 실제 장소의 원경이나 감방 구조로 연결하지 않는다."
          }
        ],
        "shot_ids": [
          "S59_Shot36"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "text_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {},
        "reference_decision": {
          "mode": "surface_role_direct_plate",
          "surface_role": "site_surface",
          "fp_id": "",
          "source_bg_ids": []
        },
        "effective_render_prompt": "실제 카메라로 촬영한 다큐멘터리 풍 사진. 한국의 전통 목판 제작에서 볼 수 있는 칼자국과 나뭇결이 남은 물리적인 목판 표면을 화면 가득 담은 배경용 촬영본이다. 감방이나 특정 건축물, 실제 군중이 있는 장소를 재현하지 않는다. 인물 없는 목판의 재료감과 추상적인 흔적만으로 회상 삽입 장면의 압박감을 받친다. 목판 하단에는 짧고 불규칙한 새김과 검은 먹의 흔적이 촘촘하게 겹쳐 있고, 위쪽으로 갈수록 넓고 무거운 먹빛 면이 자리한다. 이 흔적들은 사람의 머리, 신체, 얼굴 또는 실루엣으로 읽히지 않는 비구상적인 표면 무늬다. 중앙 상부는 후속 장면 요소를 배치할 수 있도록 세부 무늬를 절제한다. 주변의 제한된 부분에만 낡은 금박의 작은 잔편이 붙어 있어 차가운 회색과 먹빛 사이에 둔한 금빛이 드러난다. 가면이나 얼굴 형태는 만들지 않는다. 실제 목재의 갈라진 결, 조각칼이 지나간 홈, 홈 안에 남은 먹, 가장자리의 마모와 작은 얼룩을 선명하고 사실적으로 기록한다. 회상이라는 이유로 미래 장비나 현재의 폐허 풍경을 덧붙이지 않는다. 세워진 목판을 높이 약 1.6미터의 서 있는 사람 눈높이에서 35밀리미터급 렌즈를 장착한 미러리스 카메라로 거의 정면 촬영한다. 카메라와 목판 사이의 실제 거리감 및 자연스러운 피사계 심도를 유지하고 주변 공간은 프레임 밖으로 제외한다. 부드럽게 퍼진 자연광으로 재료의 미세한 요철만 드러내며, 뚜렷한 태양 방향이나 특정 시간대의 긴 그림자는 강조하지 않는다. 과장된 보정 없는 실제 사물 기록 사진으로, 깨끗한 상품 사진이나 컴퓨터 생성 이미지, 삽화, 건축 시각화가 아니다. 위에서 내려다보는 구도나 평면도가 아니다. 사람, 얼굴, 인체 형상, 시신, 혈흔, 글자는 없다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_aware_plan_mode": "surface_role_direct_plate",
        "attached_reference_lineage": {
          "fp_id": "",
          "prior_bg_ids": [],
          "attached_ref_labels": [],
          "ref_used": "text_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L238B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L238",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L238B01.png",
        "t2i_prompt": "2069년 무렵 기후 재난 이후 한국에 남아 있는 낡은 기계 부품 창고 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 직사각형 창고의 콘크리트 바닥과 벽, 넓은 금속 출입문에 오래 사용한 산업 시설의 현실적인 마모와 얼룩이 남아 있다. 첨단 기계의 잔존 부품과 낡은 창고 건축이 함께 있는 실제 장소처럼 보이게 한다. 사람이나 얼굴, 신체 형태를 이루는 형상은 전혀 없는 빈 배경이다.\n카메라는 창고 안 남동쪽 벽 가까이에 두고, 약 1.4미터 높이의 낮은 선 자세 눈높이에서 북서쪽을 향한다. 북동쪽의 비어 있는 활동 공간 너머 북쪽 벽 가까운 구석 바닥까지 보이도록 구도를 잡는다. 왼쪽 먼 배경에는 북쪽과 서쪽 벽에 붙은 고장 난 로봇 부품 보관 구역이 보이고, 화면 왼쪽 가장자리에는 남서쪽의 넓은 출입문과 문 바로 바깥의 좁은 문턱 구간이 들어온다. 로봇 부품 보관 구역에는 분리된 금속 외장판과 기계 부품이 높이 쌓여 있으나, 완성된 몸체나 머리, 얼굴 또는 팔다리처럼 읽히는 실루엣을 만들지 않는다. 중앙 통로와 북동쪽 활동 공간은 트여 있다.\n북동쪽 구석의 북쪽 벽에 붙은 바닥 자리 바로 남쪽 경계에 이동식 가림 상자 하나가 놓여 있다. 상자는 앞쪽 활동 공간과 뒤쪽 구석 바닥 사이를 가로막으며, 불투명한 표면 뒤의 공간은 실제 가림 관계대로 보이지 않는다. 고정 설비가 아니라 가까운 옆자리로 옮길 수 있는 독립된 상자이며, 이 사진에서는 옮기기 전의 위치 한 곳에만 놓여 있다.\n낮 시간, 반쯤 열린 출입문으로 들어오는 자연 외광이 문턱과 가까운 콘크리트 바닥을 밝히고 창고 안쪽으로 갈수록 점차 약해진다. 북동쪽 구석과 상자 뒤는 깊은 그늘에 잠기되 벽과 바닥의 경계가 자연스럽게 읽힌다. 차가운 회색 계열의 실제 재료색을 유지하고, 밝은 입구와 어두운 내부의 명암 차이는 실제 카메라 노출처럼 표현한다. 콘크리트의 거친 입자, 금속 표면의 산화와 긁힘, 상자 표면의 생활 마모를 과장 없이 담는다. 인위적인 장식 조명이나 발광 효과는 넣지 않는다.\n실제 전면형 감지기 미러리스 카메라와 28밀리미터 광각 렌즈로 촬영한 현장 기록 사진처럼, 과도한 광각 왜곡 없이 자연스러운 원근과 피사계 심도를 유지한다. 위에서 내려다보는 시점이나 평면도, 건축 도해가 아닌 눈높이 사진이며, 컴퓨터로 합성한 듯한 매끈한 표면과 과도한 후보정 없이 실제 장소의 질감을 담는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S64_Shot7",
            "guide_text": "창고 공간을 읽을 수 있는 넓은 눈높이 구도를 사용한다. 왼쪽 출입문의 낮 외광, 먼 왼쪽 부품 더미, 북동쪽의 빈 활동 공간과 그 뒤를 가리는 상자의 위치 관계를 확립한다. 상자는 구석 바닥의 남쪽 경계에 놓고, 뒤쪽은 불투명한 상자에 가려진 그대로 유지한다. 인물이나 신체 형태의 기계 형상은 배경에 넣지 않는다."
          },
          {
            "shot_id": "S64_Shot15",
            "guide_text": "앞 장면과 같은 방향의 시선과 빛을 유지하면서 북동쪽 활동 공간과 가림 상자의 관계가 잘 읽히도록 한다. 상자와 북쪽 벽 사이의 위치 관계를 바꾸지 않으며 가려진 내부를 투시해 보여주지 않는다. 가까운 빈 바닥에서 먼 부품 보관 구역까지 자연스러운 거리감과 실제 재료 질감을 유지한다."
          },
          {
            "shot_id": "S64_Shot24",
            "guide_text": "마지막 공개 상태에서는 가림 상자 하나만 원래 자리의 가까운 옆으로 옮겨 북쪽 벽에 붙은 구석 바닥이 보이게 한다. 기존 상자를 남겨 둔 채 다른 상자를 추가하지 않는다. 구석 바닥 자체와 활동 공간, 부품 더미, 출입문의 위치 및 낮 외광은 그대로 유지한다. 드러나는 곳은 빈 배경 바닥으로만 표현하고 생물이나 인물은 포함하지 않는다."
          }
        ],
        "shot_ids": [
          "S64_Shot7",
          "S64_Shot15",
          "S64_Shot24"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Inside number 1 near the southeast wall, facing northwest across number 5 toward number 6, with number 4 in the farther left background and number 2 near the left edge.",
          "camera_height": "low standing eye level, approximately 1.4 m",
          "lens_hint": "24–28mm wide angle",
          "framing_notes": "Use one consistent spatial master for all listed shots. Keep numbers 5 and 6 clearly related and retain the entry-to-interaction route. The half-open door provides exterior contrast in downstream backgrounds only. Number 7 screens the refuge before the reveal and is moved aside in the final moment; never depict both box positions simultaneously. Do not show birds through the opaque box. Keep the birds and active robots out of the architectural base image."
        },
        "reference_decision": {
          "bg_id": "L238B01",
          "fp_id": "fp_robot_parts_warehouse",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L238B01 is the only ready BG and the sole supplied anchor candidate. Select it under the dossier's explicit fallback despite clean_background_expected=false; retain transient marker 7 as scene state rather than fixed identity. No reference catalog entries exist. Camera unit 6 provides broad coverage toward opening 2 and unit 3, supporting a shared structural background for S64_Shot7, S64_Shot15, and S64_Shot24. Their differing subject framings remain shot-specific. The mandated look-at candidate [8, 2] lies at opening 2 rather than unit 3's marker center; preserve that exact candidate instead of substituting the direction record's [9, 2]. Visibility supersets do not establish unobstructed sightlines.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_robot_parts_warehouse.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "This is the first and only node, seeded directly from the supplied floor plan; no prior same-fp reference is available.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 6,
            "camera_cell": [
              1,
              8
            ],
            "look_at_unit": 3,
            "look_at_cell": [
              8,
              2
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad structural coverage from unit 6 toward unit 3, aimed precisely at opening marker 2's [8, 2] cell. Both coordinates are exact copies from unit 6's candidate arrays. The 90-degree lens matches the advertised wide FOV. This is a shared background framing, not a claim that the three distinct staged subject compositions share identical camera height or scale."
          },
          "render_guidance": {
            "visible_space_directive": "Establish the view from unit 6 toward opening 2 at [8, 2] and unit 3 beyond its direction. Preserve unit 1's central extent, unit 4's northwest placement, and unit 5 immediately south of unit 6 wherever they enter the broad view. Units 1, 3, 4, and 5 and opening 2 are visibility candidates, not guaranteed unobstructed regions; do not force all target markers into frame or infer additional opening adjacency.",
            "camera_framing_directive": "Use camera unit 6 at [1, 8], look-at unit 3 with the exact aim cell [8, 2], and wide coverage at 90 degrees. Keep the structural perspective consistent with this broad view. The medium composition in S64_Shot7 and close compositions in S64_Shot15 and S64_Shot24 are separate shot requirements, not simultaneous framings of this plate.",
            "subject_position_directive": "Keep subject cues separated by consuming shot rather than combining them into one tableau. S64_Shot7 commits 찰리's partial back and shoulder at the left foreground edge and B-200's crouched upper body at center-right, with the aim directed across the gap rather than at the lens. S64_Shot15 commits 찰리's chest on the left and B-200's pointing finger entering from the right, excluding both faces. S64_Shot24 commits B-200's face upper-right and the birds at the lower-left edge, after 찰리 has left. These are screen-relative cues; staging supplies no subject-to-grid assignments, so do not invent exact unit placements or additional subjects.",
            "state_cue_directive": "Carry transient marker 7, labeled Movable screening box, as a movable scene-layer element; its exact placement and orientation are not committed. Use base markers 1 through 6 for structure. Preserve the staged subdued ambient illumination and restrained tonal separation across all three shots, without an unsupported new light source. clean_background_expected=false: do not replace these committed cues with a generic clean-state assumption or turn shot-specific gestures and attached elements into permanent fixtures.",
            "negative_continuity_directive": "The ignore_numbered_elements and ignored_state_overlay_marker_numbers lists are empty. Avoid converting marker 7 into fixed structure, relocating base markers 1 through 6 to fit every shot, or forcing units outside the chosen view into frame. Do not substitute [9, 2] for the committed look-at cell [8, 2], infer unobstructed visibility from candidate supersets, or merge mutually different subject states from the consuming shots. No prior reference state is available to inherit."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 6\n  - camera_cell: [1, 8]\n  - look_at_unit: 3\n  - look_at_cell: [8, 2]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad structural coverage from unit 6 toward unit 3, aimed precisely at opening marker 2's [8, 2] cell. Both coordinates are exact copies from unit 6's candidate arrays. The 90-degree lens matches the advertised wide FOV. This is a shared background framing, not a claim that the three distinct staged subject compositions share identical camera height or scale.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish the view from unit 6 toward opening 2 at [8, 2] and unit 3 beyond its direction. Preserve unit 1's central extent, unit 4's northwest placement, and unit 5 immediately south of unit 6 wherever they enter the broad view. Units 1, 3, 4, and 5 and opening 2 are visibility candidates, not guaranteed unobstructed regions; do not force all target markers into frame or infer additional opening adjacency.\n  - camera_framing_directive: Use camera unit 6 at [1, 8], look-at unit 3 with the exact aim cell [8, 2], and wide coverage at 90 degrees. Keep the structural perspective consistent with this broad view. The medium composition in S64_Shot7 and close compositions in S64_Shot15 and S64_Shot24 are separate shot requirements, not simultaneous framings of this plate.\n  - subject_position_directive: Keep subject cues separated by consuming shot rather than combining them into one tableau. S64_Shot7 commits 찰리's partial back and shoulder at the left foreground edge and B-200's crouched upper body at center-right, with the aim directed across the gap rather than at the lens. S64_Shot15 commits 찰리's chest on the left and B-200's pointing finger entering from the right, excluding both faces. S64_Shot24 commits B-200's face upper-right and the birds at the lower-left edge, after 찰리 has left. These are screen-relative cues; staging supplies no subject-to-grid assignments, so do not invent exact unit placements or additional subjects.\n  - state_cue_directive: Carry transient marker 7, labeled Movable screening box, as a movable scene-layer element; its exact placement and orientation are not committed. Use base markers 1 through 6 for structure. Preserve the staged subdued ambient illumination and restrained tonal separation across all three shots, without an unsupported new light source. clean_background_expected=false: do not replace these committed cues with a generic clean-state assumption or turn shot-specific gestures and attached elements into permanent fixtures.\n  - negative_continuity_directive: The ignore_numbered_elements and ignored_state_overlay_marker_numbers lists are empty. Avoid converting marker 7 into fixed structure, relocating base markers 1 through 6 to fit every shot, or forcing units outside the chosen view into frame. Do not substitute [9, 2] for the committed look-at cell [8, 2], infer unobstructed visibility from candidate supersets, or merge mutually different subject states from the consuming shots. No prior reference state is available to inherit.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 6\n  - camera_cell: [1, 8]\n  - look_at_unit: 3\n  - look_at_cell: [8, 2]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad structural coverage from unit 6 toward unit 3, aimed precisely at opening marker 2's [8, 2] cell. Both coordinates are exact copies from unit 6's candidate arrays. The 90-degree lens matches the advertised wide FOV. This is a shared background framing, not a claim that the three distinct staged subject compositions share identical camera height or scale.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish the view from unit 6 toward opening 2 at [8, 2] and unit 3 beyond its direction. Preserve unit 1's central extent, unit 4's northwest placement, and unit 5 immediately south of unit 6 wherever they enter the broad view. Units 1, 3, 4, and 5 and opening 2 are visibility candidates, not guaranteed unobstructed regions; do not force all target markers into frame or infer additional opening adjacency.\n  - camera_framing_directive: Use camera unit 6 at [1, 8], look-at unit 3 with the exact aim cell [8, 2], and wide coverage at 90 degrees. Keep the structural perspective consistent with this broad view. The medium composition in S64_Shot7 and close compositions in S64_Shot15 and S64_Shot24 are separate shot requirements, not simultaneous framings of this plate.\n  - subject_position_directive: Keep subject cues separated by consuming shot rather than combining them into one tableau. S64_Shot7 commits 찰리's partial back and shoulder at the left foreground edge and B-200's crouched upper body at center-right, with the aim directed across the gap rather than at the lens. S64_Shot15 commits 찰리's chest on the left and B-200's pointing finger entering from the right, excluding both faces. S64_Shot24 commits B-200's face upper-right and the birds at the lower-left edge, after 찰리 has left. These are screen-relative cues; staging supplies no subject-to-grid assignments, so do not invent exact unit placements or additional subjects.\n  - state_cue_directive: Carry transient marker 7, labeled Movable screening box, as a movable scene-layer element; its exact placement and orientation are not committed. Use base markers 1 through 6 for structure. Preserve the staged subdued ambient illumination and restrained tonal separation across all three shots, without an unsupported new light source. clean_background_expected=false: do not replace these committed cues with a generic clean-state assumption or turn shot-specific gestures and attached elements into permanent fixtures.\n  - negative_continuity_directive: The ignore_numbered_elements and ignored_state_overlay_marker_numbers lists are empty. Avoid converting marker 7 into fixed structure, relocating base markers 1 through 6 to fit every shot, or forcing units outside the chosen view into frame. Do not substitute [9, 2] for the committed look-at cell [8, 2], infer unobstructed visibility from candidate supersets, or merge mutually different subject states from the consuming shots. No prior reference state is available to inherit.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 6\n  - camera_cell: [1, 8]\n  - look_at_unit: 3\n  - look_at_cell: [8, 2]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad structural coverage from unit 6 toward unit 3, aimed precisely at opening marker 2's [8, 2] cell. Both coordinates are exact copies from unit 6's candidate arrays. The 90-degree lens matches the advertised wide FOV. This is a shared background framing, not a claim that the three distinct staged subject compositions share identical camera height or scale.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish the view from unit 6 toward opening 2 at [8, 2] and unit 3 beyond its direction. Preserve unit 1's central extent, unit 4's northwest placement, and unit 5 immediately south of unit 6 wherever they enter the broad view. Units 1, 3, 4, and 5 and opening 2 are visibility candidates, not guaranteed unobstructed regions; do not force all target markers into frame or infer additional opening adjacency.\n  - camera_framing_directive: Use camera unit 6 at [1, 8], look-at unit 3 with the exact aim cell [8, 2], and wide coverage at 90 degrees. Keep the structural perspective consistent with this broad view. The medium composition in S64_Shot7 and close compositions in S64_Shot15 and S64_Shot24 are separate shot requirements, not simultaneous framings of this plate.\n  - subject_position_directive: Keep subject cues separated by consuming shot rather than combining them into one tableau. S64_Shot7 commits 찰리's partial back and shoulder at the left foreground edge and B-200's crouched upper body at center-right, with the aim directed across the gap rather than at the lens. S64_Shot15 commits 찰리's chest on the left and B-200's pointing finger entering from the right, excluding both faces. S64_Shot24 commits B-200's face upper-right and the birds at the lower-left edge, after 찰리 has left. These are screen-relative cues; staging supplies no subject-to-grid assignments, so do not invent exact unit placements or additional subjects.\n  - state_cue_directive: Carry transient marker 7, labeled Movable screening box, as a movable scene-layer element; its exact placement and orientation are not committed. Use base markers 1 through 6 for structure. Preserve the staged subdued ambient illumination and restrained tonal separation across all three shots, without an unsupported new light source. clean_background_expected=false: do not replace these committed cues with a generic clean-state assumption or turn shot-specific gestures and attached elements into permanent fixtures.\n  - negative_continuity_directive: The ignore_numbered_elements and ignored_state_overlay_marker_numbers lists are empty. Avoid converting marker 7 into fixed structure, relocating base markers 1 through 6 to fit every shot, or forcing units outside the chosen view into frame. Do not substitute [9, 2] for the committed look-at cell [8, 2], infer unobstructed visibility from candidate supersets, or merge mutually different subject states from the consuming shots. No prior reference state is available to inherit.\n\n2069년 무렵 기후 재난 이후 한국에 남아 있는 낡은 기계 부품 창고 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 직사각형 창고의 콘크리트 바닥과 벽, 넓은 금속 출입문에 오래 사용한 산업 시설의 현실적인 마모와 얼룩이 남아 있다. 첨단 기계의 잔존 부품과 낡은 창고 건축이 함께 있는 실제 장소처럼 보이게 한다. 사람이나 얼굴, 신체 형태를 이루는 형상은 전혀 없는 빈 배경이다.\n카메라는 창고 안 남동쪽 벽 가까이에 두고, 약 1.4미터 높이의 낮은 선 자세 눈높이에서 북서쪽을 향한다. 북동쪽의 비어 있는 활동 공간 너머 북쪽 벽 가까운 구석 바닥까지 보이도록 구도를 잡는다. 왼쪽 먼 배경에는 북쪽과 서쪽 벽에 붙은 고장 난 로봇 부품 보관 구역이 보이고, 화면 왼쪽 가장자리에는 남서쪽의 넓은 출입문과 문 바로 바깥의 좁은 문턱 구간이 들어온다. 로봇 부품 보관 구역에는 분리된 금속 외장판과 기계 부품이 높이 쌓여 있으나, 완성된 몸체나 머리, 얼굴 또는 팔다리처럼 읽히는 실루엣을 만들지 않는다. 중앙 통로와 북동쪽 활동 공간은 트여 있다.\n북동쪽 구석의 북쪽 벽에 붙은 바닥 자리 바로 남쪽 경계에 이동식 가림 상자 하나가 놓여 있다. 상자는 앞쪽 활동 공간과 뒤쪽 구석 바닥 사이를 가로막으며, 불투명한 표면 뒤의 공간은 실제 가림 관계대로 보이지 않는다. 고정 설비가 아니라 가까운 옆자리로 옮길 수 있는 독립된 상자이며, 이 사진에서는 옮기기 전의 위치 한 곳에만 놓여 있다.\n낮 시간, 반쯤 열린 출입문으로 들어오는 자연 외광이 문턱과 가까운 콘크리트 바닥을 밝히고 창고 안쪽으로 갈수록 점차 약해진다. 북동쪽 구석과 상자 뒤는 깊은 그늘에 잠기되 벽과 바닥의 경계가 자연스럽게 읽힌다. 차가운 회색 계열의 실제 재료색을 유지하고, 밝은 입구와 어두운 내부의 명암 차이는 실제 카메라 노출처럼 표현한다. 콘크리트의 거친 입자, 금속 표면의 산화와 긁힘, 상자 표면의 생활 마모를 과장 없이 담는다. 인위적인 장식 조명이나 발광 효과는 넣지 않는다.\n실제 전면형 감지기 미러리스 카메라와 28밀리미터 광각 렌즈로 촬영한 현장 기록 사진처럼, 과도한 광각 왜곡 없이 자연스러운 원근과 피사계 심도를 유지한다. 위에서 내려다보는 시점이나 평면도, 건축 도해가 아닌 눈높이 사진이며, 컴퓨터로 합성한 듯한 매끈한 표면과 과도한 후보정 없이 실제 장소의 질감을 담는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "camera_decision": {
          "camera_unit": 6,
          "camera_cell": [
            1,
            8
          ],
          "look_at_unit": 3,
          "look_at_cell": [
            8,
            2
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad structural coverage from unit 6 toward unit 3, aimed precisely at opening marker 2's [8, 2] cell. Both coordinates are exact copies from unit 6's candidate arrays. The 90-degree lens matches the advertised wide FOV. This is a shared background framing, not a claim that the three distinct staged subject compositions share identical camera height or scale."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Establish the view from unit 6 toward opening 2 at [8, 2] and unit 3 beyond its direction. Preserve unit 1's central extent, unit 4's northwest placement, and unit 5 immediately south of unit 6 wherever they enter the broad view. Units 1, 3, 4, and 5 and opening 2 are visibility candidates, not guaranteed unobstructed regions; do not force all target markers into frame or infer additional opening adjacency.",
          "camera_framing_directive": "Use camera unit 6 at [1, 8], look-at unit 3 with the exact aim cell [8, 2], and wide coverage at 90 degrees. Keep the structural perspective consistent with this broad view. The medium composition in S64_Shot7 and close compositions in S64_Shot15 and S64_Shot24 are separate shot requirements, not simultaneous framings of this plate.",
          "subject_position_directive": "Keep subject cues separated by consuming shot rather than combining them into one tableau. S64_Shot7 commits 찰리's partial back and shoulder at the left foreground edge and B-200's crouched upper body at center-right, with the aim directed across the gap rather than at the lens. S64_Shot15 commits 찰리's chest on the left and B-200's pointing finger entering from the right, excluding both faces. S64_Shot24 commits B-200's face upper-right and the birds at the lower-left edge, after 찰리 has left. These are screen-relative cues; staging supplies no subject-to-grid assignments, so do not invent exact unit placements or additional subjects.",
          "state_cue_directive": "Carry transient marker 7, labeled Movable screening box, as a movable scene-layer element; its exact placement and orientation are not committed. Use base markers 1 through 6 for structure. Preserve the staged subdued ambient illumination and restrained tonal separation across all three shots, without an unsupported new light source. clean_background_expected=false: do not replace these committed cues with a generic clean-state assumption or turn shot-specific gestures and attached elements into permanent fixtures.",
          "negative_continuity_directive": "The ignore_numbered_elements and ignored_state_overlay_marker_numbers lists are empty. Avoid converting marker 7 into fixed structure, relocating base markers 1 through 6 to fit every shot, or forcing units outside the chosen view into frame. Do not substitute [9, 2] for the committed look-at cell [8, 2], infer unobstructed visibility from candidate supersets, or merge mutually different subject states from the consuming shots. No prior reference state is available to inherit."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_robot_parts_warehouse",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_robot_parts_warehouse"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L239B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L239",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L239B01.png",
        "t2i_prompt": "2069년 무렵 기후 재난 이후 한국의 반파된 백화점 외부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 한국의 대형 상업시설에서 볼 수 있는 육중한 철근콘크리트 구조와 넓은 외벽 골격이 남아 있으며, 오래된 붕괴 지형 사이로 식생이 회복된 실제 장소 기록 사진처럼 표현한다. 사람, 얼굴, 사람 형태의 형상 없이 공간과 자연만 담는다.\n\n건물 동쪽의 높은 콘크리트 관망 바닥 남쪽 가장자리에서, 바닥 위 약 1.6미터 높이에 놓인 35밀리미터 규격 미러리스 카메라와 28밀리미터 광각 렌즈로 촬영한다. 남서쪽을 향해 완만하게 아래로 기울여 출입구 앞 공간과 접근길을 바라본다. 높은 층에 서서 보는 원근감이며 수직으로 내려다보는 구도가 아니다. 관망 바닥 가장자리를 전경에 남기고, 남아 있는 건물 골격과 남향 외벽의 출입 틈은 화면 오른쪽 위에 걸치도록 한다. 접근길은 화면 중앙을 따라 읽히게 하며 가까운 콘크리트 표면부터 먼 나무까지 자연스러운 심도로 담는다.\n\n대지 북쪽에는 연결된 외곽 벽체와 건물 골격이 있고, 그 남쪽의 무너진 면에 접하여 기존 붕괴 잔해가 앞마당 지형을 이룬다. 대지 남쪽에서 시작한 마른 접근길은 웅덩이와 붕괴 지형 사이를 굽이쳐 북쪽 출입 틈 앞의 평탄한 공간으로 이어진다. 길 서쪽에는 이끼 지면과 붕괴 지형 사이의 웅덩이가 있고, 출입구 앞 공간의 남동쪽에는 길 동편의 다른 웅덩이가 있다. 서쪽 경계의 무성한 나무는 물가와 잔해 곁에 자라며, 동쪽 경계의 나무는 관망 바닥에서 접근길로 이어지는 시야를 가리지 않는다. 출입구 앞 공간의 남서쪽에서 길 서편을 따라 이끼가 번져 있고, 남쪽 접근길의 동편에는 갓 핀 꽃들이 모여 있다.\n\n낮의 자연광 아래 콘크리트의 드러난 골재와 거친 파단면, 오래된 표면 풍화와 물 얼룩, 젖은 이끼의 미세한 결, 나무껍질과 잎맥을 사실적으로 보여준다. 잔잔한 물에는 실제 하늘빛과 주변 식생이 은은하게 반사된다. 회색 구조물과 자연스러운 녹색 잎, 꽃의 소박한 색이 어우러지며 아름다운 생태 회복과 인기척 없는 서늘한 정적이 함께 느껴진다. 공간은 그대로 유지된 고요하고 교란되지 않은 상태다. 과도한 보정이나 인공적인 광택 없이 실제 현장의 불균일한 표면과 자연스러운 명암을 유지한다. 도면이나 조감도가 아닌 실제 장소 사진으로 표현한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S65_Shot5",
            "guide_text": "높은 콘크리트 관망 바닥의 가장자리를 전경에 두는 공통 외부 전경을 사용한다. 중앙의 마른 접근길과 양쪽 웅덩이가 구분되고, 오른쪽 위에 남은 건물 골격과 출입 틈이 보이게 한다. 인물이나 추가 소품 없이 낮의 자연광과 회복된 식생을 유지한다."
          },
          {
            "shot_id": "S65_Shot10",
            "guide_text": "앞선 전경과 동일한 카메라 위치, 높이, 화각을 유지한다. 관망 바닥에서 출입구 앞 공간과 굽은 접근길을 내려다보는 시야를 확보하며, 나무가 마른 동선을 가리지 않게 한다. 웅덩이의 반사와 콘크리트의 질감, 낮의 밝기를 일치시킨다."
          },
          {
            "shot_id": "S65_Shot20",
            "guide_text": "동일한 높은 외부 전경을 이어 사용하고 구조물과 식생의 위치를 바꾸지 않는다. 전경의 콘크리트 가장자리, 중앙 접근길, 오른쪽 위 출입 틈의 관계를 유지한다. 고요한 낮의 상태를 지속하며 배경에 인물이나 새로운 사건의 흔적을 추가하지 않는다."
          }
        ],
        "shot_ids": [
          "S65_Shot5",
          "S65_Shot10",
          "S65_Shot20"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_2",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Near the southern edge of number 6 (concrete overlook slab), facing diagonally southwest and downward across number 5 (threshold apron) toward number 3 (approach path).",
          "camera_height": "Eye-level standing above the elevated slab; absolute elevation is unspecified, but clearly above the exterior approach.",
          "lens_hint": "24–28mm wide angle",
          "framing_notes": "Use one consistent elevated exterior establishing view for all referenced shots. Retain the edge of number 6 in the foreground, numbers 1 and 4 near the upper-right frame, and the approach through the center. Include the pools and vegetation zones without obscuring the dry route. Do not add an observer, discarded masks, measuring equipment, or later interior events to the background."
        },
        "reference_decision": {
          "bg_id": "L239B01",
          "fp_id": "fp_collapsed_store_site",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L239B01 is ready and is the sole clean anchor candidate. Establish its fixed identity directly from the floor plan without references. Camera unit 6 provides the elevated relationship required by S65_Shot20, with opening marker 4 and the adjoining unit 5 as the focal region. S65_Shot5 and S65_Shot10 require different close observation positions; their subject framing must remain shot-specific rather than being represented as simultaneous features of this wide anchor.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_collapsed_store_site.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The sole eligible identity anchor is rendered fresh; the candidate reference catalog is empty.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 6,
            "camera_cell": [
              2,
              7
            ],
            "look_at_unit": 5,
            "look_at_cell": [
              2,
              5
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Use the exact unit-6 coordinate candidates. The look-at cell coincides with opening marker 4 at the focal boundary adjoining unit 5, not with unit 5's marker centroid. Broad coverage supports S65_Shot20's elevated foreground-to-background relationship. Preserve its lower-left foreground edge and lower-right opening placement. This single camera does not also implement the close observation positions of S65_Shot5 and S65_Shot10."
          },
          "render_guidance": {
            "visible_space_directive": "Establish unit 6 at the foreground edge, looking toward opening marker 4 and adjoining unit 5. Keep the in-cone portions of units 1 and 2 in their floor-plan positions. Include only portions of other base units actually falling within this west-facing wide view; the visible-unit and visible-opening lists are supersets, not proof that every target is visible. Do not force all markers 1–12 into the composition or infer additional opening adjacency.",
            "camera_framing_directive": "Frame from camera unit 6 at [2, 7], with look_at_unit 5 and the exact look-at cell [2, 5], using wide coverage at 90 degrees. Apply S65_Shot20's committed elevated, steeply downward observation framing: the foreground edge crosses the lower-left corner and opening marker 4 occupies the lower-right background region. Hold the view without an added camera move. The two close consuming shots retain separate shot-specific framing requirements.",
            "subject_position_directive": "Keep this clean background plate free of rendered subjects while preserving the committed staging space. For S65_Shot20, reserve the left foreground edge for the back-facing observer and the smaller center-right/lower-right region by marker 4 for the entering pair. S65_Shot5 separately places supporting hands at the lower edges with the face outside frame; S65_Shot10 separately places the face in the right two-thirds. Do not combine these three subject arrangements into the anchor plate.",
            "state_cue_directive": "No committed state cue beyond \"clean residential space\" applies to the clean background state layer, and no transient markers are listed; refrain from inventing additional cues. Treat this clean-state designation as exclusion of additional overlays, not restoration of the fixed base structure. Preserve the structural conditions represented by the used base markers 1–12. Retain the consuming shots' daylight requirement without adding a new light source; subject actions and the shot-specific settled reading remain outside the clean background plate.",
            "negative_continuity_directive": "The ignore-numbered-element and ignored-state-overlay lists are empty. Avoid relocating markers 1, 2, 4, 5, or 6 to fit the frame, introducing unlisted openings, or treating visibility supersets as mandatory coverage. Do not bring out-of-cone units into view merely because they appear in the target list. Avoid combining incompatible shot-specific subject layers or adding transient overlays to L239B01."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 6\n  - camera_cell: [2, 7]\n  - look_at_unit: 5\n  - look_at_cell: [2, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Use the exact unit-6 coordinate candidates. The look-at cell coincides with opening marker 4 at the focal boundary adjoining unit 5, not with unit 5's marker centroid. Broad coverage supports S65_Shot20's elevated foreground-to-background relationship. Preserve its lower-left foreground edge and lower-right opening placement. This single camera does not also implement the close observation positions of S65_Shot5 and S65_Shot10.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 6 at the foreground edge, looking toward opening marker 4 and adjoining unit 5. Keep the in-cone portions of units 1 and 2 in their floor-plan positions. Include only portions of other base units actually falling within this west-facing wide view; the visible-unit and visible-opening lists are supersets, not proof that every target is visible. Do not force all markers 1–12 into the composition or infer additional opening adjacency.\n  - camera_framing_directive: Frame from camera unit 6 at [2, 7], with look_at_unit 5 and the exact look-at cell [2, 5], using wide coverage at 90 degrees. Apply S65_Shot20's committed elevated, steeply downward observation framing: the foreground edge crosses the lower-left corner and opening marker 4 occupies the lower-right background region. Hold the view without an added camera move. The two close consuming shots retain separate shot-specific framing requirements.\n  - subject_position_directive: Keep this clean background plate free of rendered subjects while preserving the committed staging space. For S65_Shot20, reserve the left foreground edge for the back-facing observer and the smaller center-right/lower-right region by marker 4 for the entering pair. S65_Shot5 separately places supporting hands at the lower edges with the face outside frame; S65_Shot10 separately places the face in the right two-thirds. Do not combine these three subject arrangements into the anchor plate.\n  - state_cue_directive: No committed state cue beyond \"clean residential space\" applies to the clean background state layer, and no transient markers are listed; refrain from inventing additional cues. Treat this clean-state designation as exclusion of additional overlays, not restoration of the fixed base structure. Preserve the structural conditions represented by the used base markers 1–12. Retain the consuming shots' daylight requirement without adding a new light source; subject actions and the shot-specific settled reading remain outside the clean background plate.\n  - negative_continuity_directive: The ignore-numbered-element and ignored-state-overlay lists are empty. Avoid relocating markers 1, 2, 4, 5, or 6 to fit the frame, introducing unlisted openings, or treating visibility supersets as mandatory coverage. Do not bring out-of-cone units into view merely because they appear in the target list. Avoid combining incompatible shot-specific subject layers or adding transient overlays to L239B01.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 6\n  - camera_cell: [2, 7]\n  - look_at_unit: 5\n  - look_at_cell: [2, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Use the exact unit-6 coordinate candidates. The look-at cell coincides with opening marker 4 at the focal boundary adjoining unit 5, not with unit 5's marker centroid. Broad coverage supports S65_Shot20's elevated foreground-to-background relationship. Preserve its lower-left foreground edge and lower-right opening placement. This single camera does not also implement the close observation positions of S65_Shot5 and S65_Shot10.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 6 at the foreground edge, looking toward opening marker 4 and adjoining unit 5. Keep the in-cone portions of units 1 and 2 in their floor-plan positions. Include only portions of other base units actually falling within this west-facing wide view; the visible-unit and visible-opening lists are supersets, not proof that every target is visible. Do not force all markers 1–12 into the composition or infer additional opening adjacency.\n  - camera_framing_directive: Frame from camera unit 6 at [2, 7], with look_at_unit 5 and the exact look-at cell [2, 5], using wide coverage at 90 degrees. Apply S65_Shot20's committed elevated, steeply downward observation framing: the foreground edge crosses the lower-left corner and opening marker 4 occupies the lower-right background region. Hold the view without an added camera move. The two close consuming shots retain separate shot-specific framing requirements.\n  - subject_position_directive: Keep this clean background plate free of rendered subjects while preserving the committed staging space. For S65_Shot20, reserve the left foreground edge for the back-facing observer and the smaller center-right/lower-right region by marker 4 for the entering pair. S65_Shot5 separately places supporting hands at the lower edges with the face outside frame; S65_Shot10 separately places the face in the right two-thirds. Do not combine these three subject arrangements into the anchor plate.\n  - state_cue_directive: No committed state cue beyond \"clean residential space\" applies to the clean background state layer, and no transient markers are listed; refrain from inventing additional cues. Treat this clean-state designation as exclusion of additional overlays, not restoration of the fixed base structure. Preserve the structural conditions represented by the used base markers 1–12. Retain the consuming shots' daylight requirement without adding a new light source; subject actions and the shot-specific settled reading remain outside the clean background plate.\n  - negative_continuity_directive: The ignore-numbered-element and ignored-state-overlay lists are empty. Avoid relocating markers 1, 2, 4, 5, or 6 to fit the frame, introducing unlisted openings, or treating visibility supersets as mandatory coverage. Do not bring out-of-cone units into view merely because they appear in the target list. Avoid combining incompatible shot-specific subject layers or adding transient overlays to L239B01.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 6\n  - camera_cell: [2, 7]\n  - look_at_unit: 5\n  - look_at_cell: [2, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Use the exact unit-6 coordinate candidates. The look-at cell coincides with opening marker 4 at the focal boundary adjoining unit 5, not with unit 5's marker centroid. Broad coverage supports S65_Shot20's elevated foreground-to-background relationship. Preserve its lower-left foreground edge and lower-right opening placement. This single camera does not also implement the close observation positions of S65_Shot5 and S65_Shot10.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 6 at the foreground edge, looking toward opening marker 4 and adjoining unit 5. Keep the in-cone portions of units 1 and 2 in their floor-plan positions. Include only portions of other base units actually falling within this west-facing wide view; the visible-unit and visible-opening lists are supersets, not proof that every target is visible. Do not force all markers 1–12 into the composition or infer additional opening adjacency.\n  - camera_framing_directive: Frame from camera unit 6 at [2, 7], with look_at_unit 5 and the exact look-at cell [2, 5], using wide coverage at 90 degrees. Apply S65_Shot20's committed elevated, steeply downward observation framing: the foreground edge crosses the lower-left corner and opening marker 4 occupies the lower-right background region. Hold the view without an added camera move. The two close consuming shots retain separate shot-specific framing requirements.\n  - subject_position_directive: Keep this clean background plate free of rendered subjects while preserving the committed staging space. For S65_Shot20, reserve the left foreground edge for the back-facing observer and the smaller center-right/lower-right region by marker 4 for the entering pair. S65_Shot5 separately places supporting hands at the lower edges with the face outside frame; S65_Shot10 separately places the face in the right two-thirds. Do not combine these three subject arrangements into the anchor plate.\n  - state_cue_directive: No committed state cue beyond \"clean residential space\" applies to the clean background state layer, and no transient markers are listed; refrain from inventing additional cues. Treat this clean-state designation as exclusion of additional overlays, not restoration of the fixed base structure. Preserve the structural conditions represented by the used base markers 1–12. Retain the consuming shots' daylight requirement without adding a new light source; subject actions and the shot-specific settled reading remain outside the clean background plate.\n  - negative_continuity_directive: The ignore-numbered-element and ignored-state-overlay lists are empty. Avoid relocating markers 1, 2, 4, 5, or 6 to fit the frame, introducing unlisted openings, or treating visibility supersets as mandatory coverage. Do not bring out-of-cone units into view merely because they appear in the target list. Avoid combining incompatible shot-specific subject layers or adding transient overlays to L239B01.\n\n2069년 무렵 기후 재난 이후 한국의 반파된 백화점 외부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 한국의 대형 상업시설에서 볼 수 있는 육중한 철근콘크리트 구조와 넓은 외벽 골격이 남아 있으며, 오래된 붕괴 지형 사이로 식생이 회복된 실제 장소 기록 사진처럼 표현한다. 사람, 얼굴, 사람 형태의 형상 없이 공간과 자연만 담는다.\n\n건물 동쪽의 높은 콘크리트 관망 바닥 남쪽 가장자리에서, 바닥 위 약 1.6미터 높이에 놓인 35밀리미터 규격 미러리스 카메라와 28밀리미터 광각 렌즈로 촬영한다. 남서쪽을 향해 완만하게 아래로 기울여 출입구 앞 공간과 접근길을 바라본다. 높은 층에 서서 보는 원근감이며 수직으로 내려다보는 구도가 아니다. 관망 바닥 가장자리를 전경에 남기고, 남아 있는 건물 골격과 남향 외벽의 출입 틈은 화면 오른쪽 위에 걸치도록 한다. 접근길은 화면 중앙을 따라 읽히게 하며 가까운 콘크리트 표면부터 먼 나무까지 자연스러운 심도로 담는다.\n\n대지 북쪽에는 연결된 외곽 벽체와 건물 골격이 있고, 그 남쪽의 무너진 면에 접하여 기존 붕괴 잔해가 앞마당 지형을 이룬다. 대지 남쪽에서 시작한 마른 접근길은 웅덩이와 붕괴 지형 사이를 굽이쳐 북쪽 출입 틈 앞의 평탄한 공간으로 이어진다. 길 서쪽에는 이끼 지면과 붕괴 지형 사이의 웅덩이가 있고, 출입구 앞 공간의 남동쪽에는 길 동편의 다른 웅덩이가 있다. 서쪽 경계의 무성한 나무는 물가와 잔해 곁에 자라며, 동쪽 경계의 나무는 관망 바닥에서 접근길로 이어지는 시야를 가리지 않는다. 출입구 앞 공간의 남서쪽에서 길 서편을 따라 이끼가 번져 있고, 남쪽 접근길의 동편에는 갓 핀 꽃들이 모여 있다.\n\n낮의 자연광 아래 콘크리트의 드러난 골재와 거친 파단면, 오래된 표면 풍화와 물 얼룩, 젖은 이끼의 미세한 결, 나무껍질과 잎맥을 사실적으로 보여준다. 잔잔한 물에는 실제 하늘빛과 주변 식생이 은은하게 반사된다. 회색 구조물과 자연스러운 녹색 잎, 꽃의 소박한 색이 어우러지며 아름다운 생태 회복과 인기척 없는 서늘한 정적이 함께 느껴진다. 공간은 그대로 유지된 고요하고 교란되지 않은 상태다. 과도한 보정이나 인공적인 광택 없이 실제 현장의 불균일한 표면과 자연스러운 명암을 유지한다. 도면이나 조감도가 아닌 실제 장소 사진으로 표현한다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThe LAST attached image is a TOP-DOWN INTERIOR FLOOR PLAN of the building at this location — a STRUCTURAL REFERENCE ONLY, never content to draw. It defines the building's real scale: its footprint, room count, and the placement of its doors and windows. Render the scene so the building's exterior size, number of storeys, and the scale and placement of its doors and windows stay consistent with that plan. Do NOT draw the floor plan itself, its lines, text or numbers anywhere in the image.",
        "camera_decision": {
          "camera_unit": 6,
          "camera_cell": [
            2,
            7
          ],
          "look_at_unit": 5,
          "look_at_cell": [
            2,
            5
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Use the exact unit-6 coordinate candidates. The look-at cell coincides with opening marker 4 at the focal boundary adjoining unit 5, not with unit 5's marker centroid. Broad coverage supports S65_Shot20's elevated foreground-to-background relationship. Preserve its lower-left foreground edge and lower-right opening placement. This single camera does not also implement the close observation positions of S65_Shot5 and S65_Shot10."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Establish unit 6 at the foreground edge, looking toward opening marker 4 and adjoining unit 5. Keep the in-cone portions of units 1 and 2 in their floor-plan positions. Include only portions of other base units actually falling within this west-facing wide view; the visible-unit and visible-opening lists are supersets, not proof that every target is visible. Do not force all markers 1–12 into the composition or infer additional opening adjacency.",
          "camera_framing_directive": "Frame from camera unit 6 at [2, 7], with look_at_unit 5 and the exact look-at cell [2, 5], using wide coverage at 90 degrees. Apply S65_Shot20's committed elevated, steeply downward observation framing: the foreground edge crosses the lower-left corner and opening marker 4 occupies the lower-right background region. Hold the view without an added camera move. The two close consuming shots retain separate shot-specific framing requirements.",
          "subject_position_directive": "Keep this clean background plate free of rendered subjects while preserving the committed staging space. For S65_Shot20, reserve the left foreground edge for the back-facing observer and the smaller center-right/lower-right region by marker 4 for the entering pair. S65_Shot5 separately places supporting hands at the lower edges with the face outside frame; S65_Shot10 separately places the face in the right two-thirds. Do not combine these three subject arrangements into the anchor plate.",
          "state_cue_directive": "No committed state cue beyond \"clean residential space\" applies to the clean background state layer, and no transient markers are listed; refrain from inventing additional cues. Treat this clean-state designation as exclusion of additional overlays, not restoration of the fixed base structure. Preserve the structural conditions represented by the used base markers 1–12. Retain the consuming shots' daylight requirement without adding a new light source; subject actions and the shot-specific settled reading remain outside the clean background plate.",
          "negative_continuity_directive": "The ignore-numbered-element and ignored-state-overlay lists are empty. Avoid relocating markers 1, 2, 4, 5, or 6 to fit the frame, introducing unlisted openings, or treating visibility supersets as mandatory coverage. Do not bring out-of-cone units into view merely because they appear in the target list. Avoid combining incompatible shot-specific subject layers or adding transient overlays to L239B01."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_collapsed_store_site",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_collapsed_store_site",
            "building_fp:fp_collapsed_store_ground"
          ],
          "ref_used": "refs_2",
          "db_write_policy": "checkpoint_only"
        },
        "building_fp_ref": {
          "fp_id": "fp_collapsed_store_ground",
          "indoor_loc_sid": "L240",
          "group_id": "bg_collapsed_department_store",
          "fp_asset_id": "1e55dbea-6974-401e-addb-c1594c096425"
        }
      },
      "L240B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L240",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L240B01.png",
        "t2i_prompt": "기후 재난 이후 2069년 대한민국의 낡은 백화점 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람 없이 공간과 물건만 담은 실제 장소 기록 사진으로, 삽화나 컴퓨터 생성 영상, 건축 조감도가 아니다. 현대 한국 백화점의 철근콘크리트 구조와 금속 에스컬레이터, 한글 층별 안내판, 지하 식품 매장의 실용적인 진열대가 오랜 사용과 관리 중단의 흔적을 간직하고 있다.\n카메라는 지상층의 남쪽에 남아 있는 바닥 가장자리 서쪽 끝, 서쪽 접근 통로와 맞닿는 위치에 둔다. 바닥에서 약 1.6미터 높이의 서 있는 사람 눈높이에서 북동쪽을 향해 비스듬히 아래를 바라본다. 35밀리미터 규격의 실물 미러리스 카메라와 28밀리미터 광각 렌즈로 촬영한 자연스러운 원근감. 수직으로 내려다보는 구도가 아니라, 가까운 바닥 가장자리와 건너편 벽체, 그 아래 지하층이 함께 보이는 사선 시야다.\n화면 아래 전경에는 남쪽에 남은 지상층 바닥 가장자리가 놓이고, 중앙에서 오른쪽으로 넓게 열린 붕괴 구멍을 통해 지하 식품 매장이 드러난다. 서쪽 접근 구역에는 먼지 낀 층별 안내판과 서쪽 벽체 잔존부가 있으며, 북쪽 벽체 잔존부는 에스컬레이터 접근부를 부분적으로 가린다. 화면 왼쪽의 북서쪽 접근부에서 금속 에스컬레이터가 남동쪽 아래로 내려가 지하 중앙의 도착 공간에 이어진다. 에스컬레이터는 벽체와 바닥 단면 사이로 일부가 드러난다. 지하 남동쪽의 통조림 진열대는 남쪽 가장자리보다 낮고 안쪽에 있어 비교적 가까운 하부 시야에 보이고, 포장 식품 진열대는 중앙 도착 공간 너머 북동쪽에 보인다. 두 진열대와 지상 가장자리는 하나의 구멍으로 연결된 실제 수직 공간 안에 있으며, 서로 다른 장소를 합성한 모습이 아니다.\n남쪽 지상 가장자리에서 구조용 밧줄 한 가닥이 구멍 안으로 내려와, 통행 공간이 확보된 지하 중앙 도착 지점을 향해 늘어져 있다. 밧줄의 섬유 꼬임과 중력에 따른 처짐이 자연스럽게 보인다. 인물, 얼굴, 손, 사람 실루엣이나 인체 형태의 물체는 전혀 담지 않는다.\n시간은 낮이지만 실내 깊숙한 곳은 어둡다. 외부에서 유입되는 약한 자연광이 남아 있는 바닥의 단면과 에스컬레이터 금속 가장자리, 통조림 표면에 은은하게 닿고 지하 진열대 아래는 어둡게 남는다. 회색 콘크리트의 거친 골재, 금속의 산화와 손때, 안내판에 쌓인 먼지, 바닥의 오래된 얼룩, 빛바랜 식품 포장 인쇄를 실제 재료의 질감으로 표현한다. 자연스러운 회색 계열과 포장지의 남은 색을 유지하며 인위적인 색 보정이나 과장된 빛 효과 없이 촬영한다. 가까운 바닥과 아래층 진열대의 거리 차이가 읽히는 자연스러운 피사계 심도. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S66_Shot14",
            "guide_text": "남쪽 잔존 바닥 서쪽 끝의 눈높이에서 북동쪽 아래를 보는 기준 시야를 사용한다. 가까운 가장자리, 왼쪽 에스컬레이터, 지하 중앙 도착 공간과 두 식품 진열대의 수직 연결을 읽을 수 있게 한다. 남쪽에서 내려온 밧줄을 유지하고 인물이나 사람 모양의 그림자를 추가하지 않는다."
          },
          {
            "shot_id": "S66_Shot26",
            "guide_text": "동일한 공간 배치와 낮의 어두운 실내 자연광을 유지한다. 화면 범위를 조절하더라도 통조림 진열대는 남쪽 가장자리 아래의 남동쪽에, 포장 식품 진열대는 지하 중앙 도착 공간 너머 북동쪽에 둔다. 밧줄은 남쪽 가장자리에서 지하로 이어지며 별도의 집기나 사건 흔적을 추가하지 않는다."
          },
          {
            "shot_id": "S66_Shot36",
            "guide_text": "지상 가장자리에서 지하를 비스듬히 내려다보는 실제 카메라 시야를 유지한다. 에스컬레이터의 하강 방향과 지하 진열대 위치, 남쪽에서 내려온 밧줄의 연속성을 보존한다. 위에서 수직으로 내려다보는 평면 구도로 바꾸지 않으며 사람, 얼굴, 신체 일부 없이 배경만 사용한다."
          }
        ],
        "shot_ids": [
          "S66_Shot14",
          "S66_Shot26",
          "S66_Shot36"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "At the west end of number 9 (surviving south rim), beside number 1 (ground-floor approach), facing diagonally northeast across number 8 (collapse opening) toward numbers 11, 12, and 13 below, with numbers 6 and 7 along the left side of the view.",
          "camera_height": "Standing eye level, approximately 1.6 m above the surviving ground-floor rim, angled downward into the opening.",
          "lens_hint": "24–28mm wide angle",
          "framing_notes": "Use the same camera for all listed shots. Keep number 9 as the near foreground edge, the partially obscured escalator at left, and the basement food displays visibly below rather than on the rim level. Preserve number 12 as the nearest lower-level merchandise anchor. The interior may remain dark in downstream backgrounds despite daytime outside; darkness is not part of the schematic plan. Number 15 is an event-overlay element for the rescue moment, not a permanent fixture or a feature to bake into the shared base background. People and silhouettes are staged separately."
        },
        "reference_decision": {
          "bg_id": "L240B01",
          "fp_id": "fp_collapsed_store_ground",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L240B01 is readiness-ok and the sole permitted anchor candidate; render it from the floor plan without references. The supplied fallback explicitly admits this BG despite clean_background_expected=false and transient marker 15. Use an upper-floor representative view from unit 1 toward unit 10, targeting marker 12, with wide coverage supporting S66_Shot26's approach to opening 8. S66_Shot14 requires a lower-floor viewpoint and S66_Shot36 requires an emerging rim viewpoint looking toward the upper floor; these are genuinely different camera requirements, not minor framing changes. This single-node, single-camera plan does not claim to reproduce all three shot viewpoints.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_collapsed_store_ground.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The catalog is empty and this is the first and only node; the permitted anchor is seeded directly from the floor plan.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 1,
            "camera_cell": [
              3,
              1
            ],
            "look_at_unit": 10,
            "look_at_cell": [
              5,
              6
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Representative upper-floor framing for S66_Shot26: camera in unit 1 at [3, 1], aimed into unit 10 at marker 12's candidate cell [5, 6]. Use broad coverage with the staged adult-eye-height, gentle downward view toward opening 8. The look-at coordinate is copied from unit 1's candidate list, not from a direction record's unit-center coordinate. The different vertical viewpoints and viewing directions of S66_Shot14 and S66_Shot36 cannot simultaneously be represented by this camera."
          },
          "render_guidance": {
            "visible_space_directive": "From unit 1 toward unit 10 and marker 12, establish opening 8 with the visible portions of units 9, 10 and 11 and markers 12 and 13 within the wide framing. Preserve the floor-plan relationship of unit 9 above unit 10 and unit 11 within the exposed lower footprint. Visibility lists are supersets, not guarantees of unobstructed sightlines. Other listed base markers remain layout constraints but need not all appear in this view.",
            "camera_framing_directive": "Use camera_unit 1, camera_cell [3, 1], look_at_unit 10, look_at_cell [5, 6], wide lens and fov_deg 90 for broad coverage. For the representative S66_Shot26 composition, retain the oblique near edge of opening 8 and the space beyond the staged subject's right side, using the committed gentle downward angle. Do not combine this with S66_Shot14's lower-floor nearly level sightline or S66_Shot36's upward rim sightline.",
            "subject_position_directive": "For the selected S66_Shot26 representative framing, reserve the committed full rear silhouette of 한수 left of center, weight transferring into the final step and head inclined downward; retain opening 8 beyond his right side and withhold facial features and lower-floor occupants. S66_Shot14 commits neither POV body nor 수빈 in view. S66_Shot36 instead commits 한수 right of center, braced while gripping marker 15, with the POV character outside the image. These latter cues belong to their distinct shot viewpoints and must not be merged into the representative composition.",
            "state_cue_directive": "Preserve opening 8's committed collapsed, open state and the dim interior ambience without adding a new light source or color. Markers 12 and 13 retain their recognizable dust-covered layout and distributed stock where visible. Transient marker 15 is committed for S66_Shot36, held and extending diagonally toward the lower-left edge into opening 8; keep that cue shot-specific rather than imposing it on S66_Shot26. Likewise, localized flashlight illumination is committed by S66_Shot14, not a permanent lighting change for every consuming shot. clean_background_expected is false; do not replace these supplied conditions with a clean residential state.",
            "negative_continuity_directive": "No ignore_numbered_elements or ignored_state_overlay_marker_numbers are supplied. Avoid relocating markers 7, 8, 12 or 13 to force their inclusion, flattening the level relationship between units 9 and 10, or treating the visibility supersets as an all-visible set. Keep markers 2 and 3 and units 4, 5, 6 and 14 outside this selected framing when outside its cone. Do not carry marker 15 indiscriminately across consuming shots or merge their incompatible subject positions and camera viewpoints."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [3, 1]\n  - look_at_unit: 10\n  - look_at_cell: [5, 6]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Representative upper-floor framing for S66_Shot26: camera in unit 1 at [3, 1], aimed into unit 10 at marker 12's candidate cell [5, 6]. Use broad coverage with the staged adult-eye-height, gentle downward view toward opening 8. The look-at coordinate is copied from unit 1's candidate list, not from a direction record's unit-center coordinate. The different vertical viewpoints and viewing directions of S66_Shot14 and S66_Shot36 cannot simultaneously be represented by this camera.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 1 toward unit 10 and marker 12, establish opening 8 with the visible portions of units 9, 10 and 11 and markers 12 and 13 within the wide framing. Preserve the floor-plan relationship of unit 9 above unit 10 and unit 11 within the exposed lower footprint. Visibility lists are supersets, not guarantees of unobstructed sightlines. Other listed base markers remain layout constraints but need not all appear in this view.\n  - camera_framing_directive: Use camera_unit 1, camera_cell [3, 1], look_at_unit 10, look_at_cell [5, 6], wide lens and fov_deg 90 for broad coverage. For the representative S66_Shot26 composition, retain the oblique near edge of opening 8 and the space beyond the staged subject's right side, using the committed gentle downward angle. Do not combine this with S66_Shot14's lower-floor nearly level sightline or S66_Shot36's upward rim sightline.\n  - subject_position_directive: For the selected S66_Shot26 representative framing, reserve the committed full rear silhouette of 한수 left of center, weight transferring into the final step and head inclined downward; retain opening 8 beyond his right side and withhold facial features and lower-floor occupants. S66_Shot14 commits neither POV body nor 수빈 in view. S66_Shot36 instead commits 한수 right of center, braced while gripping marker 15, with the POV character outside the image. These latter cues belong to their distinct shot viewpoints and must not be merged into the representative composition.\n  - state_cue_directive: Preserve opening 8's committed collapsed, open state and the dim interior ambience without adding a new light source or color. Markers 12 and 13 retain their recognizable dust-covered layout and distributed stock where visible. Transient marker 15 is committed for S66_Shot36, held and extending diagonally toward the lower-left edge into opening 8; keep that cue shot-specific rather than imposing it on S66_Shot26. Likewise, localized flashlight illumination is committed by S66_Shot14, not a permanent lighting change for every consuming shot. clean_background_expected is false; do not replace these supplied conditions with a clean residential state.\n  - negative_continuity_directive: No ignore_numbered_elements or ignored_state_overlay_marker_numbers are supplied. Avoid relocating markers 7, 8, 12 or 13 to force their inclusion, flattening the level relationship between units 9 and 10, or treating the visibility supersets as an all-visible set. Keep markers 2 and 3 and units 4, 5, 6 and 14 outside this selected framing when outside its cone. Do not carry marker 15 indiscriminately across consuming shots or merge their incompatible subject positions and camera viewpoints.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [3, 1]\n  - look_at_unit: 10\n  - look_at_cell: [5, 6]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Representative upper-floor framing for S66_Shot26: camera in unit 1 at [3, 1], aimed into unit 10 at marker 12's candidate cell [5, 6]. Use broad coverage with the staged adult-eye-height, gentle downward view toward opening 8. The look-at coordinate is copied from unit 1's candidate list, not from a direction record's unit-center coordinate. The different vertical viewpoints and viewing directions of S66_Shot14 and S66_Shot36 cannot simultaneously be represented by this camera.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 1 toward unit 10 and marker 12, establish opening 8 with the visible portions of units 9, 10 and 11 and markers 12 and 13 within the wide framing. Preserve the floor-plan relationship of unit 9 above unit 10 and unit 11 within the exposed lower footprint. Visibility lists are supersets, not guarantees of unobstructed sightlines. Other listed base markers remain layout constraints but need not all appear in this view.\n  - camera_framing_directive: Use camera_unit 1, camera_cell [3, 1], look_at_unit 10, look_at_cell [5, 6], wide lens and fov_deg 90 for broad coverage. For the representative S66_Shot26 composition, retain the oblique near edge of opening 8 and the space beyond the staged subject's right side, using the committed gentle downward angle. Do not combine this with S66_Shot14's lower-floor nearly level sightline or S66_Shot36's upward rim sightline.\n  - subject_position_directive: For the selected S66_Shot26 representative framing, reserve the committed full rear silhouette of 한수 left of center, weight transferring into the final step and head inclined downward; retain opening 8 beyond his right side and withhold facial features and lower-floor occupants. S66_Shot14 commits neither POV body nor 수빈 in view. S66_Shot36 instead commits 한수 right of center, braced while gripping marker 15, with the POV character outside the image. These latter cues belong to their distinct shot viewpoints and must not be merged into the representative composition.\n  - state_cue_directive: Preserve opening 8's committed collapsed, open state and the dim interior ambience without adding a new light source or color. Markers 12 and 13 retain their recognizable dust-covered layout and distributed stock where visible. Transient marker 15 is committed for S66_Shot36, held and extending diagonally toward the lower-left edge into opening 8; keep that cue shot-specific rather than imposing it on S66_Shot26. Likewise, localized flashlight illumination is committed by S66_Shot14, not a permanent lighting change for every consuming shot. clean_background_expected is false; do not replace these supplied conditions with a clean residential state.\n  - negative_continuity_directive: No ignore_numbered_elements or ignored_state_overlay_marker_numbers are supplied. Avoid relocating markers 7, 8, 12 or 13 to force their inclusion, flattening the level relationship between units 9 and 10, or treating the visibility supersets as an all-visible set. Keep markers 2 and 3 and units 4, 5, 6 and 14 outside this selected framing when outside its cone. Do not carry marker 15 indiscriminately across consuming shots or merge their incompatible subject positions and camera viewpoints.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [3, 1]\n  - look_at_unit: 10\n  - look_at_cell: [5, 6]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Representative upper-floor framing for S66_Shot26: camera in unit 1 at [3, 1], aimed into unit 10 at marker 12's candidate cell [5, 6]. Use broad coverage with the staged adult-eye-height, gentle downward view toward opening 8. The look-at coordinate is copied from unit 1's candidate list, not from a direction record's unit-center coordinate. The different vertical viewpoints and viewing directions of S66_Shot14 and S66_Shot36 cannot simultaneously be represented by this camera.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 1 toward unit 10 and marker 12, establish opening 8 with the visible portions of units 9, 10 and 11 and markers 12 and 13 within the wide framing. Preserve the floor-plan relationship of unit 9 above unit 10 and unit 11 within the exposed lower footprint. Visibility lists are supersets, not guarantees of unobstructed sightlines. Other listed base markers remain layout constraints but need not all appear in this view.\n  - camera_framing_directive: Use camera_unit 1, camera_cell [3, 1], look_at_unit 10, look_at_cell [5, 6], wide lens and fov_deg 90 for broad coverage. For the representative S66_Shot26 composition, retain the oblique near edge of opening 8 and the space beyond the staged subject's right side, using the committed gentle downward angle. Do not combine this with S66_Shot14's lower-floor nearly level sightline or S66_Shot36's upward rim sightline.\n  - subject_position_directive: For the selected S66_Shot26 representative framing, reserve the committed full rear silhouette of 한수 left of center, weight transferring into the final step and head inclined downward; retain opening 8 beyond his right side and withhold facial features and lower-floor occupants. S66_Shot14 commits neither POV body nor 수빈 in view. S66_Shot36 instead commits 한수 right of center, braced while gripping marker 15, with the POV character outside the image. These latter cues belong to their distinct shot viewpoints and must not be merged into the representative composition.\n  - state_cue_directive: Preserve opening 8's committed collapsed, open state and the dim interior ambience without adding a new light source or color. Markers 12 and 13 retain their recognizable dust-covered layout and distributed stock where visible. Transient marker 15 is committed for S66_Shot36, held and extending diagonally toward the lower-left edge into opening 8; keep that cue shot-specific rather than imposing it on S66_Shot26. Likewise, localized flashlight illumination is committed by S66_Shot14, not a permanent lighting change for every consuming shot. clean_background_expected is false; do not replace these supplied conditions with a clean residential state.\n  - negative_continuity_directive: No ignore_numbered_elements or ignored_state_overlay_marker_numbers are supplied. Avoid relocating markers 7, 8, 12 or 13 to force their inclusion, flattening the level relationship between units 9 and 10, or treating the visibility supersets as an all-visible set. Keep markers 2 and 3 and units 4, 5, 6 and 14 outside this selected framing when outside its cone. Do not carry marker 15 indiscriminately across consuming shots or merge their incompatible subject positions and camera viewpoints.\n\n기후 재난 이후 2069년 대한민국의 낡은 백화점 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람 없이 공간과 물건만 담은 실제 장소 기록 사진으로, 삽화나 컴퓨터 생성 영상, 건축 조감도가 아니다. 현대 한국 백화점의 철근콘크리트 구조와 금속 에스컬레이터, 한글 층별 안내판, 지하 식품 매장의 실용적인 진열대가 오랜 사용과 관리 중단의 흔적을 간직하고 있다.\n카메라는 지상층의 남쪽에 남아 있는 바닥 가장자리 서쪽 끝, 서쪽 접근 통로와 맞닿는 위치에 둔다. 바닥에서 약 1.6미터 높이의 서 있는 사람 눈높이에서 북동쪽을 향해 비스듬히 아래를 바라본다. 35밀리미터 규격의 실물 미러리스 카메라와 28밀리미터 광각 렌즈로 촬영한 자연스러운 원근감. 수직으로 내려다보는 구도가 아니라, 가까운 바닥 가장자리와 건너편 벽체, 그 아래 지하층이 함께 보이는 사선 시야다.\n화면 아래 전경에는 남쪽에 남은 지상층 바닥 가장자리가 놓이고, 중앙에서 오른쪽으로 넓게 열린 붕괴 구멍을 통해 지하 식품 매장이 드러난다. 서쪽 접근 구역에는 먼지 낀 층별 안내판과 서쪽 벽체 잔존부가 있으며, 북쪽 벽체 잔존부는 에스컬레이터 접근부를 부분적으로 가린다. 화면 왼쪽의 북서쪽 접근부에서 금속 에스컬레이터가 남동쪽 아래로 내려가 지하 중앙의 도착 공간에 이어진다. 에스컬레이터는 벽체와 바닥 단면 사이로 일부가 드러난다. 지하 남동쪽의 통조림 진열대는 남쪽 가장자리보다 낮고 안쪽에 있어 비교적 가까운 하부 시야에 보이고, 포장 식품 진열대는 중앙 도착 공간 너머 북동쪽에 보인다. 두 진열대와 지상 가장자리는 하나의 구멍으로 연결된 실제 수직 공간 안에 있으며, 서로 다른 장소를 합성한 모습이 아니다.\n남쪽 지상 가장자리에서 구조용 밧줄 한 가닥이 구멍 안으로 내려와, 통행 공간이 확보된 지하 중앙 도착 지점을 향해 늘어져 있다. 밧줄의 섬유 꼬임과 중력에 따른 처짐이 자연스럽게 보인다. 인물, 얼굴, 손, 사람 실루엣이나 인체 형태의 물체는 전혀 담지 않는다.\n시간은 낮이지만 실내 깊숙한 곳은 어둡다. 외부에서 유입되는 약한 자연광이 남아 있는 바닥의 단면과 에스컬레이터 금속 가장자리, 통조림 표면에 은은하게 닿고 지하 진열대 아래는 어둡게 남는다. 회색 콘크리트의 거친 골재, 금속의 산화와 손때, 안내판에 쌓인 먼지, 바닥의 오래된 얼룩, 빛바랜 식품 포장 인쇄를 실제 재료의 질감으로 표현한다. 자연스러운 회색 계열과 포장지의 남은 색을 유지하며 인위적인 색 보정이나 과장된 빛 효과 없이 촬영한다. 가까운 바닥과 아래층 진열대의 거리 차이가 읽히는 자연스러운 피사계 심도. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 1,
          "camera_cell": [
            3,
            1
          ],
          "look_at_unit": 10,
          "look_at_cell": [
            5,
            6
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Representative upper-floor framing for S66_Shot26: camera in unit 1 at [3, 1], aimed into unit 10 at marker 12's candidate cell [5, 6]. Use broad coverage with the staged adult-eye-height, gentle downward view toward opening 8. The look-at coordinate is copied from unit 1's candidate list, not from a direction record's unit-center coordinate. The different vertical viewpoints and viewing directions of S66_Shot14 and S66_Shot36 cannot simultaneously be represented by this camera."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "From unit 1 toward unit 10 and marker 12, establish opening 8 with the visible portions of units 9, 10 and 11 and markers 12 and 13 within the wide framing. Preserve the floor-plan relationship of unit 9 above unit 10 and unit 11 within the exposed lower footprint. Visibility lists are supersets, not guarantees of unobstructed sightlines. Other listed base markers remain layout constraints but need not all appear in this view.",
          "camera_framing_directive": "Use camera_unit 1, camera_cell [3, 1], look_at_unit 10, look_at_cell [5, 6], wide lens and fov_deg 90 for broad coverage. For the representative S66_Shot26 composition, retain the oblique near edge of opening 8 and the space beyond the staged subject's right side, using the committed gentle downward angle. Do not combine this with S66_Shot14's lower-floor nearly level sightline or S66_Shot36's upward rim sightline.",
          "subject_position_directive": "For the selected S66_Shot26 representative framing, reserve the committed full rear silhouette of 한수 left of center, weight transferring into the final step and head inclined downward; retain opening 8 beyond his right side and withhold facial features and lower-floor occupants. S66_Shot14 commits neither POV body nor 수빈 in view. S66_Shot36 instead commits 한수 right of center, braced while gripping marker 15, with the POV character outside the image. These latter cues belong to their distinct shot viewpoints and must not be merged into the representative composition.",
          "state_cue_directive": "Preserve opening 8's committed collapsed, open state and the dim interior ambience without adding a new light source or color. Markers 12 and 13 retain their recognizable dust-covered layout and distributed stock where visible. Transient marker 15 is committed for S66_Shot36, held and extending diagonally toward the lower-left edge into opening 8; keep that cue shot-specific rather than imposing it on S66_Shot26. Likewise, localized flashlight illumination is committed by S66_Shot14, not a permanent lighting change for every consuming shot. clean_background_expected is false; do not replace these supplied conditions with a clean residential state.",
          "negative_continuity_directive": "No ignore_numbered_elements or ignored_state_overlay_marker_numbers are supplied. Avoid relocating markers 7, 8, 12 or 13 to force their inclusion, flattening the level relationship between units 9 and 10, or treating the visibility supersets as an all-visible set. Keep markers 2 and 3 and units 4, 5, 6 and 14 outside this selected framing when outside its cone. Do not carry marker 15 indiscriminately across consuming shots or merge their incompatible subject positions and camera viewpoints."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_collapsed_store_ground",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_collapsed_store_ground"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L248B01": {
        "status": "ok",
        "location_id": "L248",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L248B01.png",
        "t2i_prompt": "2069년 기후 재난 이후 대한민국의 야외 꽃밭 가장자리, 노을이 남아 있는 시간대의 실제 장소를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 배경만 담는다. 꽃밭 옆으로 차량이 통행할 수 있는 낡은 아스팔트 도로가 이어지고, 낮은 콘크리트 경계석과 얕은 배수로 사이로 풀들이 자라나 있다. 도로 표면의 잔균열, 드러난 골재, 흙먼지와 오래된 물자국, 콘크리트의 닳은 모서리를 실제 재료의 질감으로 표현한다. 꽃과 잡초가 섞여 자라는 넓은 꽃밭은 관리가 뜸해진 한국의 교외 풍경처럼 불규칙하며, 재난 이후에도 회복된 식생이 남아 있는 장소다. 과도한 폐허나 미래형 건축물을 덧붙이지 않는다.\n\n실제 디지털 일안 반사식 카메라와 35밀리미터급 렌즈로 지면에서 약 1.6미터 높이의 서 있는 사람 눈높이에서 촬영한다. 꽃밭 가장자리에서 도로를 비스듬히 바라보며, 도로는 전경에서 중경으로 이어지고 꽃밭은 그 옆으로 깊이를 만든다. 화면 중앙의 도로 위와 그 위쪽에는 추격 차량이 공중으로 들어 올려지는 동작을 나중에 배치할 수 있도록 넓고 가려지지 않은 공간을 확보한다. 차량 자체와 탑승자, 추격자, 로봇은 이 배경에 그리지 않는다. 내려다보는 시점이나 평면도 구도가 아니라, 가까운 도로의 질감과 꽃밭 너머 낮은 지평선이 함께 보이는 수평에 가까운 시선이다.\n\n낮은 해의 따뜻한 노을빛이 꽃잎 끝과 풀줄기에 닿고, 도로와 그늘은 자연스러운 차가운 회색을 띤다. 차량이 푸른빛에 들려 오르는 순간을 받치는 배경으로, 중앙의 비어 있는 도로 표면과 인접한 꽃잎 일부에만 푸른 보조광이 국소적으로 반사되게 한다. 노을의 자연광을 주광으로 유지하고, 푸른빛을 식물 자체의 발광이나 공중의 마법진, 구형 힘의 장, 고정된 광선으로 표현하지 않는다. 실제 광원의 거리와 표면 방향에 따른 밝기 차이, 자연스러운 그림자와 원근감, 광학적으로 자연스러운 피사계 심도를 유지한다. 인물, 얼굴, 시신, 혈흔, 문자나 화면 그래픽 없이 실제 현장 기록 사진과 구별되지 않는 사실적인 촬영본으로 표현한다. 인위적인 색 보정과 과장된 광학 효과 없이, 정돈된 광고 사진이 아닌 생활 흔적이 남은 현장 사진. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S72_Shot38",
            "guide_text": "꽃밭 가장자리에서 도로를 비스듬히 보는 눈높이 구도로, 중앙 도로 위에 차량의 부양 동작을 배치할 충분한 가로 폭과 상부 여백을 확보한다. 지면과 낮은 지평선이 함께 보여 이후 차량이 지면에서 떨어진 높이를 읽을 수 있게 한다. 노을빛은 꽃밭에, 푸른 반사광은 차량이 놓일 영역 아래의 도로와 가까운 꽃에 제한한다. 배경에는 차량이나 인물, 로봇을 미리 넣지 않고 부양 궤적이나 힘의 장 형태도 고정하지 않는다."
          }
        ],
        "shot_ids": [
          "S72_Shot38"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "text_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {},
        "reference_decision": {
          "mode": "surface_role_direct_plate",
          "surface_role": "exterior_plate",
          "fp_id": "",
          "source_bg_ids": []
        },
        "effective_render_prompt": "2069년 기후 재난 이후 대한민국의 야외 꽃밭 가장자리, 노을이 남아 있는 시간대의 실제 장소를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 배경만 담는다. 꽃밭 옆으로 차량이 통행할 수 있는 낡은 아스팔트 도로가 이어지고, 낮은 콘크리트 경계석과 얕은 배수로 사이로 풀들이 자라나 있다. 도로 표면의 잔균열, 드러난 골재, 흙먼지와 오래된 물자국, 콘크리트의 닳은 모서리를 실제 재료의 질감으로 표현한다. 꽃과 잡초가 섞여 자라는 넓은 꽃밭은 관리가 뜸해진 한국의 교외 풍경처럼 불규칙하며, 재난 이후에도 회복된 식생이 남아 있는 장소다. 과도한 폐허나 미래형 건축물을 덧붙이지 않는다.\n\n실제 디지털 일안 반사식 카메라와 35밀리미터급 렌즈로 지면에서 약 1.6미터 높이의 서 있는 사람 눈높이에서 촬영한다. 꽃밭 가장자리에서 도로를 비스듬히 바라보며, 도로는 전경에서 중경으로 이어지고 꽃밭은 그 옆으로 깊이를 만든다. 화면 중앙의 도로 위와 그 위쪽에는 추격 차량이 공중으로 들어 올려지는 동작을 나중에 배치할 수 있도록 넓고 가려지지 않은 공간을 확보한다. 차량 자체와 탑승자, 추격자, 로봇은 이 배경에 그리지 않는다. 내려다보는 시점이나 평면도 구도가 아니라, 가까운 도로의 질감과 꽃밭 너머 낮은 지평선이 함께 보이는 수평에 가까운 시선이다.\n\n낮은 해의 따뜻한 노을빛이 꽃잎 끝과 풀줄기에 닿고, 도로와 그늘은 자연스러운 차가운 회색을 띤다. 차량이 푸른빛에 들려 오르는 순간을 받치는 배경으로, 중앙의 비어 있는 도로 표면과 인접한 꽃잎 일부에만 푸른 보조광이 국소적으로 반사되게 한다. 노을의 자연광을 주광으로 유지하고, 푸른빛을 식물 자체의 발광이나 공중의 마법진, 구형 힘의 장, 고정된 광선으로 표현하지 않는다. 실제 광원의 거리와 표면 방향에 따른 밝기 차이, 자연스러운 그림자와 원근감, 광학적으로 자연스러운 피사계 심도를 유지한다. 인물, 얼굴, 시신, 혈흔, 문자나 화면 그래픽 없이 실제 현장 기록 사진과 구별되지 않는 사실적인 촬영본으로 표현한다. 인위적인 색 보정과 과장된 광학 효과 없이, 정돈된 광고 사진이 아닌 생활 흔적이 남은 현장 사진. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_aware_plan_mode": "surface_role_direct_plate",
        "attached_reference_lineage": {
          "fp_id": "",
          "prior_bg_ids": [],
          "attached_ref_labels": [],
          "ref_used": "text_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L248B03": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L248",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L248B03.png",
        "t2i_prompt": "기후 재난 이후인 2069년 한국에서 오래 사용되는 트럭의 빈 후방 객실을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 현대 한국 상용차의 실용적인 구조와 낡은 좌석 소재가 남아 있는 공간이다. 객실 뒤쪽 경계를 따라 가로로 놓인 벤치형 좌석의 오른쪽 끝과 그 옆 오른쪽 측면 창문을 좁은 화면 안에 담는다. 배치는 참조 평면도에 표시된 후방 탑승 공간, 뒤쪽 벤치형 좌석, 오른쪽 창문의 관계만 따른다.\n후방 탑승 공간 안에서 오른쪽 뒤 좌석과 창문을 향해 비스듬히 바라본다. 실제 미러리스 카메라의 35밀리미터급 렌즈와 약 1.6미터의 사람 눈높이를 사용하되, 화면을 긴밀하게 잘라 좌석 방석 일부와 가까운 창문만 주변 맥락으로 남긴다. 객실 전체를 설명하는 넓은 구도 대신 중앙 전경에 비어 있는 여유 공간을 확보한다. 위에서 내려다보는 구도나 평면도 시점은 사용하지 않는다.\n밤의 객실은 어둡고, 창밖에서 들어오는 약한 자연 야간광이 좌석 가장자리와 창유리에만 희미하게 닿는다. 차가운 회색 계열은 실제 주변광과 재료의 고유색에서 나오며, 어두운 부분에도 방석의 직물 짜임과 눌린 결, 봉제선의 일상적인 마모가 가까스로 보인다. 유리의 반사는 절제되어 있고 좌석과 창문 사이의 거리에 맞는 자연스러운 심도를 유지한다. 공간은 정돈되어 있고 흐트러짐이 없다. 사람, 얼굴, 신체 일부, 사람 형태의 형상은 전혀 묘사하지 않는다. 과도한 보정이나 인공적인 광택 없이 실제 현장 기록 사진처럼 표현하며, 그림이나 컴퓨터 생성 이미지, 건축 시각화처럼 보이지 않게 한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S72_Shot43",
            "guide_text": "오른쪽 뒤 좌석 방석과 측면 창문만으로 야간 차량 내부를 알아볼 수 있도록 좁게 구성한다. 중앙 전경은 후속 장면 요소를 위한 빈 공간으로 남기고, 좌석의 직물 질감과 창가의 약한 밝기 차이가 이를 압도하지 않게 한다. 배경에는 인물이나 신체 일부를 그리지 않으며, 정돈된 실내 표면 상태를 유지한다."
          }
        ],
        "shot_ids": [
          "S72_Shot43"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Inside number 2, just behind number 8, facing diagonally toward the right end of number 9 and number 14.",
          "camera_height": "Low seated viewpoint, approximately 0.8–1.0 m above the cabin floor",
          "lens_hint": "50–65mm close-detail framing",
          "framing_notes": "Use the rear seat cushion and nearby side window as restrained nighttime context. Reserve the central foreground for the separately staged injured passenger's hand against their side. Blood belongs only to that subject detail; do not add blood to seats, walls, windows, or floor. Keep the doorway closed and exclude rescue flashlights. The close crop need not establish the whole cabin."
        },
        "reference_decision": {
          "bg_id": "L248B03",
          "fp_id": "fp_assigned_vehicle_cabin",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L248B03 is the sole clean anchor candidate and is ready for S72_Shot43. Seed its identity directly from the floor plan. Camera unit 3 looking toward marker 9 in unit 2 supports the committed diagonal interior observation with neutral coverage and a restricted background behind the subject.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_assigned_vehicle_cabin.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The identity anchor is rendered fresh; no prior reference is required or available.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 3,
            "camera_cell": [
              5,
              6
            ],
            "look_at_unit": 2,
            "look_at_cell": [
              7,
              5
            ],
            "lens_enum": "normal",
            "fov_deg": 50,
            "framing_notes": "Neutral diagonal coverage toward marker 9 in unit 2. Apply the staged above-seated-eyeline, downward medium framing; retain only the oblique background strip required by S72_Shot43."
          },
          "render_guidance": {
            "visible_space_directive": "Show the restricted slice of unit 2 toward base marker 9 from unit 3. Establish marker 9 at its supplied fixed position. Keep marker 14 at its supplied boundary position, but do not force it into this rearward-facing crop. The opening and unit candidate lists are visibility supersets, not requirements to expose every listed element.",
            "camera_framing_directive": "Use camera unit 3 at [5, 6], looking toward unit 2 at [7, 5], with normal lens coverage of 50 degrees. Match the committed diagonal, above-seated-eyeline observation and head-to-waist framing without expanding the view to include adjacent subjects.",
            "subject_position_directive": "Follow S72_Shot43: 앰버 is center-right, curled forward, with closed eyes near the upper third and her hand clamped over her injured side near the lower center. Keep adjacent companions outside the frame without changing their established positions. Add no uncommitted subjects.",
            "state_cue_directive": "No committed background state cue beyond \"clean residential space\" applies to this clean BG with no transient markers. Use the staged low nighttime ambient illumination without adding a specific light source. The moving enclosure and subject injury remain shot-layer facts; refrain from inventing additional environmental cues.",
            "negative_continuity_directive": "Exclude overlay markers 15 and 16. Avoid relocating markers 9 or 14 to satisfy the crop, exposing units outside the selected view, or treating visibility supersets as guaranteed sightlines."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [5, 6]\n  - look_at_unit: 2\n  - look_at_cell: [7, 5]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral diagonal coverage toward marker 9 in unit 2. Apply the staged above-seated-eyeline, downward medium framing; retain only the oblique background strip required by S72_Shot43.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the restricted slice of unit 2 toward base marker 9 from unit 3. Establish marker 9 at its supplied fixed position. Keep marker 14 at its supplied boundary position, but do not force it into this rearward-facing crop. The opening and unit candidate lists are visibility supersets, not requirements to expose every listed element.\n  - camera_framing_directive: Use camera unit 3 at [5, 6], looking toward unit 2 at [7, 5], with normal lens coverage of 50 degrees. Match the committed diagonal, above-seated-eyeline observation and head-to-waist framing without expanding the view to include adjacent subjects.\n  - subject_position_directive: Follow S72_Shot43: 앰버 is center-right, curled forward, with closed eyes near the upper third and her hand clamped over her injured side near the lower center. Keep adjacent companions outside the frame without changing their established positions. Add no uncommitted subjects.\n  - state_cue_directive: No committed background state cue beyond \"clean residential space\" applies to this clean BG with no transient markers. Use the staged low nighttime ambient illumination without adding a specific light source. The moving enclosure and subject injury remain shot-layer facts; refrain from inventing additional environmental cues.\n  - negative_continuity_directive: Exclude overlay markers 15 and 16. Avoid relocating markers 9 or 14 to satisfy the crop, exposing units outside the selected view, or treating visibility supersets as guaranteed sightlines.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [5, 6]\n  - look_at_unit: 2\n  - look_at_cell: [7, 5]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral diagonal coverage toward marker 9 in unit 2. Apply the staged above-seated-eyeline, downward medium framing; retain only the oblique background strip required by S72_Shot43.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the restricted slice of unit 2 toward base marker 9 from unit 3. Establish marker 9 at its supplied fixed position. Keep marker 14 at its supplied boundary position, but do not force it into this rearward-facing crop. The opening and unit candidate lists are visibility supersets, not requirements to expose every listed element.\n  - camera_framing_directive: Use camera unit 3 at [5, 6], looking toward unit 2 at [7, 5], with normal lens coverage of 50 degrees. Match the committed diagonal, above-seated-eyeline observation and head-to-waist framing without expanding the view to include adjacent subjects.\n  - subject_position_directive: Follow S72_Shot43: 앰버 is center-right, curled forward, with closed eyes near the upper third and her hand clamped over her injured side near the lower center. Keep adjacent companions outside the frame without changing their established positions. Add no uncommitted subjects.\n  - state_cue_directive: No committed background state cue beyond \"clean residential space\" applies to this clean BG with no transient markers. Use the staged low nighttime ambient illumination without adding a specific light source. The moving enclosure and subject injury remain shot-layer facts; refrain from inventing additional environmental cues.\n  - negative_continuity_directive: Exclude overlay markers 15 and 16. Avoid relocating markers 9 or 14 to satisfy the crop, exposing units outside the selected view, or treating visibility supersets as guaranteed sightlines.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [5, 6]\n  - look_at_unit: 2\n  - look_at_cell: [7, 5]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral diagonal coverage toward marker 9 in unit 2. Apply the staged above-seated-eyeline, downward medium framing; retain only the oblique background strip required by S72_Shot43.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the restricted slice of unit 2 toward base marker 9 from unit 3. Establish marker 9 at its supplied fixed position. Keep marker 14 at its supplied boundary position, but do not force it into this rearward-facing crop. The opening and unit candidate lists are visibility supersets, not requirements to expose every listed element.\n  - camera_framing_directive: Use camera unit 3 at [5, 6], looking toward unit 2 at [7, 5], with normal lens coverage of 50 degrees. Match the committed diagonal, above-seated-eyeline observation and head-to-waist framing without expanding the view to include adjacent subjects.\n  - subject_position_directive: Follow S72_Shot43: 앰버 is center-right, curled forward, with closed eyes near the upper third and her hand clamped over her injured side near the lower center. Keep adjacent companions outside the frame without changing their established positions. Add no uncommitted subjects.\n  - state_cue_directive: No committed background state cue beyond \"clean residential space\" applies to this clean BG with no transient markers. Use the staged low nighttime ambient illumination without adding a specific light source. The moving enclosure and subject injury remain shot-layer facts; refrain from inventing additional environmental cues.\n  - negative_continuity_directive: Exclude overlay markers 15 and 16. Avoid relocating markers 9 or 14 to satisfy the crop, exposing units outside the selected view, or treating visibility supersets as guaranteed sightlines.\n\n기후 재난 이후인 2069년 한국에서 오래 사용되는 트럭의 빈 후방 객실을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 현대 한국 상용차의 실용적인 구조와 낡은 좌석 소재가 남아 있는 공간이다. 객실 뒤쪽 경계를 따라 가로로 놓인 벤치형 좌석의 오른쪽 끝과 그 옆 오른쪽 측면 창문을 좁은 화면 안에 담는다. 배치는 참조 평면도에 표시된 후방 탑승 공간, 뒤쪽 벤치형 좌석, 오른쪽 창문의 관계만 따른다.\n후방 탑승 공간 안에서 오른쪽 뒤 좌석과 창문을 향해 비스듬히 바라본다. 실제 미러리스 카메라의 35밀리미터급 렌즈와 약 1.6미터의 사람 눈높이를 사용하되, 화면을 긴밀하게 잘라 좌석 방석 일부와 가까운 창문만 주변 맥락으로 남긴다. 객실 전체를 설명하는 넓은 구도 대신 중앙 전경에 비어 있는 여유 공간을 확보한다. 위에서 내려다보는 구도나 평면도 시점은 사용하지 않는다.\n밤의 객실은 어둡고, 창밖에서 들어오는 약한 자연 야간광이 좌석 가장자리와 창유리에만 희미하게 닿는다. 차가운 회색 계열은 실제 주변광과 재료의 고유색에서 나오며, 어두운 부분에도 방석의 직물 짜임과 눌린 결, 봉제선의 일상적인 마모가 가까스로 보인다. 유리의 반사는 절제되어 있고 좌석과 창문 사이의 거리에 맞는 자연스러운 심도를 유지한다. 공간은 정돈되어 있고 흐트러짐이 없다. 사람, 얼굴, 신체 일부, 사람 형태의 형상은 전혀 묘사하지 않는다. 과도한 보정이나 인공적인 광택 없이 실제 현장 기록 사진처럼 표현하며, 그림이나 컴퓨터 생성 이미지, 건축 시각화처럼 보이지 않게 한다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 3,
          "camera_cell": [
            5,
            6
          ],
          "look_at_unit": 2,
          "look_at_cell": [
            7,
            5
          ],
          "lens_enum": "normal",
          "fov_deg": 50,
          "framing_notes": "Neutral diagonal coverage toward marker 9 in unit 2. Apply the staged above-seated-eyeline, downward medium framing; retain only the oblique background strip required by S72_Shot43."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Show the restricted slice of unit 2 toward base marker 9 from unit 3. Establish marker 9 at its supplied fixed position. Keep marker 14 at its supplied boundary position, but do not force it into this rearward-facing crop. The opening and unit candidate lists are visibility supersets, not requirements to expose every listed element.",
          "camera_framing_directive": "Use camera unit 3 at [5, 6], looking toward unit 2 at [7, 5], with normal lens coverage of 50 degrees. Match the committed diagonal, above-seated-eyeline observation and head-to-waist framing without expanding the view to include adjacent subjects.",
          "subject_position_directive": "Follow S72_Shot43: 앰버 is center-right, curled forward, with closed eyes near the upper third and her hand clamped over her injured side near the lower center. Keep adjacent companions outside the frame without changing their established positions. Add no uncommitted subjects.",
          "state_cue_directive": "No committed background state cue beyond \"clean residential space\" applies to this clean BG with no transient markers. Use the staged low nighttime ambient illumination without adding a specific light source. The moving enclosure and subject injury remain shot-layer facts; refrain from inventing additional environmental cues.",
          "negative_continuity_directive": "Exclude overlay markers 15 and 16. Avoid relocating markers 9 or 14 to satisfy the crop, exposing units outside the selected view, or treating visibility supersets as guaranteed sightlines."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_assigned_vehicle_cabin",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_assigned_vehicle_cabin"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L248B02": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L248",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L248B02.png",
        "t2i_prompt": "실제 카메라로 촬영한 다큐멘터리 풍 사진. 2069년 기후 재난 이후 대한민국의 비 내리는 야간 도로에 정차한 낡은 트럭 객실을 담은 현장 기록 사진이다. 미래형 장식보다 오래 사용한 실용 차량의 현실적인 재질과 생활 마모가 드러난다. 참조 평면도는 공간 배치 확인에만 사용한다. 객실 뒤쪽 경계를 따라 가로로 놓인 뒷좌석 벤치 옆, 후방 승객 공간의 왼쪽에서 오른쪽 출입문과 문턱을 지나 차 밖의 좁은 접근 공간을 대각선으로 바라본다. 카메라는 높이 올라간 객실 바닥에서 약 1.0~1.2미터인 착석 눈높이이자, 도로 지면에서는 약 1.6미터의 사람 눈높이에 둔다. 실제 미러리스 카메라의 35밀리미터급 렌즈로 촬영한 자연스러운 원근과 피사계 심도를 사용한다.\n오른쪽 출입문은 바깥으로 열려 문틀 안쪽의 문턱과 바로 밖의 좁은 공간이 이어져 보인다. 문틀을 화면의 주요 경계로 삼고, 뒷좌석 벤치 일부는 가까운 가장자리에 남긴다. 문밖 접근 공간에 있는 구조용 손전등의 광원은 화면 가장자리 밖에 두고, 그 빛이 문턱을 가로질러 객실 안쪽으로 들어오는 역광을 포착한다. 빛을 받는 빗줄기와 문틀의 물방울, 젖은 문턱과 도로의 불규칙한 반사가 실제 야간 촬영처럼 보인다. 어두운 실내와 밝은 문밖의 노출 차이는 유지하되 문틀의 형태와 재질은 알아볼 수 있다. 인위적인 색 보정 없이 낮은 주변광과 실제 손전등 빛에 따른 차가운 회색 계열의 색감을 유지한다.\n도장된 금속 문틀의 작은 긁힘과 산화 흔적, 문턱의 닳은 표면, 벤치 덮개의 실제 직조와 눌린 질감, 오래 사용하며 생긴 옅은 얼룩을 세밀하게 담는다. 과장된 폐허나 새 장비를 덧붙이지 않는다. 사람, 얼굴, 신체 일부, 사람 모양의 실루엣이나 반사상 없이 빈 객실과 열린 출입 공간만 촬영한다. 위에서 내려다보는 구도나 도면이 아니며, 삽화나 컴퓨터 생성 이미지, 건축 시각화 또는 지나치게 말끔한 광고 사진이 아닌 실제 장소의 사진이어야 한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S72_Shot58",
            "guide_text": "후방 승객 공간 왼쪽의 벤치 옆에서 열린 오른쪽 문을 대각선으로 바라본다. 객실 바닥 기준 약 1.0~1.2미터의 눈높이와 35밀리미터급 화각을 유지하고, 가까운 벤치 일부에서 문턱을 거쳐 비 내리는 외부로 시선이 이어지게 한다. 문밖 손전등의 역광은 문틀과 젖은 표면을 드러내되 출입구 전체를 하얗게 날리지 않는다. 문 너머는 인물과 사람 모양의 그림자가 없는 빈 배경으로 확보한다."
          }
        ],
        "shot_ids": [
          "S72_Shot58"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "Inside the left-rear portion of number 2, beside number 9, looking diagonally outward through number 12 across number 3 toward number 4.",
          "camera_height": "Seated occupant eye level, approximately 1.0–1.2 m above the cabin floor",
          "lens_hint": "28–35mm moderate wide angle",
          "framing_notes": "Make the fixed doorway frame prominent, with the door opened clear of the central view through overlay number 15. Retain a small edge of number 9 in the foreground. Outside, establish a stopped vehicle on a rainy nighttime road and apply flashlight backlight through overlay number 16. Leave the doorway center available for the separately staged cleric among rescuers' silhouettes. Do not add cabin-wide bloodstains or treat people as permanent plan elements."
        },
        "reference_decision": {
          "bg_id": "L248B02",
          "fp_id": "fp_assigned_vehicle_cabin",
          "node_index": 1,
          "mode": "same_physical_space_view",
          "is_dwelling_identity_anchor": false,
          "rationale": "S72_Shot58 shares unit 2 and marker 9 with L248B03 but turns the interior camera toward marker 12 and the access relationship involving units 3 and 4. L248B03 therefore commits the same physical layout. The changed camera/look-at geometry reveals an opening-facing structural slice not shown by the rearward anchor, requiring a separate view rather than a low-delta reuse candidate.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L248B03.png"
          ],
          "source_bg_ids": [
            "L248B03"
          ],
          "fp_included": false,
          "reference_decision": {
            "selected_refs": [
              {
                "ref_bg_id": "L248B03",
                "physical_space_id": "fp_assigned_vehicle_cabin_space_01",
                "space_description": "Shared fixed layout containing unit 2 and marker 9, continuous with the unit 3 boundary at marker 12."
              }
            ],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "single_same_physical_space_reference",
            "why_single_ref_or_two_refs": "L248B03 supplies the shared physical-space identity. No second earlier reference exists for the exterior portion visible through marker 12; co-visibility alone does not justify inventing another reference.",
            "physical_space_id_per_ref": [
              "fp_assigned_vehicle_cabin_space_01"
            ],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 2,
            "camera_cell": [
              6,
              5
            ],
            "look_at_unit": 3,
            "look_at_cell": [
              3,
              8
            ],
            "lens_enum": "normal",
            "fov_deg": 50,
            "framing_notes": "Remain inside unit 2 and aim diagonally toward marker 12 at the unit 3 boundary. Neutral coverage supports the staged close over-shoulder composition with a narrow opening edge and a restricted exterior view."
          },
          "render_guidance": {
            "visible_space_directive": "Retain unit 2 as the interior foreground and show the narrow edge of marker 12 toward unit 3, with only the staged exterior portion associated with unit 4 visible beyond it. Preserve L248B03's fixed unit boundaries and marker 9 placement; retain marker 12 at [3, 8] and marker 14 at [3, 7]. Marker 9 need not be exposed by this opening-facing crop. Do not infer additional sightlines from the visibility supersets.",
            "camera_framing_directive": "Use camera unit 2 at [6, 5], looking toward unit 3 at [3, 8], with a normal lens and 50-degree neutral coverage. Match the committed seated-eye-height, slightly upward, oblique over-shoulder view. Keep the camera inside and the opening edge narrow; do not convert the view into subjective vision.",
            "subject_position_directive": "Follow S72_Shot58: a soft sliver of 현우's raised shoulder anchors the lower-left while he remains seated shielding his eyes. 신부 occupies center-right beyond the opening, leaning inward and looking down toward 현우 rather than the lens. 라울 remains partially visible at the outer right edge, also attending to 현우.",
            "state_cue_directive": "Apply transient marker 15, \"Rescue doorway open state\", and marker 16, \"Exterior rescue flashlight backlight\", to the staged stopped condition. Preserve the intense glare around the opening while keeping 신부's gently smiling face readable and the foreground shoulder darker. Treat these as transient state layers over the fixed layout inherited from L248B03.",
            "negative_continuity_directive": "Avoid shifting the fixed positions of markers 9, 12, or 14 relative to L248B03. Do not copy L248B03's shot-specific subject or state layers into this view. Do not move the camera into unit 4, expose uncommitted regions from visibility supersets, or treat markers 15 and 16 as permanent structural changes."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L248B03' physical_space_id='fp_assigned_vehicle_cabin_space_01'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [6, 5]\n  - look_at_unit: 3\n  - look_at_cell: [3, 8]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Remain inside unit 2 and aim diagonally toward marker 12 at the unit 3 boundary. Neutral coverage supports the staged close over-shoulder composition with a narrow opening edge and a restricted exterior view.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Retain unit 2 as the interior foreground and show the narrow edge of marker 12 toward unit 3, with only the staged exterior portion associated with unit 4 visible beyond it. Preserve L248B03's fixed unit boundaries and marker 9 placement; retain marker 12 at [3, 8] and marker 14 at [3, 7]. Marker 9 need not be exposed by this opening-facing crop. Do not infer additional sightlines from the visibility supersets.\n  - camera_framing_directive: Use camera unit 2 at [6, 5], looking toward unit 3 at [3, 8], with a normal lens and 50-degree neutral coverage. Match the committed seated-eye-height, slightly upward, oblique over-shoulder view. Keep the camera inside and the opening edge narrow; do not convert the view into subjective vision.\n  - subject_position_directive: Follow S72_Shot58: a soft sliver of 현우's raised shoulder anchors the lower-left while he remains seated shielding his eyes. 신부 occupies center-right beyond the opening, leaning inward and looking down toward 현우 rather than the lens. 라울 remains partially visible at the outer right edge, also attending to 현우.\n  - state_cue_directive: Apply transient marker 15, \"Rescue doorway open state\", and marker 16, \"Exterior rescue flashlight backlight\", to the staged stopped condition. Preserve the intense glare around the opening while keeping 신부's gently smiling face readable and the foreground shoulder darker. Treat these as transient state layers over the fixed layout inherited from L248B03.\n  - negative_continuity_directive: Avoid shifting the fixed positions of markers 9, 12, or 14 relative to L248B03. Do not copy L248B03's shot-specific subject or state layers into this view. Do not move the camera into unit 4, expose uncommitted regions from visibility supersets, or treat markers 15 and 16 as permanent structural changes.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L248B03' physical_space_id='fp_assigned_vehicle_cabin_space_01'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [6, 5]\n  - look_at_unit: 3\n  - look_at_cell: [3, 8]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Remain inside unit 2 and aim diagonally toward marker 12 at the unit 3 boundary. Neutral coverage supports the staged close over-shoulder composition with a narrow opening edge and a restricted exterior view.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Retain unit 2 as the interior foreground and show the narrow edge of marker 12 toward unit 3, with only the staged exterior portion associated with unit 4 visible beyond it. Preserve L248B03's fixed unit boundaries and marker 9 placement; retain marker 12 at [3, 8] and marker 14 at [3, 7]. Marker 9 need not be exposed by this opening-facing crop. Do not infer additional sightlines from the visibility supersets.\n  - camera_framing_directive: Use camera unit 2 at [6, 5], looking toward unit 3 at [3, 8], with a normal lens and 50-degree neutral coverage. Match the committed seated-eye-height, slightly upward, oblique over-shoulder view. Keep the camera inside and the opening edge narrow; do not convert the view into subjective vision.\n  - subject_position_directive: Follow S72_Shot58: a soft sliver of 현우's raised shoulder anchors the lower-left while he remains seated shielding his eyes. 신부 occupies center-right beyond the opening, leaning inward and looking down toward 현우 rather than the lens. 라울 remains partially visible at the outer right edge, also attending to 현우.\n  - state_cue_directive: Apply transient marker 15, \"Rescue doorway open state\", and marker 16, \"Exterior rescue flashlight backlight\", to the staged stopped condition. Preserve the intense glare around the opening while keeping 신부's gently smiling face readable and the foreground shoulder darker. Treat these as transient state layers over the fixed layout inherited from L248B03.\n  - negative_continuity_directive: Avoid shifting the fixed positions of markers 9, 12, or 14 relative to L248B03. Do not copy L248B03's shot-specific subject or state layers into this view. Do not move the camera into unit 4, expose uncommitted regions from visibility supersets, or treat markers 15 and 16 as permanent structural changes.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L248B03' physical_space_id='fp_assigned_vehicle_cabin_space_01'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [6, 5]\n  - look_at_unit: 3\n  - look_at_cell: [3, 8]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Remain inside unit 2 and aim diagonally toward marker 12 at the unit 3 boundary. Neutral coverage supports the staged close over-shoulder composition with a narrow opening edge and a restricted exterior view.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Retain unit 2 as the interior foreground and show the narrow edge of marker 12 toward unit 3, with only the staged exterior portion associated with unit 4 visible beyond it. Preserve L248B03's fixed unit boundaries and marker 9 placement; retain marker 12 at [3, 8] and marker 14 at [3, 7]. Marker 9 need not be exposed by this opening-facing crop. Do not infer additional sightlines from the visibility supersets.\n  - camera_framing_directive: Use camera unit 2 at [6, 5], looking toward unit 3 at [3, 8], with a normal lens and 50-degree neutral coverage. Match the committed seated-eye-height, slightly upward, oblique over-shoulder view. Keep the camera inside and the opening edge narrow; do not convert the view into subjective vision.\n  - subject_position_directive: Follow S72_Shot58: a soft sliver of 현우's raised shoulder anchors the lower-left while he remains seated shielding his eyes. 신부 occupies center-right beyond the opening, leaning inward and looking down toward 현우 rather than the lens. 라울 remains partially visible at the outer right edge, also attending to 현우.\n  - state_cue_directive: Apply transient marker 15, \"Rescue doorway open state\", and marker 16, \"Exterior rescue flashlight backlight\", to the staged stopped condition. Preserve the intense glare around the opening while keeping 신부's gently smiling face readable and the foreground shoulder darker. Treat these as transient state layers over the fixed layout inherited from L248B03.\n  - negative_continuity_directive: Avoid shifting the fixed positions of markers 9, 12, or 14 relative to L248B03. Do not copy L248B03's shot-specific subject or state layers into this view. Do not move the camera into unit 4, expose uncommitted regions from visibility supersets, or treat markers 15 and 16 as permanent structural changes.\n\n실제 카메라로 촬영한 다큐멘터리 풍 사진. 2069년 기후 재난 이후 대한민국의 비 내리는 야간 도로에 정차한 낡은 트럭 객실을 담은 현장 기록 사진이다. 미래형 장식보다 오래 사용한 실용 차량의 현실적인 재질과 생활 마모가 드러난다. 참조 평면도는 공간 배치 확인에만 사용한다. 객실 뒤쪽 경계를 따라 가로로 놓인 뒷좌석 벤치 옆, 후방 승객 공간의 왼쪽에서 오른쪽 출입문과 문턱을 지나 차 밖의 좁은 접근 공간을 대각선으로 바라본다. 카메라는 높이 올라간 객실 바닥에서 약 1.0~1.2미터인 착석 눈높이이자, 도로 지면에서는 약 1.6미터의 사람 눈높이에 둔다. 실제 미러리스 카메라의 35밀리미터급 렌즈로 촬영한 자연스러운 원근과 피사계 심도를 사용한다.\n오른쪽 출입문은 바깥으로 열려 문틀 안쪽의 문턱과 바로 밖의 좁은 공간이 이어져 보인다. 문틀을 화면의 주요 경계로 삼고, 뒷좌석 벤치 일부는 가까운 가장자리에 남긴다. 문밖 접근 공간에 있는 구조용 손전등의 광원은 화면 가장자리 밖에 두고, 그 빛이 문턱을 가로질러 객실 안쪽으로 들어오는 역광을 포착한다. 빛을 받는 빗줄기와 문틀의 물방울, 젖은 문턱과 도로의 불규칙한 반사가 실제 야간 촬영처럼 보인다. 어두운 실내와 밝은 문밖의 노출 차이는 유지하되 문틀의 형태와 재질은 알아볼 수 있다. 인위적인 색 보정 없이 낮은 주변광과 실제 손전등 빛에 따른 차가운 회색 계열의 색감을 유지한다.\n도장된 금속 문틀의 작은 긁힘과 산화 흔적, 문턱의 닳은 표면, 벤치 덮개의 실제 직조와 눌린 질감, 오래 사용하며 생긴 옅은 얼룩을 세밀하게 담는다. 과장된 폐허나 새 장비를 덧붙이지 않는다. 사람, 얼굴, 신체 일부, 사람 모양의 실루엣이나 반사상 없이 빈 객실과 열린 출입 공간만 촬영한다. 위에서 내려다보는 구도나 도면이 아니며, 삽화나 컴퓨터 생성 이미지, 건축 시각화 또는 지나치게 말끔한 광고 사진이 아닌 실제 장소의 사진이어야 한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "camera_decision": {
          "camera_unit": 2,
          "camera_cell": [
            6,
            5
          ],
          "look_at_unit": 3,
          "look_at_cell": [
            3,
            8
          ],
          "lens_enum": "normal",
          "fov_deg": 50,
          "framing_notes": "Remain inside unit 2 and aim diagonally toward marker 12 at the unit 3 boundary. Neutral coverage supports the staged close over-shoulder composition with a narrow opening edge and a restricted exterior view."
        },
        "shot_aware_plan_node_index": 1,
        "shot_aware_plan_mode": "same_physical_space_view",
        "render_guidance": {
          "visible_space_directive": "Retain unit 2 as the interior foreground and show the narrow edge of marker 12 toward unit 3, with only the staged exterior portion associated with unit 4 visible beyond it. Preserve L248B03's fixed unit boundaries and marker 9 placement; retain marker 12 at [3, 8] and marker 14 at [3, 7]. Marker 9 need not be exposed by this opening-facing crop. Do not infer additional sightlines from the visibility supersets.",
          "camera_framing_directive": "Use camera unit 2 at [6, 5], looking toward unit 3 at [3, 8], with a normal lens and 50-degree neutral coverage. Match the committed seated-eye-height, slightly upward, oblique over-shoulder view. Keep the camera inside and the opening edge narrow; do not convert the view into subjective vision.",
          "subject_position_directive": "Follow S72_Shot58: a soft sliver of 현우's raised shoulder anchors the lower-left while he remains seated shielding his eyes. 신부 occupies center-right beyond the opening, leaning inward and looking down toward 현우 rather than the lens. 라울 remains partially visible at the outer right edge, also attending to 현우.",
          "state_cue_directive": "Apply transient marker 15, \"Rescue doorway open state\", and marker 16, \"Exterior rescue flashlight backlight\", to the staged stopped condition. Preserve the intense glare around the opening while keeping 신부's gently smiling face readable and the foreground shoulder darker. Treat these as transient state layers over the fixed layout inherited from L248B03.",
          "negative_continuity_directive": "Avoid shifting the fixed positions of markers 9, 12, or 14 relative to L248B03. Do not copy L248B03's shot-specific subject or state layers into this view. Do not move the camera into unit 4, expose uncommitted regions from visibility supersets, or treat markers 15 and 16 as permanent structural changes."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_assigned_vehicle_cabin",
          "prior_bg_ids": [
            "L248B03"
          ],
          "attached_ref_labels": [
            "bg:L248B03"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L253B02": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L253",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L253B02.png",
        "t2i_prompt": "실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 2069년 기후 재난 이후에도 유지되어 쓰이는 한국 서남부 지역의 소규모 공공 보건시설 병실을 밤에 촬영한 실제 장소 기록 사진이다. 사람, 얼굴, 인체 형태의 물체 없이 빈 공간만 담는다. 직사각형 병실의 서쪽 절반에 환자용 침상이 있으며, 머리 쪽은 북쪽이고 발치 쪽은 남쪽이다. 침상은 서쪽 벽에서 떨어져 있어 곁으로 접근할 여유가 있다. 북서쪽은 침상 중심의 아늑한 공간으로, 북동쪽은 침상 곁에 충분히 넓은 빈 바닥으로 이어진다. 남쪽에는 출입구와 침상 발치, 오른쪽 빈 공간을 연결하는 통로를 확보한다. 출입문은 남쪽 벽의 서쪽 끝 가까이에 있으며 서쪽 벽 방향으로 안쪽에 열리는 구조다.\n카메라는 남쪽 통로의 남동쪽 끝 부근에 두고 북서쪽 침상을 바라본다. 서 있는 사람의 눈높이에 가까운 약 1.5~1.6미터 높이, 35밀리미터 판형 카메라의 28밀리미터 광각 렌즈로 촬영한다. 침상을 화면의 중심 대상으로 삼되 오른쪽 빈 바닥을 충분히 담고, 왼쪽 가장자리에 출입문을 포함한다. 수직선과 원근은 자연스럽게 유지하며 위에서 내려다보는 구도가 아닌 실내 눈높이 사진으로 표현한다.\n한국의 소박한 공공 의료시설에서 볼 수 있는 도장한 콘크리트 벽과 실용적인 시트 바닥, 오래 사용한 금속 침상 프레임의 실제 표면 질감을 보여준다. 침상 표면은 평탄하며 직물의 짜임이 가까운 부분에서 자연스럽게 드러난다. 건축 마감과 금속에는 관리하며 사용해 온 정도의 잔잔한 마모만 있다. 공간은 깨끗하고 정돈된 평온한 상태다. 야간 실내의 낮은 밝기와 부드럽게 퍼지는 기존 조명으로 벽과 침상의 형태를 알아볼 수 있게 하며, 회색 계열의 재료 고유색 안에 약한 따뜻한 빛이 머문다. 과장된 명암 없이 실제 실내광의 밝기 차이와 자연스러운 그림자, 충분하지만 무한히 선명하지 않은 피사계 심도를 유지한다. 과도한 보정이나 광고 사진 같은 광택 없이 실제 관리 중인 병실의 담백한 사진으로 표현한다. 평면도나 건축 도해가 아닌 실제 공간의 눈높이 촬영 사진. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S73_Shot2",
            "guide_text": "침상과 오른쪽 빈 바닥이 함께 읽히는 기본 구도를 사용한다. 왼쪽 가장자리의 출입문과 남쪽 통로를 포함해 공간의 연결 관계를 보여주고, 배경에는 사람이나 인체 형태를 넣지 않는다."
          },
          {
            "shot_id": "S73_Shot5",
            "guide_text": "같은 침상의 방향과 벽에서 떨어진 간격을 유지한다. 침상 곁을 중심으로 구도를 조절하더라도 오른쪽 여유 공간을 남기며, 기존 야간 조명의 밝기와 금속 및 직물 질감을 일관되게 유지한다."
          },
          {
            "shot_id": "S73_Shot11",
            "guide_text": "침상 곁의 넓은 바닥과 출입구에서 이어지는 통로가 유지되도록 구성한다. 침상이나 출입문을 이동시키지 않고 앞선 배경과 같은 눈높이 원근 및 조명을 사용하며, 빈 공간에 별도 물체나 인체 형태를 추가하지 않는다."
          }
        ],
        "shot_ids": [
          "S73_Shot2",
          "S73_Shot5",
          "S73_Shot11"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Near the southeastern end of number 4 (entry circulation strip), facing northwest toward number 5 (patient bed), with number 3 (shared gathering zone) on the right and number 6 (ward entry door) at the far left edge.",
          "camera_height": "Eye-level standing, approximately 1.5 m",
          "lens_hint": "28mm wide angle",
          "framing_notes": "Keep number 5 prominent while retaining open floor in number 3 for bedside comfort and reunion staging. Include number 6 at the left edge to establish arriving visitors. Preserve the same bed and clearances in every shot using this background."
        },
        "reference_decision": {
          "bg_id": "L253B02",
          "fp_id": "fp_clinic_ward",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L253B02 is a ready, eligible clean anchor. Its consuming shots establish marker 5 and, in S73_Shot11, opening 6 with floor beneath the subjects. A wide view from unit 3 toward marker 5 in unit 2 provides a shared structural plate with southwest coverage for opening 6. The individual subject compositions remain shot-specific rather than being combined into the background.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_clinic_ward.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "Seed the dwelling identity directly from the floor plan; no earlier reference is available or required.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 3,
            "camera_cell": [
              4,
              6
            ],
            "look_at_unit": 2,
            "look_at_cell": [
              5,
              2
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad structural coverage from unit 3 toward marker 5 in unit 2, retaining the southwest portion of unit 4 and opening 6 within the framing. This is the common background plate, not a simultaneous realization of all three consuming-shot compositions."
          },
          "render_guidance": {
            "visible_space_directive": "Establish the visible portion of enclosure 1 from unit 3, looking toward unit 2 and persistent marker 5. Include the southwest floor portion of unit 4 and an oblique view of opening 6 for S73_Shot11. Keep marker 5 in the western half with its head north and foot south, and opening 6 on the south boundary near the southwest corner. The visibility lists are supersets: do not infer additional spaces beyond opening 6 or require every unit to be wholly visible.",
            "camera_framing_directive": "Use camera_unit 3 at camera_cell [4, 6], looking into look_at_unit 2 at look_at_cell [5, 2], with a wide lens and 90-degree field of view. Preserve broad floor and fixed-element coverage for the common plate; the medium bedside compositions and full-body composition are separate consuming-shot framings. No camera motion is prescribed for this plate.",
            "subject_position_directive": "Keep the clean background plate free of baked-in subjects while preserving space for the committed shot layers. S73_Shot2 places 현우 on the right and 앰버 in the lower-left foreground at marker 5. S73_Shot5 places 현우 in left profile and 신부 at right, with their shoulders and hands across the center. S73_Shot11 places 현우 left of center and 쿠마 at right, with full bodies and floor beneath their feet. Do not combine these separate arrangements into one scene.",
            "state_cue_directive": "No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Maintain the supplied restrained nighttime ambient illumination and controlled contrast without adding unsupported fixtures or colored light; subject states belong to the separate shot layers.",
            "negative_continuity_directive": "There are no listed ignored numbered elements or ignored overlay markers. Avoid relocating marker 5 or opening 6, treating units 2, 3, and 4 as independently enclosed spaces, or extending the image into uncommitted space beyond opening 6. Do not treat the visibility supersets as a requirement to show all unit centers."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [4, 6]\n  - look_at_unit: 2\n  - look_at_cell: [5, 2]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad structural coverage from unit 3 toward marker 5 in unit 2, retaining the southwest portion of unit 4 and opening 6 within the framing. This is the common background plate, not a simultaneous realization of all three consuming-shot compositions.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish the visible portion of enclosure 1 from unit 3, looking toward unit 2 and persistent marker 5. Include the southwest floor portion of unit 4 and an oblique view of opening 6 for S73_Shot11. Keep marker 5 in the western half with its head north and foot south, and opening 6 on the south boundary near the southwest corner. The visibility lists are supersets: do not infer additional spaces beyond opening 6 or require every unit to be wholly visible.\n  - camera_framing_directive: Use camera_unit 3 at camera_cell [4, 6], looking into look_at_unit 2 at look_at_cell [5, 2], with a wide lens and 90-degree field of view. Preserve broad floor and fixed-element coverage for the common plate; the medium bedside compositions and full-body composition are separate consuming-shot framings. No camera motion is prescribed for this plate.\n  - subject_position_directive: Keep the clean background plate free of baked-in subjects while preserving space for the committed shot layers. S73_Shot2 places 현우 on the right and 앰버 in the lower-left foreground at marker 5. S73_Shot5 places 현우 in left profile and 신부 at right, with their shoulders and hands across the center. S73_Shot11 places 현우 left of center and 쿠마 at right, with full bodies and floor beneath their feet. Do not combine these separate arrangements into one scene.\n  - state_cue_directive: No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Maintain the supplied restrained nighttime ambient illumination and controlled contrast without adding unsupported fixtures or colored light; subject states belong to the separate shot layers.\n  - negative_continuity_directive: There are no listed ignored numbered elements or ignored overlay markers. Avoid relocating marker 5 or opening 6, treating units 2, 3, and 4 as independently enclosed spaces, or extending the image into uncommitted space beyond opening 6. Do not treat the visibility supersets as a requirement to show all unit centers.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [4, 6]\n  - look_at_unit: 2\n  - look_at_cell: [5, 2]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad structural coverage from unit 3 toward marker 5 in unit 2, retaining the southwest portion of unit 4 and opening 6 within the framing. This is the common background plate, not a simultaneous realization of all three consuming-shot compositions.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish the visible portion of enclosure 1 from unit 3, looking toward unit 2 and persistent marker 5. Include the southwest floor portion of unit 4 and an oblique view of opening 6 for S73_Shot11. Keep marker 5 in the western half with its head north and foot south, and opening 6 on the south boundary near the southwest corner. The visibility lists are supersets: do not infer additional spaces beyond opening 6 or require every unit to be wholly visible.\n  - camera_framing_directive: Use camera_unit 3 at camera_cell [4, 6], looking into look_at_unit 2 at look_at_cell [5, 2], with a wide lens and 90-degree field of view. Preserve broad floor and fixed-element coverage for the common plate; the medium bedside compositions and full-body composition are separate consuming-shot framings. No camera motion is prescribed for this plate.\n  - subject_position_directive: Keep the clean background plate free of baked-in subjects while preserving space for the committed shot layers. S73_Shot2 places 현우 on the right and 앰버 in the lower-left foreground at marker 5. S73_Shot5 places 현우 in left profile and 신부 at right, with their shoulders and hands across the center. S73_Shot11 places 현우 left of center and 쿠마 at right, with full bodies and floor beneath their feet. Do not combine these separate arrangements into one scene.\n  - state_cue_directive: No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Maintain the supplied restrained nighttime ambient illumination and controlled contrast without adding unsupported fixtures or colored light; subject states belong to the separate shot layers.\n  - negative_continuity_directive: There are no listed ignored numbered elements or ignored overlay markers. Avoid relocating marker 5 or opening 6, treating units 2, 3, and 4 as independently enclosed spaces, or extending the image into uncommitted space beyond opening 6. Do not treat the visibility supersets as a requirement to show all unit centers.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [4, 6]\n  - look_at_unit: 2\n  - look_at_cell: [5, 2]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad structural coverage from unit 3 toward marker 5 in unit 2, retaining the southwest portion of unit 4 and opening 6 within the framing. This is the common background plate, not a simultaneous realization of all three consuming-shot compositions.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish the visible portion of enclosure 1 from unit 3, looking toward unit 2 and persistent marker 5. Include the southwest floor portion of unit 4 and an oblique view of opening 6 for S73_Shot11. Keep marker 5 in the western half with its head north and foot south, and opening 6 on the south boundary near the southwest corner. The visibility lists are supersets: do not infer additional spaces beyond opening 6 or require every unit to be wholly visible.\n  - camera_framing_directive: Use camera_unit 3 at camera_cell [4, 6], looking into look_at_unit 2 at look_at_cell [5, 2], with a wide lens and 90-degree field of view. Preserve broad floor and fixed-element coverage for the common plate; the medium bedside compositions and full-body composition are separate consuming-shot framings. No camera motion is prescribed for this plate.\n  - subject_position_directive: Keep the clean background plate free of baked-in subjects while preserving space for the committed shot layers. S73_Shot2 places 현우 on the right and 앰버 in the lower-left foreground at marker 5. S73_Shot5 places 현우 in left profile and 신부 at right, with their shoulders and hands across the center. S73_Shot11 places 현우 left of center and 쿠마 at right, with full bodies and floor beneath their feet. Do not combine these separate arrangements into one scene.\n  - state_cue_directive: No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Maintain the supplied restrained nighttime ambient illumination and controlled contrast without adding unsupported fixtures or colored light; subject states belong to the separate shot layers.\n  - negative_continuity_directive: There are no listed ignored numbered elements or ignored overlay markers. Avoid relocating marker 5 or opening 6, treating units 2, 3, and 4 as independently enclosed spaces, or extending the image into uncommitted space beyond opening 6. Do not treat the visibility supersets as a requirement to show all unit centers.\n\n실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 2069년 기후 재난 이후에도 유지되어 쓰이는 한국 서남부 지역의 소규모 공공 보건시설 병실을 밤에 촬영한 실제 장소 기록 사진이다. 사람, 얼굴, 인체 형태의 물체 없이 빈 공간만 담는다. 직사각형 병실의 서쪽 절반에 환자용 침상이 있으며, 머리 쪽은 북쪽이고 발치 쪽은 남쪽이다. 침상은 서쪽 벽에서 떨어져 있어 곁으로 접근할 여유가 있다. 북서쪽은 침상 중심의 아늑한 공간으로, 북동쪽은 침상 곁에 충분히 넓은 빈 바닥으로 이어진다. 남쪽에는 출입구와 침상 발치, 오른쪽 빈 공간을 연결하는 통로를 확보한다. 출입문은 남쪽 벽의 서쪽 끝 가까이에 있으며 서쪽 벽 방향으로 안쪽에 열리는 구조다.\n카메라는 남쪽 통로의 남동쪽 끝 부근에 두고 북서쪽 침상을 바라본다. 서 있는 사람의 눈높이에 가까운 약 1.5~1.6미터 높이, 35밀리미터 판형 카메라의 28밀리미터 광각 렌즈로 촬영한다. 침상을 화면의 중심 대상으로 삼되 오른쪽 빈 바닥을 충분히 담고, 왼쪽 가장자리에 출입문을 포함한다. 수직선과 원근은 자연스럽게 유지하며 위에서 내려다보는 구도가 아닌 실내 눈높이 사진으로 표현한다.\n한국의 소박한 공공 의료시설에서 볼 수 있는 도장한 콘크리트 벽과 실용적인 시트 바닥, 오래 사용한 금속 침상 프레임의 실제 표면 질감을 보여준다. 침상 표면은 평탄하며 직물의 짜임이 가까운 부분에서 자연스럽게 드러난다. 건축 마감과 금속에는 관리하며 사용해 온 정도의 잔잔한 마모만 있다. 공간은 깨끗하고 정돈된 평온한 상태다. 야간 실내의 낮은 밝기와 부드럽게 퍼지는 기존 조명으로 벽과 침상의 형태를 알아볼 수 있게 하며, 회색 계열의 재료 고유색 안에 약한 따뜻한 빛이 머문다. 과장된 명암 없이 실제 실내광의 밝기 차이와 자연스러운 그림자, 충분하지만 무한히 선명하지 않은 피사계 심도를 유지한다. 과도한 보정이나 광고 사진 같은 광택 없이 실제 관리 중인 병실의 담백한 사진으로 표현한다. 평면도나 건축 도해가 아닌 실제 공간의 눈높이 촬영 사진. 16:9 가로 비율, 실제 카메라 촬영본",
        "camera_decision": {
          "camera_unit": 3,
          "camera_cell": [
            4,
            6
          ],
          "look_at_unit": 2,
          "look_at_cell": [
            5,
            2
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad structural coverage from unit 3 toward marker 5 in unit 2, retaining the southwest portion of unit 4 and opening 6 within the framing. This is the common background plate, not a simultaneous realization of all three consuming-shot compositions."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Establish the visible portion of enclosure 1 from unit 3, looking toward unit 2 and persistent marker 5. Include the southwest floor portion of unit 4 and an oblique view of opening 6 for S73_Shot11. Keep marker 5 in the western half with its head north and foot south, and opening 6 on the south boundary near the southwest corner. The visibility lists are supersets: do not infer additional spaces beyond opening 6 or require every unit to be wholly visible.",
          "camera_framing_directive": "Use camera_unit 3 at camera_cell [4, 6], looking into look_at_unit 2 at look_at_cell [5, 2], with a wide lens and 90-degree field of view. Preserve broad floor and fixed-element coverage for the common plate; the medium bedside compositions and full-body composition are separate consuming-shot framings. No camera motion is prescribed for this plate.",
          "subject_position_directive": "Keep the clean background plate free of baked-in subjects while preserving space for the committed shot layers. S73_Shot2 places 현우 on the right and 앰버 in the lower-left foreground at marker 5. S73_Shot5 places 현우 in left profile and 신부 at right, with their shoulders and hands across the center. S73_Shot11 places 현우 left of center and 쿠마 at right, with full bodies and floor beneath their feet. Do not combine these separate arrangements into one scene.",
          "state_cue_directive": "No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Maintain the supplied restrained nighttime ambient illumination and controlled contrast without adding unsupported fixtures or colored light; subject states belong to the separate shot layers.",
          "negative_continuity_directive": "There are no listed ignored numbered elements or ignored overlay markers. Avoid relocating marker 5 or opening 6, treating units 2, 3, and 4 as independently enclosed spaces, or extending the image into uncommitted space beyond opening 6. Do not treat the visibility supersets as a requirement to show all unit centers."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_clinic_ward",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_clinic_ward"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L253B01": {
        "status": "ok",
        "is_reuse": true,
        "render_action": "reuse_existing_plate",
        "reuse_target_bg_id": "L253B02",
        "reused_from_bg_id": "L253B02",
        "location_id": "L253",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L253B02.png",
        "t2i_prompt": "2069년 기후 재난 이후 대한민국 서남부의 소규모 보건소 병실을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 기존 공공 의료시설을 계속 사용하는 소박하고 실용적인 실내로, 직사각형 병실의 벽과 바닥, 금속 환자용 침상의 재질을 현실적으로 표현한다. 도장된 벽면의 미세한 질감, 오래 사용한 금속의 광택 차이, 침상 천의 실제 직조가 보이되 과장된 폐허로 만들지 않는다. 공간은 정돈되어 있고 평온하게 유지된 상태다.\n\n참조 평면도는 공간의 배치와 침상의 위치를 파악하는 용도로만 사용한다. 침상은 방의 서쪽 절반에 있으며 서쪽 벽에서 떨어져 있고, 머리 쪽은 북쪽, 발치 쪽은 남쪽을 향한다. 북서쪽의 침상 주변 공간과 북동쪽의 넓게 비어 있는 공간이 자연스럽게 이어지고, 남쪽 바닥의 이동 통로가 침상 발치와 오른쪽 열린 공간을 연결한다. 별도의 가구로 이 공간들을 구획하지 않는다.\n\n카메라는 남쪽 이동 통로의 남서쪽 끝 부근에서 북동쪽을 향해 침상 발치를 가로질러 바라본다. 높이 약 1.6미터의 서 있는 사람 눈높이에서 풀프레임 미러리스 카메라와 28밀리미터 광각 렌즈로 촬영한다. 침상은 화면 왼쪽에, 열린 바닥 공간은 오른쪽에 배치하고, 침상 옆에서 오른쪽 공간으로 이어지는 폭을 분명히 보여 준다. 오른쪽의 가로 여백과 화면 상단의 여유를 충분히 확보하며 수직선과 원근은 실제 실내 사진처럼 자연스럽게 유지한다.\n\n밤의 병실에 어울리는 절제된 실내 조도가 벽과 침상, 바닥에 부드럽게 퍼진다. 실제 야간 실내광의 밝기 감쇠와 자연스러운 그림자를 유지하고, 차분한 회색 계열의 재료색과 현실적인 명암으로 조용한 긴장감을 만든다. 자연스러운 피사계 심도로 침상과 오른쪽 공간의 거리 관계를 읽을 수 있게 한다. 사람, 얼굴, 신체 형태의 형상은 전혀 없는 빈 배경이다. 과도한 보정이나 광고 사진 같은 매끈함 없이 실제 장소 기록 사진처럼 보이게 한다. 삽화나 컴퓨터 생성 영상, 건축 시각화가 아니며 내려다보는 시점이나 평면도 구도를 사용하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S76_Shot1",
            "guide_text": "침상을 왼쪽에 두고 오른쪽 열린 바닥과 남쪽 통로가 함께 읽히는 기준 구도를 사용한다. 침상 주변과 열린 공간 사이의 연결을 가리지 않고, 사람 없는 야간 병실의 전체 공간 관계를 유지한다."
          },
          {
            "shot_id": "S76_Shot6",
            "guide_text": "동일한 침상 방향과 카메라 축, 야간 조명을 유지한다. 침상 옆과 오른쪽 열린 공간 사이에 충분한 가로 여백을 확보하고, 배경 가구나 일시적인 상태 변화를 추가하지 않는다."
          },
          {
            "shot_id": "S76_Shot12",
            "guide_text": "침상 왼쪽·열린 공간 오른쪽의 배치를 유지하면서 오른쪽 바닥부터 화면 상단까지 넉넉한 빈 공간을 남긴다. 동작을 수용할 여백만 확보하고 사람이나 신체 형태의 형상은 그리지 않는다."
          }
        ],
        "shot_ids": [
          "S76_Shot1",
          "S76_Shot6",
          "S76_Shot12"
        ],
        "scenes": [],
        "parent_id": "L253B02",
        "ref_used": "reused_plate",
        "render_attempts": 0,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "Near the southwestern end of number 4 (entry circulation strip), just beyond number 6 (ward entry door), facing northeast across the foot of number 5 (patient bed) toward number 3 (shared gathering zone).",
          "camera_height": "Eye-level standing, approximately 1.6 m",
          "lens_hint": "28mm wide angle",
          "framing_notes": "Frame number 5 on the left and the open number 3 on the right. Keep the bedside-to-gathering connection clear for the consultation and confrontation, with enough lateral and upper-frame space for a bulky standing visitor to raise a hand. Number 6 is behind the camera; do not alter the layout or add emergency equipment to signify urgency."
        },
        "reference_decision": {
          "mode": "reference_derived",
          "render_action": "reuse_existing_plate",
          "reuse_target_bg_id": "L253B02",
          "selected_refs": [
            {
              "ref_bg_id": "L253B02",
              "physical_space_id": "fp_clinic_ward_space_1",
              "space_description": "Enclosure 1 containing units 2, 3, and 4, with persistent marker 5 and opening 6."
            }
          ]
        },
        "shot_aware_plan_node_index": 1,
        "shot_aware_plan_mode": "reference_derived",
        "render_guidance": {
          "visible_space_directive": "Preserve L253B02's visible enclosure 1 from unit 3 toward unit 2 and marker 5, including the same southwest floor extent. Keep marker 5 in its established western position and north-south orientation, the enclosure boundaries fixed, and opening 6 in its established south-boundary position wherever the inherited plate shows it. This BG requires markers 1 through 5; opening 6 is not a new emphasis and may fall outside the consuming-shot crops.",
          "camera_framing_directive": "Match camera_unit 3 at camera_cell [4, 6], look_at_unit 2 at look_at_cell [5, 2], and the wide lens with 90-degree field of view from L253B02. Keep the common plate broad; reserve the close framing of S76_Shot1 and medium framing of S76_Shot6 and S76_Shot12 for their separate shot compositions. Do not encode their different movements as a new plate camera operation.",
          "subject_position_directive": "Keep subjects separate from the clean background plate. For S76_Shot1, the committed composition places 앰버's face center-right with only a small marker-5 surface margin below and excludes surrounding figures. S76_Shot6 places 현우 center-left and 중년 의사's cropped near shoulder and arms at the right edge, with gripping hands below 현우's face. S76_Shot12 places 찰리's upper torso center-right and lifted hand upper-left, retaining only a small marker-5 edge below. Preserve these as separate shot-layer arrangements, not simultaneous background occupants.",
          "state_cue_directive": "No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Retain the supplied neutral, restrained ambient illumination and controlled contrast. The committed expressions, grip, and raised-arm action are subject-layer changes, not alterations to the fixed background.",
          "negative_continuity_directive": "There are no listed ignored numbered elements or ignored overlay markers. Avoid shifting marker 5, enclosure 1 boundaries, or opening 6 relative to L253B02. Do not bake L253B02's subject-layer states into this plate, add structures between units 2, 3, and 4, or reveal uncommitted spaces outside the inherited view."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_clinic_ward",
          "prior_bg_ids": [
            "L253B02"
          ],
          "attached_ref_labels": [
            "bg:L253B02"
          ],
          "ref_used": "reused_plate",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L256B02": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L256",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L256B02.png",
        "t2i_prompt": "2069년 무렵 재난 이후 대한민국에 남아 있는 대형 경비행기 보관 창고 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 미래에도 이전 시대의 항공기와 산업용 건축물이 그대로 남아 있는 현실적인 장소다. 높은 천장과 긴 직사각형 공간, 낡은 금속 외피와 거친 콘크리트 바닥으로 이루어진 거대한 창고의 규모를 보여준다. 평면도는 공간 구성과 기체의 상대적 위치를 파악하는 자료로만 사용한다.\n남쪽 중앙 출입구의 문턱을 막 지난 실내에서 북쪽 안쪽 벽을 향해 중앙 통로를 바라본다. 카메라는 바닥에서 약 1.6미터 높이의 서 있는 사람 눈높이에 놓고, 35밀리미터 규격 풀프레임 미러리스 카메라에 24밀리미터 광각 렌즈를 사용한 실제 촬영처럼 표현한다. 위에서 내려다보지 않고 수평에 가까운 시선으로, 가까운 양쪽 기체 사이에서 뒤쪽 기체들까지 이어지는 깊이를 담는다. 서쪽과 동쪽 보관 구역에 낡은 경비행기가 각각 앞, 중간, 뒤의 세 자리씩 빽빽하게 주기되어 있으며, 여섯 기체의 기수는 모두 남쪽 출입구를 향한다. 중앙의 남북 방향 통로를 사이에 둔 두 줄의 배치를 유지하고, 전경의 기수와 날개 너머로 뒤쪽 기체와 넓은 창고 내부가 차례로 보이게 한다.\n모든 경비행기의 동체와 날개 윗면에 오랜 시간 쌓인 두꺼운 먼지가 덮여 있다. 먼지는 금속 도장의 반사를 둔하게 만들고 이음매 주변에도 축적되어 있다. 모든 프로펠러는 완전히 정지해 있으며 배기가스나 운전 중인 징후가 없다. 오래된 도장과 금속의 자연스러운 변색, 실제 콘크리트의 마모와 묵은 얼룩을 과장 없이 담는다.\n깊은 밤의 정적인 실내다. 출입구 쪽에서 들어오는 미약한 야간 자연광과 그 반사광만으로 가까운 기체의 먼지층과 윤곽이 은은하게 구별되고, 창고 깊숙한 곳은 점차 어두워진다. 차가운 회색 계열은 실제 재료와 야간 주변광에서 자연스럽게 드러나며, 어두운 영역을 억지로 밝히거나 강한 색 보정을 하지 않는다. 광각 렌즈에 맞는 자연스러운 심도와 사실적인 원근, 먼지와 금속 표면의 세밀한 질감을 유지한다. 사람, 얼굴, 인체 형태의 형상은 전혀 없는 배경 사진이다. 말끔한 광고 사진이나 컴퓨터 생성 이미지, 삽화, 건축 시각화가 아닌 실제 현장 기록 사진이며, 평면도나 조감도로 표현하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S75_Shot5",
            "guide_text": "남쪽 출입구 바로 안쪽에서 약 1.6미터 눈높이로 북쪽 중앙 통로를 바라보는 넓은 구도. 전경 양쪽의 경비행기 사이로 중간과 뒤쪽 기체가 이어지게 하여 총 여섯 대의 밀집된 배치와 창고의 큰 규모를 읽을 수 있게 한다. 야간의 약한 주변광 아래 두껍게 쌓인 기체 먼지와 멈춘 프로펠러를 유지한다. 사람이나 인체 형태 없이 정적인 창고 내부만 담는다."
          }
        ],
        "shot_ids": [
          "S75_Shot5"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_2",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Just inside number 5 (entrance threshold), looking north along number 4 (viewing aisle), between numbers 7 and 10 toward numbers 9 and 12.",
          "camera_height": "Standing eye level, approximately 1.6 m",
          "lens_hint": "24mm wide angle",
          "framing_notes": "Use the front aircraft as lateral foreground anchors and retain the receding rows and rear enclosure to communicate the enormous hall. Leave the central aisle legible. The doorway is behind the camera. Preserve the nighttime, heavily dust-covered, non-operating state through overlay number 13; do not introduce subsequent repair effects, illuminated diagnostics, smoke, spinning propellers, or departure activity."
        },
        "reference_decision": {
          "bg_id": "L256B02",
          "fp_id": "fp_l256_aircraft_storage",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L256B02 is the sole renderable BG and the sole supplied anchor candidate. Use the explicitly widened fallback candidate set despite clean_background_expected=false, retaining committed overlay marker 13. No prior reference is available. For S75_Shot5, the camera in unit 5 looks obliquely toward unit 2 with narrow telephoto coverage, supporting the close subject framing and soft background fragments rather than a comprehensive view of all target markers.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_l256_aircraft_storage.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The sole anchor is seeded from the floor plan; the same-fp reference catalog is empty.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 5,
            "camera_cell": [
              8,
              4
            ],
            "look_at_unit": 2,
            "look_at_cell": [
              1,
              2
            ],
            "lens_enum": "telephoto",
            "fov_deg": 25,
            "framing_notes": "Copy the unit-5 coordinate candidates exactly. Aim toward the marker-9 position within unit 2, using compressed, narrow coverage for the committed close framing. This target is from the explicit look-at candidates; the supplied direction records do not enumerate this oblique target. Use the advertised telephoto FOV of 25 degrees."
          },
          "render_guidance": {
            "visible_space_directive": "Within the enclosure identified by marker 1, show only the narrow slice toward unit 2 from unit 5, with partial fixed-element contours near the marker-9 target. Preserve the floor-plan positions of markers 7–12 and the separation provided by unit 4, including elements outside the frame. The target-marker list establishes layout identity, not a requirement to display every unit simultaneously. Opening 6 is behind this aim and is not part of the planned visible background.",
            "camera_framing_directive": "Use camera unit 5 at [8, 4], looking toward unit 2 at [1, 2], with telephoto lens_enum and 25-degree FOV for compressed, narrow coverage. Apply the staged upper-chest-height, slightly upward oblique framing: keep the face in the lower-right portion with breathing room above and left. Retain soft contextual fragments rather than an oversized foreground element.",
            "subject_position_directive": "For S75_Shot5, place 현우's blank face in the lower-right portion, at three_quarter_left angle, chin lifted and shoulders slack. Keep him sufficiently back from the stored elements for the committed modest upward gaze. His gaze remains off-screen; the aircraft receiving that gaze remain beyond the frame. Do not add other subjects.",
            "state_cue_directive": "Apply overlay marker 13, Dust-covered inactive aircraft state, to visible portions of the stored light aircraft: old, abandoned, and covered with accumulated dust. clean_background_expected is false. Follow the shot's subdued ambient nighttime illumination, preserving facial detail with controlled contrast and no added colored source.",
            "negative_continuity_directive": "The ignore and ignored-overlay lists are empty; retain committed marker 13. Avoid relocating markers 7–12 to force them into the narrow frame, exposing opening 6 behind the camera aim, or treating visible-unit and visible-opening supersets as guaranteed co-visibility. Do not invent additional overlays or fixed elements. Keep the off-screen gaze target outside the frame."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 5\n  - camera_cell: [8, 4]\n  - look_at_unit: 2\n  - look_at_cell: [1, 2]\n  - lens_enum: 'telephoto'\n  - fov_deg: 25\n  - framing_notes: 'Copy the unit-5 coordinate candidates exactly. Aim toward the marker-9 position within unit 2, using compressed, narrow coverage for the committed close framing. This target is from the explicit look-at candidates; the supplied direction records do not enumerate this oblique target. Use the advertised telephoto FOV of 25 degrees.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Within the enclosure identified by marker 1, show only the narrow slice toward unit 2 from unit 5, with partial fixed-element contours near the marker-9 target. Preserve the floor-plan positions of markers 7–12 and the separation provided by unit 4, including elements outside the frame. The target-marker list establishes layout identity, not a requirement to display every unit simultaneously. Opening 6 is behind this aim and is not part of the planned visible background.\n  - camera_framing_directive: Use camera unit 5 at [8, 4], looking toward unit 2 at [1, 2], with telephoto lens_enum and 25-degree FOV for compressed, narrow coverage. Apply the staged upper-chest-height, slightly upward oblique framing: keep the face in the lower-right portion with breathing room above and left. Retain soft contextual fragments rather than an oversized foreground element.\n  - subject_position_directive: For S75_Shot5, place 현우's blank face in the lower-right portion, at three_quarter_left angle, chin lifted and shoulders slack. Keep him sufficiently back from the stored elements for the committed modest upward gaze. His gaze remains off-screen; the aircraft receiving that gaze remain beyond the frame. Do not add other subjects.\n  - state_cue_directive: Apply overlay marker 13, Dust-covered inactive aircraft state, to visible portions of the stored light aircraft: old, abandoned, and covered with accumulated dust. clean_background_expected is false. Follow the shot's subdued ambient nighttime illumination, preserving facial detail with controlled contrast and no added colored source.\n  - negative_continuity_directive: The ignore and ignored-overlay lists are empty; retain committed marker 13. Avoid relocating markers 7–12 to force them into the narrow frame, exposing opening 6 behind the camera aim, or treating visible-unit and visible-opening supersets as guaranteed co-visibility. Do not invent additional overlays or fixed elements. Keep the off-screen gaze target outside the frame.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 5\n  - camera_cell: [8, 4]\n  - look_at_unit: 2\n  - look_at_cell: [1, 2]\n  - lens_enum: 'telephoto'\n  - fov_deg: 25\n  - framing_notes: 'Copy the unit-5 coordinate candidates exactly. Aim toward the marker-9 position within unit 2, using compressed, narrow coverage for the committed close framing. This target is from the explicit look-at candidates; the supplied direction records do not enumerate this oblique target. Use the advertised telephoto FOV of 25 degrees.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Within the enclosure identified by marker 1, show only the narrow slice toward unit 2 from unit 5, with partial fixed-element contours near the marker-9 target. Preserve the floor-plan positions of markers 7–12 and the separation provided by unit 4, including elements outside the frame. The target-marker list establishes layout identity, not a requirement to display every unit simultaneously. Opening 6 is behind this aim and is not part of the planned visible background.\n  - camera_framing_directive: Use camera unit 5 at [8, 4], looking toward unit 2 at [1, 2], with telephoto lens_enum and 25-degree FOV for compressed, narrow coverage. Apply the staged upper-chest-height, slightly upward oblique framing: keep the face in the lower-right portion with breathing room above and left. Retain soft contextual fragments rather than an oversized foreground element.\n  - subject_position_directive: For S75_Shot5, place 현우's blank face in the lower-right portion, at three_quarter_left angle, chin lifted and shoulders slack. Keep him sufficiently back from the stored elements for the committed modest upward gaze. His gaze remains off-screen; the aircraft receiving that gaze remain beyond the frame. Do not add other subjects.\n  - state_cue_directive: Apply overlay marker 13, Dust-covered inactive aircraft state, to visible portions of the stored light aircraft: old, abandoned, and covered with accumulated dust. clean_background_expected is false. Follow the shot's subdued ambient nighttime illumination, preserving facial detail with controlled contrast and no added colored source.\n  - negative_continuity_directive: The ignore and ignored-overlay lists are empty; retain committed marker 13. Avoid relocating markers 7–12 to force them into the narrow frame, exposing opening 6 behind the camera aim, or treating visible-unit and visible-opening supersets as guaranteed co-visibility. Do not invent additional overlays or fixed elements. Keep the off-screen gaze target outside the frame.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 5\n  - camera_cell: [8, 4]\n  - look_at_unit: 2\n  - look_at_cell: [1, 2]\n  - lens_enum: 'telephoto'\n  - fov_deg: 25\n  - framing_notes: 'Copy the unit-5 coordinate candidates exactly. Aim toward the marker-9 position within unit 2, using compressed, narrow coverage for the committed close framing. This target is from the explicit look-at candidates; the supplied direction records do not enumerate this oblique target. Use the advertised telephoto FOV of 25 degrees.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Within the enclosure identified by marker 1, show only the narrow slice toward unit 2 from unit 5, with partial fixed-element contours near the marker-9 target. Preserve the floor-plan positions of markers 7–12 and the separation provided by unit 4, including elements outside the frame. The target-marker list establishes layout identity, not a requirement to display every unit simultaneously. Opening 6 is behind this aim and is not part of the planned visible background.\n  - camera_framing_directive: Use camera unit 5 at [8, 4], looking toward unit 2 at [1, 2], with telephoto lens_enum and 25-degree FOV for compressed, narrow coverage. Apply the staged upper-chest-height, slightly upward oblique framing: keep the face in the lower-right portion with breathing room above and left. Retain soft contextual fragments rather than an oversized foreground element.\n  - subject_position_directive: For S75_Shot5, place 현우's blank face in the lower-right portion, at three_quarter_left angle, chin lifted and shoulders slack. Keep him sufficiently back from the stored elements for the committed modest upward gaze. His gaze remains off-screen; the aircraft receiving that gaze remain beyond the frame. Do not add other subjects.\n  - state_cue_directive: Apply overlay marker 13, Dust-covered inactive aircraft state, to visible portions of the stored light aircraft: old, abandoned, and covered with accumulated dust. clean_background_expected is false. Follow the shot's subdued ambient nighttime illumination, preserving facial detail with controlled contrast and no added colored source.\n  - negative_continuity_directive: The ignore and ignored-overlay lists are empty; retain committed marker 13. Avoid relocating markers 7–12 to force them into the narrow frame, exposing opening 6 behind the camera aim, or treating visible-unit and visible-opening supersets as guaranteed co-visibility. Do not invent additional overlays or fixed elements. Keep the off-screen gaze target outside the frame.\n\n2069년 무렵 재난 이후 대한민국에 남아 있는 대형 경비행기 보관 창고 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 미래에도 이전 시대의 항공기와 산업용 건축물이 그대로 남아 있는 현실적인 장소다. 높은 천장과 긴 직사각형 공간, 낡은 금속 외피와 거친 콘크리트 바닥으로 이루어진 거대한 창고의 규모를 보여준다. 평면도는 공간 구성과 기체의 상대적 위치를 파악하는 자료로만 사용한다.\n남쪽 중앙 출입구의 문턱을 막 지난 실내에서 북쪽 안쪽 벽을 향해 중앙 통로를 바라본다. 카메라는 바닥에서 약 1.6미터 높이의 서 있는 사람 눈높이에 놓고, 35밀리미터 규격 풀프레임 미러리스 카메라에 24밀리미터 광각 렌즈를 사용한 실제 촬영처럼 표현한다. 위에서 내려다보지 않고 수평에 가까운 시선으로, 가까운 양쪽 기체 사이에서 뒤쪽 기체들까지 이어지는 깊이를 담는다. 서쪽과 동쪽 보관 구역에 낡은 경비행기가 각각 앞, 중간, 뒤의 세 자리씩 빽빽하게 주기되어 있으며, 여섯 기체의 기수는 모두 남쪽 출입구를 향한다. 중앙의 남북 방향 통로를 사이에 둔 두 줄의 배치를 유지하고, 전경의 기수와 날개 너머로 뒤쪽 기체와 넓은 창고 내부가 차례로 보이게 한다.\n모든 경비행기의 동체와 날개 윗면에 오랜 시간 쌓인 두꺼운 먼지가 덮여 있다. 먼지는 금속 도장의 반사를 둔하게 만들고 이음매 주변에도 축적되어 있다. 모든 프로펠러는 완전히 정지해 있으며 배기가스나 운전 중인 징후가 없다. 오래된 도장과 금속의 자연스러운 변색, 실제 콘크리트의 마모와 묵은 얼룩을 과장 없이 담는다.\n깊은 밤의 정적인 실내다. 출입구 쪽에서 들어오는 미약한 야간 자연광과 그 반사광만으로 가까운 기체의 먼지층과 윤곽이 은은하게 구별되고, 창고 깊숙한 곳은 점차 어두워진다. 차가운 회색 계열은 실제 재료와 야간 주변광에서 자연스럽게 드러나며, 어두운 영역을 억지로 밝히거나 강한 색 보정을 하지 않는다. 광각 렌즈에 맞는 자연스러운 심도와 사실적인 원근, 먼지와 금속 표면의 세밀한 질감을 유지한다. 사람, 얼굴, 인체 형태의 형상은 전혀 없는 배경 사진이다. 말끔한 광고 사진이나 컴퓨터 생성 이미지, 삽화, 건축 시각화가 아닌 실제 현장 기록 사진이며, 평면도나 조감도로 표현하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThe LAST attached image is a TOP-DOWN INTERIOR FLOOR PLAN of the building at this location — a STRUCTURAL REFERENCE ONLY, never content to draw. It defines the building's real scale: its footprint, room count, and the placement of its doors and windows. Render the scene so the building's exterior size, number of storeys, and the scale and placement of its doors and windows stay consistent with that plan. Do NOT draw the floor plan itself, its lines, text or numbers anywhere in the image.\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 5,
          "camera_cell": [
            8,
            4
          ],
          "look_at_unit": 2,
          "look_at_cell": [
            1,
            2
          ],
          "lens_enum": "telephoto",
          "fov_deg": 25,
          "framing_notes": "Copy the unit-5 coordinate candidates exactly. Aim toward the marker-9 position within unit 2, using compressed, narrow coverage for the committed close framing. This target is from the explicit look-at candidates; the supplied direction records do not enumerate this oblique target. Use the advertised telephoto FOV of 25 degrees."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Within the enclosure identified by marker 1, show only the narrow slice toward unit 2 from unit 5, with partial fixed-element contours near the marker-9 target. Preserve the floor-plan positions of markers 7–12 and the separation provided by unit 4, including elements outside the frame. The target-marker list establishes layout identity, not a requirement to display every unit simultaneously. Opening 6 is behind this aim and is not part of the planned visible background.",
          "camera_framing_directive": "Use camera unit 5 at [8, 4], looking toward unit 2 at [1, 2], with telephoto lens_enum and 25-degree FOV for compressed, narrow coverage. Apply the staged upper-chest-height, slightly upward oblique framing: keep the face in the lower-right portion with breathing room above and left. Retain soft contextual fragments rather than an oversized foreground element.",
          "subject_position_directive": "For S75_Shot5, place 현우's blank face in the lower-right portion, at three_quarter_left angle, chin lifted and shoulders slack. Keep him sufficiently back from the stored elements for the committed modest upward gaze. His gaze remains off-screen; the aircraft receiving that gaze remain beyond the frame. Do not add other subjects.",
          "state_cue_directive": "Apply overlay marker 13, Dust-covered inactive aircraft state, to visible portions of the stored light aircraft: old, abandoned, and covered with accumulated dust. clean_background_expected is false. Follow the shot's subdued ambient nighttime illumination, preserving facial detail with controlled contrast and no added colored source.",
          "negative_continuity_directive": "The ignore and ignored-overlay lists are empty; retain committed marker 13. Avoid relocating markers 7–12 to force them into the narrow frame, exposing opening 6 behind the camera aim, or treating visible-unit and visible-opening supersets as guaranteed co-visibility. Do not invent additional overlays or fixed elements. Keep the off-screen gaze target outside the frame."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_l256_aircraft_storage",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_l256_aircraft_storage",
            "building_fp:fp_l257_hangar"
          ],
          "ref_used": "refs_2",
          "db_write_policy": "checkpoint_only"
        },
        "building_fp_ref": {
          "fp_id": "fp_l257_hangar",
          "indoor_loc_sid": "L257",
          "group_id": "bg_abandoned_airport",
          "fp_asset_id": "f3f1c388-3c26-4f80-ae7f-2c2a844f5ec6"
        }
      },
      "L256B01": {
        "status": "ok",
        "location_id": "L256",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L256B01.png",
        "t2i_prompt": "2069년 기후 재난 이후 대한민국의 오래 방치된 공항 입구와 창고 사이 공터를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 야간의 실제 장소 기록 사진으로, 창고 쪽 공터 가장자리에서 공항 입구 방향을 비스듬히 바라본다. 실제 미러리스 카메라의 35밀리미터급 렌즈, 지면에서 약 1.6미터 높이의 서 있는 사람 눈높이, 수평에 가까운 시선과 자연스러운 원근감. 화면 왼쪽 뒤의 공항 입구에서 중앙 공터를 지나 오른쪽 앞의 창고 출입구로 이어지는 접근 동선이 한눈에 읽히며, 중앙과 전경에는 급히 달려 들어올 수 있는 넓은 빈 공간을 남긴다.\n공터 바닥은 이끼 낀 깨진 아스팔트와 낡은 콘크리트 포장으로, 벌어진 틈의 흙과 잡초, 드러난 골재, 낮게 들뜬 포장 가장자리와 오랜 물때를 실제 크기와 질감으로 보여준다. 왼쪽 뒤 공항 입구에는 옛 공항 간판이 고정부 일부를 잃어 반쯤 떨어진 채 기울어 매달려 있다. 간판은 빛바랜 금속판과 벗겨진 도장, 녹슨 지지대로 이루어지고, 남아 있는 한글 '공항' 표기만 희미하게 읽히며 지명이나 상호는 없다. 입구 주변에는 한국의 오래된 공항 부속 시설에서 볼 법한 얼룩진 철근콘크리트 외벽과 낡은 금속 창틀이 남아 있다. 오른쪽의 낮은 창고는 풍화된 콘크리트 기단과 부식된 골강판 벽, 낡은 철제 미닫이문으로 이루어지며 출입구의 윤곽이 식별된다.\n주 동선을 가리지 않는 왼쪽 중경 공터 가장자리에는 장작 모닥불이 타고 있다. 실제 나뭇결이 드러난 장작, 검게 탄 표면, 작은 불꽃과 붉은 잔불, 가느다란 연기가 보이고 주변에는 아무도 없다. 약한 밤하늘의 자연광이 공터와 건물의 윤곽을 차갑고 중성적인 회색으로 드러내고, 모닥불 가까운 바닥과 금속 표면에만 국소적인 따뜻한 반사광이 닿는다. 전기 간판이나 창고 조명은 켜져 있지 않다. 밤의 어두운 부분을 억지로 밝히지 않되 깨진 포장, 반쯤 떨어진 간판, 모닥불과 접근 동선은 알아볼 수 있는 실제 야간 노출. 콘크리트의 거친 기공, 금속의 부식과 얼룩, 이끼의 낮고 촘촘한 질감, 목재의 탄 흔적을 과장 없이 기록한다. 자연스러운 심도로 전경 포장과 중경 동선이 읽히고 먼 배경은 거리만큼 부드러워진다. 인물, 얼굴, 사람 형태의 그림자, 시신, 혈흔, 로봇, 차량은 없다. 인위적인 색 보정이나 장식적 조명 없이 실제 현장을 담은 사진이며, 정돈된 광고 사진이나 컴퓨터 합성 이미지, 삽화, 건축 조감도가 아니다. 위에서 내려다보는 구도나 평면도 표현 없이 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S75_Shot10",
            "guide_text": "창고 쪽에서 공항 입구를 바라보는 눈높이 구도로, 입구에서 창고까지 이어지는 대각선 접근 동선을 넓게 확보한다. 급히 접근하는 움직임을 이후 배치할 수 있도록 화면 중앙과 전경을 비워 두되, 배경 자체에는 누구도 그리지 않는다. 후경의 반쯤 떨어진 공항 간판, 전경까지 이어지는 이끼 낀 깨진 포장, 동선 옆 중경의 모닥불이 함께 보이게 한다. 불빛은 공터 전체를 밝히지 않고 주변 바닥에만 따뜻하게 번지도록 유지한다."
          }
        ],
        "shot_ids": [
          "S75_Shot10"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_2",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {},
        "reference_decision": {
          "mode": "surface_role_direct_plate",
          "surface_role": "exterior_plate",
          "fp_id": "",
          "source_bg_ids": []
        },
        "effective_render_prompt": "2069년 기후 재난 이후 대한민국의 오래 방치된 공항 입구와 창고 사이 공터를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 야간의 실제 장소 기록 사진으로, 창고 쪽 공터 가장자리에서 공항 입구 방향을 비스듬히 바라본다. 실제 미러리스 카메라의 35밀리미터급 렌즈, 지면에서 약 1.6미터 높이의 서 있는 사람 눈높이, 수평에 가까운 시선과 자연스러운 원근감. 화면 왼쪽 뒤의 공항 입구에서 중앙 공터를 지나 오른쪽 앞의 창고 출입구로 이어지는 접근 동선이 한눈에 읽히며, 중앙과 전경에는 급히 달려 들어올 수 있는 넓은 빈 공간을 남긴다.\n공터 바닥은 이끼 낀 깨진 아스팔트와 낡은 콘크리트 포장으로, 벌어진 틈의 흙과 잡초, 드러난 골재, 낮게 들뜬 포장 가장자리와 오랜 물때를 실제 크기와 질감으로 보여준다. 왼쪽 뒤 공항 입구에는 옛 공항 간판이 고정부 일부를 잃어 반쯤 떨어진 채 기울어 매달려 있다. 간판은 빛바랜 금속판과 벗겨진 도장, 녹슨 지지대로 이루어지고, 남아 있는 한글 '공항' 표기만 희미하게 읽히며 지명이나 상호는 없다. 입구 주변에는 한국의 오래된 공항 부속 시설에서 볼 법한 얼룩진 철근콘크리트 외벽과 낡은 금속 창틀이 남아 있다. 오른쪽의 낮은 창고는 풍화된 콘크리트 기단과 부식된 골강판 벽, 낡은 철제 미닫이문으로 이루어지며 출입구의 윤곽이 식별된다.\n주 동선을 가리지 않는 왼쪽 중경 공터 가장자리에는 장작 모닥불이 타고 있다. 실제 나뭇결이 드러난 장작, 검게 탄 표면, 작은 불꽃과 붉은 잔불, 가느다란 연기가 보이고 주변에는 아무도 없다. 약한 밤하늘의 자연광이 공터와 건물의 윤곽을 차갑고 중성적인 회색으로 드러내고, 모닥불 가까운 바닥과 금속 표면에만 국소적인 따뜻한 반사광이 닿는다. 전기 간판이나 창고 조명은 켜져 있지 않다. 밤의 어두운 부분을 억지로 밝히지 않되 깨진 포장, 반쯤 떨어진 간판, 모닥불과 접근 동선은 알아볼 수 있는 실제 야간 노출. 콘크리트의 거친 기공, 금속의 부식과 얼룩, 이끼의 낮고 촘촘한 질감, 목재의 탄 흔적을 과장 없이 기록한다. 자연스러운 심도로 전경 포장과 중경 동선이 읽히고 먼 배경은 거리만큼 부드러워진다. 인물, 얼굴, 사람 형태의 그림자, 시신, 혈흔, 로봇, 차량은 없다. 인위적인 색 보정이나 장식적 조명 없이 실제 현장을 담은 사진이며, 정돈된 광고 사진이나 컴퓨터 합성 이미지, 삽화, 건축 조감도가 아니다. 위에서 내려다보는 구도나 평면도 표현 없이 16:9 가로 비율, 실제 카메라 촬영본\n\nOne attached image is a PHOTOREAL RENDER of the SAME building/site this scene belongs to — it may show the outside while this scene is inside, or another part of the same place. Treat it as the BUILDING IDENTITY reference. Keep this render consistent with it: the same era, age and state of repair, the same palette and material quality, the same window and door frame styles, and anything visible through openings (windows, doorways, passages) must belong to that same building and its surroundings. Lettering visible in the reference is reproduced EXACTLY — same characters, same mark, same position; never invent different wording from render to render. Lighting and time of day follow THIS prompt. Do NOT copy the reference's composition, framing or camera angle; only the building's physical identity carries over.\n\nThe LAST attached image is a TOP-DOWN INTERIOR FLOOR PLAN of the building at this location — a STRUCTURAL REFERENCE ONLY, never content to draw. It defines the building's real scale: its footprint, room count, and the placement of its doors and windows. Render the scene so the building's exterior size, number of storeys, and the scale and placement of its doors and windows stay consistent with that plan. Do NOT draw the floor plan itself, its lines, text or numbers anywhere in the image.",
        "shot_aware_plan_mode": "surface_role_direct_plate",
        "attached_reference_lineage": {
          "fp_id": "",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "building_anchor:L256B02",
            "building_fp:fp_l257_hangar"
          ],
          "ref_used": "refs_2",
          "db_write_policy": "checkpoint_only"
        },
        "building_fp_ref": {
          "fp_id": "fp_l257_hangar",
          "indoor_loc_sid": "L257",
          "group_id": "bg_abandoned_airport",
          "fp_asset_id": "f3f1c388-3c26-4f80-ae7f-2c2a844f5ec6"
        },
        "building_anchor_ref": {
          "anchor_bg_id": "L256B02",
          "group_id": "bg_abandoned_airport"
        }
      },
      "L257B03": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L257",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L257B03.png",
        "t2i_prompt": "기후 재난 이후인 2069년 한국의 오래된 경비행기 격납고 내부를 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 실재 장소의 기록 사진과 구별되지 않는 물리적 질감과 자연스러운 원근감으로 표현한다. 직사각형 격납고의 중앙 작업 통로 북쪽 끝에서 남쪽 벽의 대형 항공기 출입구를 바라본다. 카메라는 서 있는 사람의 눈높이인 약 1.6미터, 35밀리미터 규격 센서에 24밀리미터 광각 렌즈를 사용한 시야이며, 과도한 가장자리 왜곡 없이 양쪽 기체와 천장의 전구까지 담는다. 내려다보는 시점이나 평면도 구도가 아니다.\n\n참조 도면의 공간 관계에 따라 중앙의 남북 방향 통로와 양옆 주기 구역을 유지한다. 가까운 화면 오른쪽에는 북서쪽 경비행기, 왼쪽에는 북동쪽 경비행기가 프레임을 감싸며 각각 기수가 남동쪽과 남서쪽의 중앙 작업 공간을 향한다. 더 먼 오른쪽에는 기수를 북동쪽으로 둔 남서쪽 정비 기체, 더 먼 왼쪽에는 기수를 북서쪽으로 둔 남동쪽 기체가 자리한다. 네 기체 사이의 중앙 작업 공간은 비어 있고, 그 너머로 출입구 안쪽의 문턱 구역이 이어진다. 통로 위에는 남쪽, 가운데, 북쪽의 천장 전구 설비가 놓여 있다.\n\n밤의 격납고에서 남서쪽 정비 기체와 주변의 다른 경비행기 엔진들이 재가동되는 순간이다. 기체의 배기 부분에서 나온 검은 매연이 중앙 통로 쪽으로 번져 올라가며, 배기구 가까이에서는 짙고 멀어질수록 공기와 섞여 옅어진다. 매연 사이로 기체의 위치와 빈 중앙 공간이 읽히게 한다. 남쪽과 북쪽에 남은 전구는 불안정한 전력으로 밝기가 요동치는 순간을 서로 다른 광량으로 보여 주고, 바닥과 금속 표면에 불균일한 빛을 떨어뜨린다. 중앙 천장 전구는 유리 외피가 터져 손상된 채 꺼져 있으며, 바로 아래 바닥에 소량의 유리 파편만 드문드문 놓여 있다.\n\n한국의 소규모 실용 격납고에 어울리는 낡은 금속 외피와 콘크리트 바닥, 오래 사용한 경비행기의 도장과 금속 접합부를 사실적으로 담는다. 바닥의 일상적인 마모와 묵은 얼룩, 금속의 미세한 부식과 도장 닳음을 과장하지 않는다. 미래라는 이유로 설비를 매끈한 신형 장비로 바꾸지 않는다. 야간의 약한 주변광과 실제 전구 광원에 맞는 노출, 차가운 회색 재료 본연의 색과 전구 주변의 제한적인 따뜻한 빛, 자연스러운 심도로 표현한다. 과도한 보정이나 광고 사진 같은 정돈된 광택 없이 실제 현장의 어두운 부분을 유지한다. 사람, 얼굴, 사람 형태의 형상은 전혀 없는 배경 사진이며, 삽화나 건축 시각화가 아니다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S77_Shot22",
            "guide_text": "중앙 통로 북쪽에서 남쪽 출입구를 바라보는 약 1.6미터 눈높이의 넓은 구도를 사용한다. 가까운 두 기체로 양옆을 감싸고 뒤쪽 두 기체까지 보여 주되 중앙 작업 공간은 비워 둔다. 상단에는 세 전구 설비, 하단에는 중앙 전구 바로 아래의 드문 유리 파편이 들어오게 한다. 여러 기체에서 퍼지는 검은 매연과 남북 전구의 불균일한 빛을 함께 담으면서 기체 배치와 공간 깊이를 알아볼 수 있게 유지한다. 인물이나 사람 형태의 형상을 배경에 포함하지 않는다."
          }
        ],
        "shot_ids": [
          "S77_Shot22"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Near the north end of number 4 (central working aisle), facing south toward number 6 (large aircraft doorway), with numbers 8 and 10 framing the near sides and numbers 7 and 9 surrounding the central working space.",
          "camera_height": "Eye-level standing, approximately 1.6 m",
          "lens_hint": "24mm wide angle",
          "framing_notes": "Keep the central working space available for the robot and gathering people without baking them into the background. Include aircraft on both sides and enough upper space to show the hanging bulb fixtures. Depict nighttime conditions, spreading black exhaust, irregular surviving bulb illumination, and the burst-bulb aftermath through overlays only. Preserve the aircraft positions; do not include the later daytime helicopter departure."
        },
        "reference_decision": {
          "bg_id": "L257B03",
          "fp_id": "fp_l257_hangar",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L257B03 is the sole ready BG and sole supplied anchor candidate. Select it under the declared ramped fallback, acknowledging that clean_background_expected is false and markers 14–16 are listed. No prior reference exists. Camera unit 1 looking toward unit 4 with wide coverage supports S77_Shot22's full-body, front three-quarter staging and distributed fixed elements on both sides and behind the subject.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_l257_hangar.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "not_applicable_anchor",
            "why_single_ref_or_two_refs": "The sole anchor is seeded from the base floor plan; the reference catalog is empty.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 1,
            "camera_cell": [
              0,
              0
            ],
            "look_at_unit": 4,
            "look_at_cell": [
              4,
              5
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Use broad coverage from unit 1 toward unit 4, centered on the listed marker-12 cell. Follow the shot's static low, front three-quarter position with a slight upward pitch while retaining the committed subject head to foot and preserving visible ground around the pose."
          },
          "render_guidance": {
            "visible_space_directive": "Establish unit 1 with the in-cone portions of units 2, 3, 4 and 5 from camera [0, 0] toward [4, 5]. Preserve the base positions and orientations of markers 7–10 and the aligned fixture positions of markers 11–13. Distribute visible markers 7–10 across the sides and depth rather than enlarging one to dominate. Retain opening 6 at its base location when unobscured; the supplied visibility supersets do not establish opening adjacency or guaranteed unobstructed visibility.",
            "camera_framing_directive": "Frame from camera unit 1 at [0, 0], looking toward unit 4 at [4, 5], using a wide lens with 90-degree FOV for broad coverage. Keep the view static, low and front three-quarter with the staged slight upward pitch. Retain full-body subject coverage and visible ground while maintaining the base spacing of surrounding elements.",
            "subject_position_directive": "Place 찰리 near frame center, head to foot, in the committed three_quarter_right angle with hands on hips and elbows spread. His gaze remains off-screen toward 쿠마's group rather than the lens. No precise subject cell is committed; preserve the central composition without assigning an invented fixed coordinate or adding members of the off-screen group.",
            "state_cue_directive": "Carry marker 14, Restarting engines and black exhaust, consistently with S77_Shot22's operating state and black exhaust. Preserve the established nighttime illumination and keep the central subject readable through that exhaust. Marker 15, Fluctuating bulb power, is listed, but the consuming shot explicitly excludes carrying the earlier electrical flicker forward as a new effect; use the committed steady nighttime presentation. Treat marker 16, Burst bulb aftermath, only as the listed aftermath cue: no affected fixture number or detailed damage pattern is committed, so do not invent either.",
            "negative_continuity_directive": "No ignore_numbered_elements or ignored_state_overlay_marker_numbers are supplied. Avoid relocating or rescaling markers 7–10, shifting markers 11–13, or moving opening 6 to fit the composition. Do not force out-of-cone portions of units 2–5 into view or treat visibility supersets as confirmed sightlines. Do not turn marker 15 into a renewed transient effect or assign unsupported structural damage to markers 11–13 from marker 16. Keep the listed transient markers separate from the permanent base identity."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [0, 0]\n  - look_at_unit: 4\n  - look_at_cell: [4, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Use broad coverage from unit 1 toward unit 4, centered on the listed marker-12 cell. Follow the shot's static low, front three-quarter position with a slight upward pitch while retaining the committed subject head to foot and preserving visible ground around the pose.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 1 with the in-cone portions of units 2, 3, 4 and 5 from camera [0, 0] toward [4, 5]. Preserve the base positions and orientations of markers 7–10 and the aligned fixture positions of markers 11–13. Distribute visible markers 7–10 across the sides and depth rather than enlarging one to dominate. Retain opening 6 at its base location when unobscured; the supplied visibility supersets do not establish opening adjacency or guaranteed unobstructed visibility.\n  - camera_framing_directive: Frame from camera unit 1 at [0, 0], looking toward unit 4 at [4, 5], using a wide lens with 90-degree FOV for broad coverage. Keep the view static, low and front three-quarter with the staged slight upward pitch. Retain full-body subject coverage and visible ground while maintaining the base spacing of surrounding elements.\n  - subject_position_directive: Place 찰리 near frame center, head to foot, in the committed three_quarter_right angle with hands on hips and elbows spread. His gaze remains off-screen toward 쿠마's group rather than the lens. No precise subject cell is committed; preserve the central composition without assigning an invented fixed coordinate or adding members of the off-screen group.\n  - state_cue_directive: Carry marker 14, Restarting engines and black exhaust, consistently with S77_Shot22's operating state and black exhaust. Preserve the established nighttime illumination and keep the central subject readable through that exhaust. Marker 15, Fluctuating bulb power, is listed, but the consuming shot explicitly excludes carrying the earlier electrical flicker forward as a new effect; use the committed steady nighttime presentation. Treat marker 16, Burst bulb aftermath, only as the listed aftermath cue: no affected fixture number or detailed damage pattern is committed, so do not invent either.\n  - negative_continuity_directive: No ignore_numbered_elements or ignored_state_overlay_marker_numbers are supplied. Avoid relocating or rescaling markers 7–10, shifting markers 11–13, or moving opening 6 to fit the composition. Do not force out-of-cone portions of units 2–5 into view or treat visibility supersets as confirmed sightlines. Do not turn marker 15 into a renewed transient effect or assign unsupported structural damage to markers 11–13 from marker 16. Keep the listed transient markers separate from the permanent base identity.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [0, 0]\n  - look_at_unit: 4\n  - look_at_cell: [4, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Use broad coverage from unit 1 toward unit 4, centered on the listed marker-12 cell. Follow the shot's static low, front three-quarter position with a slight upward pitch while retaining the committed subject head to foot and preserving visible ground around the pose.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 1 with the in-cone portions of units 2, 3, 4 and 5 from camera [0, 0] toward [4, 5]. Preserve the base positions and orientations of markers 7–10 and the aligned fixture positions of markers 11–13. Distribute visible markers 7–10 across the sides and depth rather than enlarging one to dominate. Retain opening 6 at its base location when unobscured; the supplied visibility supersets do not establish opening adjacency or guaranteed unobstructed visibility.\n  - camera_framing_directive: Frame from camera unit 1 at [0, 0], looking toward unit 4 at [4, 5], using a wide lens with 90-degree FOV for broad coverage. Keep the view static, low and front three-quarter with the staged slight upward pitch. Retain full-body subject coverage and visible ground while maintaining the base spacing of surrounding elements.\n  - subject_position_directive: Place 찰리 near frame center, head to foot, in the committed three_quarter_right angle with hands on hips and elbows spread. His gaze remains off-screen toward 쿠마's group rather than the lens. No precise subject cell is committed; preserve the central composition without assigning an invented fixed coordinate or adding members of the off-screen group.\n  - state_cue_directive: Carry marker 14, Restarting engines and black exhaust, consistently with S77_Shot22's operating state and black exhaust. Preserve the established nighttime illumination and keep the central subject readable through that exhaust. Marker 15, Fluctuating bulb power, is listed, but the consuming shot explicitly excludes carrying the earlier electrical flicker forward as a new effect; use the committed steady nighttime presentation. Treat marker 16, Burst bulb aftermath, only as the listed aftermath cue: no affected fixture number or detailed damage pattern is committed, so do not invent either.\n  - negative_continuity_directive: No ignore_numbered_elements or ignored_state_overlay_marker_numbers are supplied. Avoid relocating or rescaling markers 7–10, shifting markers 11–13, or moving opening 6 to fit the composition. Do not force out-of-cone portions of units 2–5 into view or treat visibility supersets as confirmed sightlines. Do not turn marker 15 into a renewed transient effect or assign unsupported structural damage to markers 11–13 from marker 16. Keep the listed transient markers separate from the permanent base identity.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [0, 0]\n  - look_at_unit: 4\n  - look_at_cell: [4, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Use broad coverage from unit 1 toward unit 4, centered on the listed marker-12 cell. Follow the shot's static low, front three-quarter position with a slight upward pitch while retaining the committed subject head to foot and preserving visible ground around the pose.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 1 with the in-cone portions of units 2, 3, 4 and 5 from camera [0, 0] toward [4, 5]. Preserve the base positions and orientations of markers 7–10 and the aligned fixture positions of markers 11–13. Distribute visible markers 7–10 across the sides and depth rather than enlarging one to dominate. Retain opening 6 at its base location when unobscured; the supplied visibility supersets do not establish opening adjacency or guaranteed unobstructed visibility.\n  - camera_framing_directive: Frame from camera unit 1 at [0, 0], looking toward unit 4 at [4, 5], using a wide lens with 90-degree FOV for broad coverage. Keep the view static, low and front three-quarter with the staged slight upward pitch. Retain full-body subject coverage and visible ground while maintaining the base spacing of surrounding elements.\n  - subject_position_directive: Place 찰리 near frame center, head to foot, in the committed three_quarter_right angle with hands on hips and elbows spread. His gaze remains off-screen toward 쿠마's group rather than the lens. No precise subject cell is committed; preserve the central composition without assigning an invented fixed coordinate or adding members of the off-screen group.\n  - state_cue_directive: Carry marker 14, Restarting engines and black exhaust, consistently with S77_Shot22's operating state and black exhaust. Preserve the established nighttime illumination and keep the central subject readable through that exhaust. Marker 15, Fluctuating bulb power, is listed, but the consuming shot explicitly excludes carrying the earlier electrical flicker forward as a new effect; use the committed steady nighttime presentation. Treat marker 16, Burst bulb aftermath, only as the listed aftermath cue: no affected fixture number or detailed damage pattern is committed, so do not invent either.\n  - negative_continuity_directive: No ignore_numbered_elements or ignored_state_overlay_marker_numbers are supplied. Avoid relocating or rescaling markers 7–10, shifting markers 11–13, or moving opening 6 to fit the composition. Do not force out-of-cone portions of units 2–5 into view or treat visibility supersets as confirmed sightlines. Do not turn marker 15 into a renewed transient effect or assign unsupported structural damage to markers 11–13 from marker 16. Keep the listed transient markers separate from the permanent base identity.\n\n기후 재난 이후인 2069년 한국의 오래된 경비행기 격납고 내부를 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 실재 장소의 기록 사진과 구별되지 않는 물리적 질감과 자연스러운 원근감으로 표현한다. 직사각형 격납고의 중앙 작업 통로 북쪽 끝에서 남쪽 벽의 대형 항공기 출입구를 바라본다. 카메라는 서 있는 사람의 눈높이인 약 1.6미터, 35밀리미터 규격 센서에 24밀리미터 광각 렌즈를 사용한 시야이며, 과도한 가장자리 왜곡 없이 양쪽 기체와 천장의 전구까지 담는다. 내려다보는 시점이나 평면도 구도가 아니다.\n\n참조 도면의 공간 관계에 따라 중앙의 남북 방향 통로와 양옆 주기 구역을 유지한다. 가까운 화면 오른쪽에는 북서쪽 경비행기, 왼쪽에는 북동쪽 경비행기가 프레임을 감싸며 각각 기수가 남동쪽과 남서쪽의 중앙 작업 공간을 향한다. 더 먼 오른쪽에는 기수를 북동쪽으로 둔 남서쪽 정비 기체, 더 먼 왼쪽에는 기수를 북서쪽으로 둔 남동쪽 기체가 자리한다. 네 기체 사이의 중앙 작업 공간은 비어 있고, 그 너머로 출입구 안쪽의 문턱 구역이 이어진다. 통로 위에는 남쪽, 가운데, 북쪽의 천장 전구 설비가 놓여 있다.\n\n밤의 격납고에서 남서쪽 정비 기체와 주변의 다른 경비행기 엔진들이 재가동되는 순간이다. 기체의 배기 부분에서 나온 검은 매연이 중앙 통로 쪽으로 번져 올라가며, 배기구 가까이에서는 짙고 멀어질수록 공기와 섞여 옅어진다. 매연 사이로 기체의 위치와 빈 중앙 공간이 읽히게 한다. 남쪽과 북쪽에 남은 전구는 불안정한 전력으로 밝기가 요동치는 순간을 서로 다른 광량으로 보여 주고, 바닥과 금속 표면에 불균일한 빛을 떨어뜨린다. 중앙 천장 전구는 유리 외피가 터져 손상된 채 꺼져 있으며, 바로 아래 바닥에 소량의 유리 파편만 드문드문 놓여 있다.\n\n한국의 소규모 실용 격납고에 어울리는 낡은 금속 외피와 콘크리트 바닥, 오래 사용한 경비행기의 도장과 금속 접합부를 사실적으로 담는다. 바닥의 일상적인 마모와 묵은 얼룩, 금속의 미세한 부식과 도장 닳음을 과장하지 않는다. 미래라는 이유로 설비를 매끈한 신형 장비로 바꾸지 않는다. 야간의 약한 주변광과 실제 전구 광원에 맞는 노출, 차가운 회색 재료 본연의 색과 전구 주변의 제한적인 따뜻한 빛, 자연스러운 심도로 표현한다. 과도한 보정이나 광고 사진 같은 정돈된 광택 없이 실제 현장의 어두운 부분을 유지한다. 사람, 얼굴, 사람 형태의 형상은 전혀 없는 배경 사진이며, 삽화나 건축 시각화가 아니다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 1,
          "camera_cell": [
            0,
            0
          ],
          "look_at_unit": 4,
          "look_at_cell": [
            4,
            5
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Use broad coverage from unit 1 toward unit 4, centered on the listed marker-12 cell. Follow the shot's static low, front three-quarter position with a slight upward pitch while retaining the committed subject head to foot and preserving visible ground around the pose."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Establish unit 1 with the in-cone portions of units 2, 3, 4 and 5 from camera [0, 0] toward [4, 5]. Preserve the base positions and orientations of markers 7–10 and the aligned fixture positions of markers 11–13. Distribute visible markers 7–10 across the sides and depth rather than enlarging one to dominate. Retain opening 6 at its base location when unobscured; the supplied visibility supersets do not establish opening adjacency or guaranteed unobstructed visibility.",
          "camera_framing_directive": "Frame from camera unit 1 at [0, 0], looking toward unit 4 at [4, 5], using a wide lens with 90-degree FOV for broad coverage. Keep the view static, low and front three-quarter with the staged slight upward pitch. Retain full-body subject coverage and visible ground while maintaining the base spacing of surrounding elements.",
          "subject_position_directive": "Place 찰리 near frame center, head to foot, in the committed three_quarter_right angle with hands on hips and elbows spread. His gaze remains off-screen toward 쿠마's group rather than the lens. No precise subject cell is committed; preserve the central composition without assigning an invented fixed coordinate or adding members of the off-screen group.",
          "state_cue_directive": "Carry marker 14, Restarting engines and black exhaust, consistently with S77_Shot22's operating state and black exhaust. Preserve the established nighttime illumination and keep the central subject readable through that exhaust. Marker 15, Fluctuating bulb power, is listed, but the consuming shot explicitly excludes carrying the earlier electrical flicker forward as a new effect; use the committed steady nighttime presentation. Treat marker 16, Burst bulb aftermath, only as the listed aftermath cue: no affected fixture number or detailed damage pattern is committed, so do not invent either.",
          "negative_continuity_directive": "No ignore_numbered_elements or ignored_state_overlay_marker_numbers are supplied. Avoid relocating or rescaling markers 7–10, shifting markers 11–13, or moving opening 6 to fit the composition. Do not force out-of-cone portions of units 2–5 into view or treat visibility supersets as confirmed sightlines. Do not turn marker 15 into a renewed transient effect or assign unsupported structural damage to markers 11–13 from marker 16. Keep the listed transient markers separate from the permanent base identity."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_l257_hangar",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_l257_hangar"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L257B01": {
        "status": "ok",
        "location_id": "L257",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L257B01.png",
        "t2i_prompt": "2069년 기후 재난 이후 대한민국의 항공 시설, 격납고 앞 헬기 이륙 공터를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실제 미러리스 카메라와 35밀리미터급 렌즈로 지상 약 1.6미터의 서 있는 사람 눈높이에서 공터 너머 열린 하늘을 바라본다. 내려다보는 시점이 아닌 수평에 가까운 시선으로, 화면 아래쪽에는 넓고 비어 있는 콘크리트 포장면, 왼쪽 가장자리에는 격납고 외벽과 대형 미닫이문 일부, 중앙과 오른쪽에는 멀리까지 막힘없는 출발 방향의 공간을 배치한다. 전경은 지상에서 배웅할 자리가 충분하도록 가구나 장비 없이 비워 두고 하늘도 넉넉히 확보한다. 멀리 화면 오른쪽 위 하늘에는 출발하여 고도를 높이며 멀어지는 헬리콥터 한 대의 작은 후측면이 보인다. 기체의 동체와 꼬리 회전날개가 실제 항공기 구조로 식별되며 주회전날개에는 촬영 순간의 미세한 움직임 흐림만 있다. 객실과 조종석 안은 거리와 유리 반사 때문에 보이지 않으며 탑승자의 얼굴이나 실루엣을 묘사하지 않는다.\n격납고는 한국의 실용적인 항공 정비 시설에 어울리는 철골 구조와 회색 금속 외장, 콘크리트 기단으로 이루어져 있다. 오래 사용했지만 계속 관리되는 시설로, 외장 이음매의 부분적인 녹과 빗물 자국, 미닫이문의 마찰 흔적, 포장면의 골재 질감과 보수 자국, 얕은 균열 및 희미한 타이어 흔적이 보인다. 바닥에는 닳은 유도선이 일부 남아 있으나 공터를 잔해로 가득 채우지 않는다. 미래라는 이유로 공중 표시 장치나 비현실적인 발광 설비를 추가하지 않는다. 밝은 주간의 자연광, 옅은 구름이 있는 하늘, 현실적인 부드러운 그림자와 멀어질수록 약해지는 대기 대비. 콘크리트와 금속 본연의 차분한 회색을 유지하되 인위적인 색 보정 없이 실제 현장의 색과 질감을 기록한다. 자연스러운 피사계 심도로 전경 포장면과 격납고의 재질이 읽히고 먼 헬리콥터는 거리감에 맞는 크기로 보인다. 과도하게 깨끗한 광고 사진이 아닌 실제 장소 답사 촬영본이며, 컴퓨터 생성 이미지나 삽화, 건축 조감도, 평면도가 아니다. 사람, 얼굴, 인간형 로봇, 시신, 혈흔 없이 공간과 시설 및 멀어지는 헬리콥터만 담는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S77_Shot43",
            "guide_text": "지상 약 1.6미터 눈높이의 넓은 가로 구도로 격납고 앞 공터에서 출발 방향을 바라본다. 왼쪽 가장자리의 격납고와 넓게 비워 둔 하단 포장면으로 지상 위치를 설명하고, 오른쪽 위 먼 하늘의 작은 헬리콥터 후측면으로 멀어지는 출발 상태를 전달한다. 배웅하는 대상은 그리지 않고 이들이 자리할 수 있는 전경만 확보한다. 헬리콥터를 가까운 정지 비행이나 지상 주기 상태로 표현하지 않으며, 탑승자는 보이지 않게 한다. 밝은 주간 자연광과 시설의 절제된 사용 흔적을 유지한다."
          }
        ],
        "shot_ids": [
          "S77_Shot43"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {},
        "reference_decision": {
          "mode": "surface_role_direct_plate",
          "surface_role": "exterior_plate",
          "fp_id": "",
          "source_bg_ids": []
        },
        "effective_render_prompt": "2069년 기후 재난 이후 대한민국의 항공 시설, 격납고 앞 헬기 이륙 공터를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실제 미러리스 카메라와 35밀리미터급 렌즈로 지상 약 1.6미터의 서 있는 사람 눈높이에서 공터 너머 열린 하늘을 바라본다. 내려다보는 시점이 아닌 수평에 가까운 시선으로, 화면 아래쪽에는 넓고 비어 있는 콘크리트 포장면, 왼쪽 가장자리에는 격납고 외벽과 대형 미닫이문 일부, 중앙과 오른쪽에는 멀리까지 막힘없는 출발 방향의 공간을 배치한다. 전경은 지상에서 배웅할 자리가 충분하도록 가구나 장비 없이 비워 두고 하늘도 넉넉히 확보한다. 멀리 화면 오른쪽 위 하늘에는 출발하여 고도를 높이며 멀어지는 헬리콥터 한 대의 작은 후측면이 보인다. 기체의 동체와 꼬리 회전날개가 실제 항공기 구조로 식별되며 주회전날개에는 촬영 순간의 미세한 움직임 흐림만 있다. 객실과 조종석 안은 거리와 유리 반사 때문에 보이지 않으며 탑승자의 얼굴이나 실루엣을 묘사하지 않는다.\n격납고는 한국의 실용적인 항공 정비 시설에 어울리는 철골 구조와 회색 금속 외장, 콘크리트 기단으로 이루어져 있다. 오래 사용했지만 계속 관리되는 시설로, 외장 이음매의 부분적인 녹과 빗물 자국, 미닫이문의 마찰 흔적, 포장면의 골재 질감과 보수 자국, 얕은 균열 및 희미한 타이어 흔적이 보인다. 바닥에는 닳은 유도선이 일부 남아 있으나 공터를 잔해로 가득 채우지 않는다. 미래라는 이유로 공중 표시 장치나 비현실적인 발광 설비를 추가하지 않는다. 밝은 주간의 자연광, 옅은 구름이 있는 하늘, 현실적인 부드러운 그림자와 멀어질수록 약해지는 대기 대비. 콘크리트와 금속 본연의 차분한 회색을 유지하되 인위적인 색 보정 없이 실제 현장의 색과 질감을 기록한다. 자연스러운 피사계 심도로 전경 포장면과 격납고의 재질이 읽히고 먼 헬리콥터는 거리감에 맞는 크기로 보인다. 과도하게 깨끗한 광고 사진이 아닌 실제 장소 답사 촬영본이며, 컴퓨터 생성 이미지나 삽화, 건축 조감도, 평면도가 아니다. 사람, 얼굴, 인간형 로봇, 시신, 혈흔 없이 공간과 시설 및 멀어지는 헬리콥터만 담는다. 16:9 가로 비율, 실제 카메라 촬영본\n\nOne attached image is a PHOTOREAL RENDER of the SAME building/site this scene belongs to — it may show the outside while this scene is inside, or another part of the same place. Treat it as the BUILDING IDENTITY reference. Keep this render consistent with it: the same era, age and state of repair, the same palette and material quality, the same window and door frame styles, and anything visible through openings (windows, doorways, passages) must belong to that same building and its surroundings. Lettering visible in the reference is reproduced EXACTLY — same characters, same mark, same position; never invent different wording from render to render. Lighting and time of day follow THIS prompt. Do NOT copy the reference's composition, framing or camera angle; only the building's physical identity carries over.",
        "shot_aware_plan_mode": "surface_role_direct_plate",
        "attached_reference_lineage": {
          "fp_id": "",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "building_anchor:L256B02"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        },
        "building_anchor_ref": {
          "anchor_bg_id": "L256B02",
          "group_id": "bg_abandoned_airport"
        }
      },
      "L257B02": {
        "status": "ok",
        "location_id": "L257",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L257B02.png",
        "t2i_prompt": "2069년 기후 재난 이후 대한민국의 폐공항, 헬기가 떠난 뒤 조용해진 격납고 앞 공터와 공항 밖으로 길게 이어지는 포장도로를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 서 있는 약 1.6미터 눈높이에서 실제 미러리스 카메라와 35밀리미터급 렌즈로 출구 방향을 바라본 수평 구도다. 카메라는 격납고 앞 공터의 가장자리에 두고, 격납고는 화면 왼쪽 중경에 물러나 작아지며 긴 진입도로는 넓은 전경에서 화면 중앙의 먼 소실점으로 이어지게 한다. 두 사람이 나란히 걸어서 멀어질 수 있을 만큼 폭이 있는 빈 보행 동선을 전경부터 원경까지 막힘없이 확보하되, 실제 사람은 전혀 그리지 않는다.\n한국의 오래된 지방 공항에서 볼 법한 실용적인 철골 격납고, 빛바랜 회색 골강판 외벽과 대형 금속 미닫이문, 낮은 콘크리트 기단이 남아 있다. 건물 전체를 무너뜨리지 않고 장기간 관리되지 않은 표면 부식과 빗물 자국으로 노후도를 나타낸다. 공터의 콘크리트 포장과 이어지는 아스팔트 도로는 불규칙하게 갈라져 골재가 드러나며, 틈과 가장자리에는 짙지 않은 녹색 이끼와 듬성듬성 난 풀이 자리한다. 작은 포장 파편은 주로 길 가장자리에 남고 중앙 통행 공간은 비어 있다. 길 양옆의 낮은 배수로와 멀리 이어지는 낡은 철망 울타리, 울타리가 끊기는 출입구 너머의 낮은 식생으로 공항 밖으로 나가는 방향을 읽을 수 있게 한다. 헬기와 다른 항공기, 차량은 없으며 공터와 하늘 모두 비어 있다. 떠난 헬기의 먼지구름이나 움직임 효과 없이 가라앉은 주간의 정적을 보여 준다.\n얇은 구름을 통과한 자연 주광, 부드럽지만 방향이 읽히는 그림자, 회색 콘크리트와 금속 본연의 차분한 색, 이끼의 자연스러운 녹색. 실제 콘크리트의 거친 입자, 아스팔트의 균열, 금속의 녹과 도장 박리, 오래된 물때를 과장 없이 기록한다. 전경의 깨진 포장부터 멀어지는 격납고와 길까지 공간 관계가 읽히는 자연스러운 피사계 심도와 현실적인 노출. 후처리 없이 현장에서 찍은 장소 기록 사진처럼 보여야 하며, 지나치게 깨끗한 홍보 사진이나 컴퓨터로 만든 이미지, 그림, 건축 조감도가 아니다. 내려다보는 시점이나 평면도 구도는 사용하지 않는다. 사람, 얼굴, 시신, 혈흔, 로봇, 발광 장치, 공중 투사 영상은 없다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S77_Shot53",
            "guide_text": "격납고 앞 공터에서 공항 밖을 향해 바라보는 눈높이의 넓은 구도. 격납고는 왼쪽 중경에 남겨 출발한 장소를 확인시키고, 중앙의 빈 길은 먼 출입구까지 길게 이어지도록 한다. 이후 두 사람이 나란히 멀어지는 장면을 배치할 수 있도록 전경과 중경의 통행 폭을 확보하되 배경 이미지에는 인물을 넣지 않는다. 깨진 포장, 가장자리의 이끼와 작은 파편을 유지하며 헬기나 비산 먼지 없이 한적한 주간 상태를 보여 준다."
          }
        ],
        "shot_ids": [
          "S77_Shot53"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {},
        "reference_decision": {
          "mode": "surface_role_direct_plate",
          "surface_role": "exterior_plate",
          "fp_id": "",
          "source_bg_ids": []
        },
        "effective_render_prompt": "2069년 기후 재난 이후 대한민국의 폐공항, 헬기가 떠난 뒤 조용해진 격납고 앞 공터와 공항 밖으로 길게 이어지는 포장도로를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 서 있는 약 1.6미터 눈높이에서 실제 미러리스 카메라와 35밀리미터급 렌즈로 출구 방향을 바라본 수평 구도다. 카메라는 격납고 앞 공터의 가장자리에 두고, 격납고는 화면 왼쪽 중경에 물러나 작아지며 긴 진입도로는 넓은 전경에서 화면 중앙의 먼 소실점으로 이어지게 한다. 두 사람이 나란히 걸어서 멀어질 수 있을 만큼 폭이 있는 빈 보행 동선을 전경부터 원경까지 막힘없이 확보하되, 실제 사람은 전혀 그리지 않는다.\n한국의 오래된 지방 공항에서 볼 법한 실용적인 철골 격납고, 빛바랜 회색 골강판 외벽과 대형 금속 미닫이문, 낮은 콘크리트 기단이 남아 있다. 건물 전체를 무너뜨리지 않고 장기간 관리되지 않은 표면 부식과 빗물 자국으로 노후도를 나타낸다. 공터의 콘크리트 포장과 이어지는 아스팔트 도로는 불규칙하게 갈라져 골재가 드러나며, 틈과 가장자리에는 짙지 않은 녹색 이끼와 듬성듬성 난 풀이 자리한다. 작은 포장 파편은 주로 길 가장자리에 남고 중앙 통행 공간은 비어 있다. 길 양옆의 낮은 배수로와 멀리 이어지는 낡은 철망 울타리, 울타리가 끊기는 출입구 너머의 낮은 식생으로 공항 밖으로 나가는 방향을 읽을 수 있게 한다. 헬기와 다른 항공기, 차량은 없으며 공터와 하늘 모두 비어 있다. 떠난 헬기의 먼지구름이나 움직임 효과 없이 가라앉은 주간의 정적을 보여 준다.\n얇은 구름을 통과한 자연 주광, 부드럽지만 방향이 읽히는 그림자, 회색 콘크리트와 금속 본연의 차분한 색, 이끼의 자연스러운 녹색. 실제 콘크리트의 거친 입자, 아스팔트의 균열, 금속의 녹과 도장 박리, 오래된 물때를 과장 없이 기록한다. 전경의 깨진 포장부터 멀어지는 격납고와 길까지 공간 관계가 읽히는 자연스러운 피사계 심도와 현실적인 노출. 후처리 없이 현장에서 찍은 장소 기록 사진처럼 보여야 하며, 지나치게 깨끗한 홍보 사진이나 컴퓨터로 만든 이미지, 그림, 건축 조감도가 아니다. 내려다보는 시점이나 평면도 구도는 사용하지 않는다. 사람, 얼굴, 시신, 혈흔, 로봇, 발광 장치, 공중 투사 영상은 없다. 16:9 가로 비율, 실제 카메라 촬영본\n\nOne attached image is a PHOTOREAL RENDER of the SAME building/site this scene belongs to — it may show the outside while this scene is inside, or another part of the same place. Treat it as the BUILDING IDENTITY reference. Keep this render consistent with it: the same era, age and state of repair, the same palette and material quality, the same window and door frame styles, and anything visible through openings (windows, doorways, passages) must belong to that same building and its surroundings. Lettering visible in the reference is reproduced EXACTLY — same characters, same mark, same position; never invent different wording from render to render. Lighting and time of day follow THIS prompt. Do NOT copy the reference's composition, framing or camera angle; only the building's physical identity carries over.",
        "shot_aware_plan_mode": "surface_role_direct_plate",
        "attached_reference_lineage": {
          "fp_id": "",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "building_anchor:L256B02"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        },
        "building_anchor_ref": {
          "anchor_bg_id": "L256B02",
          "group_id": "bg_abandoned_airport"
        }
      },
      "L263B02": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L263",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L263B02.png",
        "t2i_prompt": "실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 2069년 기후 재난 이후 한국 연안에서 계속 사용되는 작은 선박의 선원실로, 미래라는 이유로 새 장비를 덧붙이지 않은 소박하고 실용적인 휴식 공간이다. 직사각형 선실의 남쪽 실내에서 북쪽을 바라본다. 서쪽 벽에 붙어 남북 방향으로 길게 놓인 소파가 화면 왼쪽의 주요 대상으로 보이고, 중앙에서 동쪽까지 비워진 바닥과 오른쪽의 연속된 선실 격벽이 함께 들어온다. 소파와 격벽 사이의 좁지만 실제로 오갈 수 있는 공간감을 자연스럽게 보여준다.\n카메라는 바닥에서 약 1.6미터 높이의 서 있는 사람 눈높이에 수평으로 놓고, 35밀리미터 규격 카메라의 28밀리미터 광각 렌즈로 촬영한다. 과장된 원근이나 가장자리 늘어짐을 억제하며, 소파의 표면부터 맞은편 격벽까지 알아볼 수 있는 자연스러운 피사계 심도를 유지한다. 위에서 내려다본 구도나 평면도, 건축 도해가 아니라 실내에 서서 찍은 실제 장소 기록 사진이다.\n야간의 낮은 실내 조도가 공간을 은은하게 밝힌다. 광원의 기구 자체를 새로 배치하지 않고, 부드럽게 퍼진 약한 빛과 물리적으로 자연스러운 반사광으로 소파와 바닥, 격벽의 질감을 드러낸다. 절제된 차가운 회색 계열에 미세한 따뜻한 실내 빛이 섞이며, 어두운 부분도 과도하게 검게 뭉개지지 않는다. 도장된 금속 격벽의 실제 표면감, 실용적인 선실 바닥의 질감, 오래 사용한 소파 천의 촘촘한 직조와 완만한 눌림을 사실적으로 담는다. 공간은 깨끗하고 정돈된 평온한 상태다. 사람, 얼굴, 사람 형태의 형상은 전혀 없는 빈 배경이다. 과도한 보정이나 인공적인 광택 없이 실제 현장 사진과 구별되지 않게 표현한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S79_Shot10",
            "guide_text": "선실 남쪽에서 북쪽을 바라보는 수평 구도를 사용한다. 왼쪽 소파를 충분히 크게 담고 중앙의 빈 바닥과 오른쪽 격벽을 함께 확보한다. 낮은 야간 조명 아래 공간의 조용한 분위기와 실제 재료의 질감을 유지하며 인물은 묘사하지 않는다."
          },
          {
            "shot_id": "S79_Shot12",
            "guide_text": "앞선 장면과 동일한 카메라 위치, 높이, 화각과 야간 조도를 유지한다. 소파의 위치와 형태, 바닥의 여백, 격벽의 수직선을 그대로 연결한다. 카메라 기울임이나 흔들림 효과 없이 정돈된 빈 공간을 담는다."
          }
        ],
        "shot_ids": [
          "S79_Shot10",
          "S79_Shot12"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Just inside number 3, near number 2, facing north through number 5 with number 4 on the left and number 6 on the right.",
          "camera_height": "eye-level seated approximately 1.2m above the cabin floor",
          "lens_hint": "28mm wide angle, restrained distortion",
          "framing_notes": "Keep number 4 prominent and include the clear floor at number 5 and the intact bulkhead at number 6. Maintain this camera for both quiet conversation and waking. Keep the cabin level and undamaged; nighttime appearance is downstream background treatment only."
        },
        "reference_decision": {
          "bg_id": "L263B02",
          "fp_id": "fp_boat_crew_cabin",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L263B02 is the sole eligible clean anchor. Establish the fixed identity from the base plan without a prior reference. Camera unit 5 targets marker 4 within enclosing unit 1 with narrow telephoto coverage, supporting the close reclining compositions in S79_Shot10 and S79_Shot12. Target markers 5 and 6 remain layout commitments rather than requirements to expose them in these close crops.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_boat_crew_cabin.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The clean anchor is rendered from the base plan; no earlier reference is required or available.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 5,
            "camera_cell": [
              5,
              5
            ],
            "look_at_unit": 1,
            "look_at_cell": [
              4,
              3
            ],
            "lens_enum": "telephoto",
            "fov_deg": 25,
            "framing_notes": "Use compressed, narrow coverage toward marker 4 inside unit 1. The look-at coordinate is the supplied furniture-target candidate, not the unit-label centroid. Support shot-specific close crops without claiming broad visibility of the enclosure."
          },
          "render_guidance": {
            "visible_space_directive": "Show a narrow supporting portion of marker 4 within unit 1 from camera unit 5. Establish marker 4 against the west boundary with its north-to-south axis, marker 5 as central and eastern clearance, and marker 6 as the continuous east boundary in the underlying layout. Markers 5 and 6 need not be exposed by this narrow view. Opening 3 is only a visibility-superset candidate and is not required in the crop.",
            "camera_framing_directive": "Place the camera at unit 5, cell [5, 5], looking toward unit 1 at the supplied marker-4 target cell [4, 3]. Use telephoto coverage at 25 degrees for a compressed close background. Preserve the slightly downward, oblique relationship committed by the consuming shots; use their individual crops rather than widening to display all target markers.",
            "subject_position_directive": "For S79_Shot10, reserve center-right for 찰리 reclining with his head turned, with only a narrow soft fragment of 현우 at the left edge and marker 4 supporting both. For S79_Shot12, reserve left of center for 현우's reclined face with open space to the right, marker 4 beneath and behind his head, and 찰리 outside the crop. Treat these as separate shot placements, not simultaneous subject arrangements.",
            "state_cue_directive": "No committed background state cue beyond clean residential space applies. Use markers 1, 4, 5, and 6 without transient overlays. Preserve setting-appropriate ambient illumination and restrained contrast across the elapsed-time cut; the alert gaze belongs to shot staging, not a background lighting or tilt change. Refrain from inventing additional cues.",
            "negative_continuity_directive": "Exclude marker 7 and ignored state-overlay marker 7. Avoid relocating marker 4 relative to markers 1, 5, and 6, exposing units outside the narrow view, or treating the visibility supersets as mandatory visible content."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 5\n  - camera_cell: [5, 5]\n  - look_at_unit: 1\n  - look_at_cell: [4, 3]\n  - lens_enum: 'telephoto'\n  - fov_deg: 25\n  - framing_notes: 'Use compressed, narrow coverage toward marker 4 inside unit 1. The look-at coordinate is the supplied furniture-target candidate, not the unit-label centroid. Support shot-specific close crops without claiming broad visibility of the enclosure.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show a narrow supporting portion of marker 4 within unit 1 from camera unit 5. Establish marker 4 against the west boundary with its north-to-south axis, marker 5 as central and eastern clearance, and marker 6 as the continuous east boundary in the underlying layout. Markers 5 and 6 need not be exposed by this narrow view. Opening 3 is only a visibility-superset candidate and is not required in the crop.\n  - camera_framing_directive: Place the camera at unit 5, cell [5, 5], looking toward unit 1 at the supplied marker-4 target cell [4, 3]. Use telephoto coverage at 25 degrees for a compressed close background. Preserve the slightly downward, oblique relationship committed by the consuming shots; use their individual crops rather than widening to display all target markers.\n  - subject_position_directive: For S79_Shot10, reserve center-right for 찰리 reclining with his head turned, with only a narrow soft fragment of 현우 at the left edge and marker 4 supporting both. For S79_Shot12, reserve left of center for 현우's reclined face with open space to the right, marker 4 beneath and behind his head, and 찰리 outside the crop. Treat these as separate shot placements, not simultaneous subject arrangements.\n  - state_cue_directive: No committed background state cue beyond clean residential space applies. Use markers 1, 4, 5, and 6 without transient overlays. Preserve setting-appropriate ambient illumination and restrained contrast across the elapsed-time cut; the alert gaze belongs to shot staging, not a background lighting or tilt change. Refrain from inventing additional cues.\n  - negative_continuity_directive: Exclude marker 7 and ignored state-overlay marker 7. Avoid relocating marker 4 relative to markers 1, 5, and 6, exposing units outside the narrow view, or treating the visibility supersets as mandatory visible content.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 5\n  - camera_cell: [5, 5]\n  - look_at_unit: 1\n  - look_at_cell: [4, 3]\n  - lens_enum: 'telephoto'\n  - fov_deg: 25\n  - framing_notes: 'Use compressed, narrow coverage toward marker 4 inside unit 1. The look-at coordinate is the supplied furniture-target candidate, not the unit-label centroid. Support shot-specific close crops without claiming broad visibility of the enclosure.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show a narrow supporting portion of marker 4 within unit 1 from camera unit 5. Establish marker 4 against the west boundary with its north-to-south axis, marker 5 as central and eastern clearance, and marker 6 as the continuous east boundary in the underlying layout. Markers 5 and 6 need not be exposed by this narrow view. Opening 3 is only a visibility-superset candidate and is not required in the crop.\n  - camera_framing_directive: Place the camera at unit 5, cell [5, 5], looking toward unit 1 at the supplied marker-4 target cell [4, 3]. Use telephoto coverage at 25 degrees for a compressed close background. Preserve the slightly downward, oblique relationship committed by the consuming shots; use their individual crops rather than widening to display all target markers.\n  - subject_position_directive: For S79_Shot10, reserve center-right for 찰리 reclining with his head turned, with only a narrow soft fragment of 현우 at the left edge and marker 4 supporting both. For S79_Shot12, reserve left of center for 현우's reclined face with open space to the right, marker 4 beneath and behind his head, and 찰리 outside the crop. Treat these as separate shot placements, not simultaneous subject arrangements.\n  - state_cue_directive: No committed background state cue beyond clean residential space applies. Use markers 1, 4, 5, and 6 without transient overlays. Preserve setting-appropriate ambient illumination and restrained contrast across the elapsed-time cut; the alert gaze belongs to shot staging, not a background lighting or tilt change. Refrain from inventing additional cues.\n  - negative_continuity_directive: Exclude marker 7 and ignored state-overlay marker 7. Avoid relocating marker 4 relative to markers 1, 5, and 6, exposing units outside the narrow view, or treating the visibility supersets as mandatory visible content.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 5\n  - camera_cell: [5, 5]\n  - look_at_unit: 1\n  - look_at_cell: [4, 3]\n  - lens_enum: 'telephoto'\n  - fov_deg: 25\n  - framing_notes: 'Use compressed, narrow coverage toward marker 4 inside unit 1. The look-at coordinate is the supplied furniture-target candidate, not the unit-label centroid. Support shot-specific close crops without claiming broad visibility of the enclosure.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show a narrow supporting portion of marker 4 within unit 1 from camera unit 5. Establish marker 4 against the west boundary with its north-to-south axis, marker 5 as central and eastern clearance, and marker 6 as the continuous east boundary in the underlying layout. Markers 5 and 6 need not be exposed by this narrow view. Opening 3 is only a visibility-superset candidate and is not required in the crop.\n  - camera_framing_directive: Place the camera at unit 5, cell [5, 5], looking toward unit 1 at the supplied marker-4 target cell [4, 3]. Use telephoto coverage at 25 degrees for a compressed close background. Preserve the slightly downward, oblique relationship committed by the consuming shots; use their individual crops rather than widening to display all target markers.\n  - subject_position_directive: For S79_Shot10, reserve center-right for 찰리 reclining with his head turned, with only a narrow soft fragment of 현우 at the left edge and marker 4 supporting both. For S79_Shot12, reserve left of center for 현우's reclined face with open space to the right, marker 4 beneath and behind his head, and 찰리 outside the crop. Treat these as separate shot placements, not simultaneous subject arrangements.\n  - state_cue_directive: No committed background state cue beyond clean residential space applies. Use markers 1, 4, 5, and 6 without transient overlays. Preserve setting-appropriate ambient illumination and restrained contrast across the elapsed-time cut; the alert gaze belongs to shot staging, not a background lighting or tilt change. Refrain from inventing additional cues.\n  - negative_continuity_directive: Exclude marker 7 and ignored state-overlay marker 7. Avoid relocating marker 4 relative to markers 1, 5, and 6, exposing units outside the narrow view, or treating the visibility supersets as mandatory visible content.\n\n실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 2069년 기후 재난 이후 한국 연안에서 계속 사용되는 작은 선박의 선원실로, 미래라는 이유로 새 장비를 덧붙이지 않은 소박하고 실용적인 휴식 공간이다. 직사각형 선실의 남쪽 실내에서 북쪽을 바라본다. 서쪽 벽에 붙어 남북 방향으로 길게 놓인 소파가 화면 왼쪽의 주요 대상으로 보이고, 중앙에서 동쪽까지 비워진 바닥과 오른쪽의 연속된 선실 격벽이 함께 들어온다. 소파와 격벽 사이의 좁지만 실제로 오갈 수 있는 공간감을 자연스럽게 보여준다.\n카메라는 바닥에서 약 1.6미터 높이의 서 있는 사람 눈높이에 수평으로 놓고, 35밀리미터 규격 카메라의 28밀리미터 광각 렌즈로 촬영한다. 과장된 원근이나 가장자리 늘어짐을 억제하며, 소파의 표면부터 맞은편 격벽까지 알아볼 수 있는 자연스러운 피사계 심도를 유지한다. 위에서 내려다본 구도나 평면도, 건축 도해가 아니라 실내에 서서 찍은 실제 장소 기록 사진이다.\n야간의 낮은 실내 조도가 공간을 은은하게 밝힌다. 광원의 기구 자체를 새로 배치하지 않고, 부드럽게 퍼진 약한 빛과 물리적으로 자연스러운 반사광으로 소파와 바닥, 격벽의 질감을 드러낸다. 절제된 차가운 회색 계열에 미세한 따뜻한 실내 빛이 섞이며, 어두운 부분도 과도하게 검게 뭉개지지 않는다. 도장된 금속 격벽의 실제 표면감, 실용적인 선실 바닥의 질감, 오래 사용한 소파 천의 촘촘한 직조와 완만한 눌림을 사실적으로 담는다. 공간은 깨끗하고 정돈된 평온한 상태다. 사람, 얼굴, 사람 형태의 형상은 전혀 없는 빈 배경이다. 과도한 보정이나 인공적인 광택 없이 실제 현장 사진과 구별되지 않게 표현한다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 5,
          "camera_cell": [
            5,
            5
          ],
          "look_at_unit": 1,
          "look_at_cell": [
            4,
            3
          ],
          "lens_enum": "telephoto",
          "fov_deg": 25,
          "framing_notes": "Use compressed, narrow coverage toward marker 4 inside unit 1. The look-at coordinate is the supplied furniture-target candidate, not the unit-label centroid. Support shot-specific close crops without claiming broad visibility of the enclosure."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Show a narrow supporting portion of marker 4 within unit 1 from camera unit 5. Establish marker 4 against the west boundary with its north-to-south axis, marker 5 as central and eastern clearance, and marker 6 as the continuous east boundary in the underlying layout. Markers 5 and 6 need not be exposed by this narrow view. Opening 3 is only a visibility-superset candidate and is not required in the crop.",
          "camera_framing_directive": "Place the camera at unit 5, cell [5, 5], looking toward unit 1 at the supplied marker-4 target cell [4, 3]. Use telephoto coverage at 25 degrees for a compressed close background. Preserve the slightly downward, oblique relationship committed by the consuming shots; use their individual crops rather than widening to display all target markers.",
          "subject_position_directive": "For S79_Shot10, reserve center-right for 찰리 reclining with his head turned, with only a narrow soft fragment of 현우 at the left edge and marker 4 supporting both. For S79_Shot12, reserve left of center for 현우's reclined face with open space to the right, marker 4 beneath and behind his head, and 찰리 outside the crop. Treat these as separate shot placements, not simultaneous subject arrangements.",
          "state_cue_directive": "No committed background state cue beyond clean residential space applies. Use markers 1, 4, 5, and 6 without transient overlays. Preserve setting-appropriate ambient illumination and restrained contrast across the elapsed-time cut; the alert gaze belongs to shot staging, not a background lighting or tilt change. Refrain from inventing additional cues.",
          "negative_continuity_directive": "Exclude marker 7 and ignored state-overlay marker 7. Avoid relocating marker 4 relative to markers 1, 5, and 6, exposing units outside the narrow view, or treating the visibility supersets as mandatory visible content."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_boat_crew_cabin",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_boat_crew_cabin"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L263B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L263",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L263B01.png",
        "t2i_prompt": "기후 재난 이후인 2069년 무렵, 한국 연안에서 사용되는 선박의 비어 있는 선원실을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 미래에도 계속 쓰이는 소박하고 실용적인 선실로, 직사각형 내부와 기존 가구 배치를 유지한다. 서쪽 벽을 따라 긴 소파가 남북 방향으로 놓여 있고, 소파와 맞은편 동쪽 격벽 사이에는 중앙에서 동쪽까지 이어지는 넓은 빈 바닥이 있다. 동쪽 격벽은 끊김 없이 이어지는 선실의 경계다. 선실 남쪽 안쪽에서 북쪽을 바라보며 소파는 화면 왼쪽, 빈 바닥은 전경과 중앙, 동쪽 격벽은 오른쪽에 담는다.\n폭풍의 충격으로 선체 전체가 심하게 기울어진 바로 그 순간이다. 중력 기준 수평에 대해 바닥이 오른쪽의 동쪽 격벽으로 뚜렷하게 낮아지며, 벽과 소파도 선체와 함께 같은 각도로 기울어져 있다. 바닥과 벽의 접합각 및 선실의 직사각형 구조는 변형되지 않는다. 쏠림은 공간 전체의 경사로만 전달하고 가구의 위치와 형태는 유지한다.\n실제 도장 금속 격벽의 은은한 표면 요철, 바닥의 생활 마모, 소파 덮개의 직물 짜임과 오래 사용한 눌림을 세밀하게 기록한다. 화면 밖에서 들어오는 흐린 날의 약한 자연광이 내부에 퍼지며, 차가운 회색 계열과 실제 현장에 맞는 명암을 유지한다. 과장된 색 보정 없이 어두운 부분에도 재료의 결이 남는다. 풀프레임 미러리스 카메라와 왜곡이 억제된 28밀리미터 광각 렌즈로, 바닥에서 약 1.6미터 높이의 서 있는 사람 눈높이에서 촬영한 자연스러운 원근과 피사계 심도. 위에서 내려다보는 구도가 아닌 실제 실내 현장 기록 사진이며, 도면이나 건축 시각화가 아니다. 사람, 얼굴, 인체 형태의 형상은 전혀 없는 배경만 담는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S79_Shot14",
            "guide_text": "빈 바닥을 전경에 충분히 확보하고 왼쪽 소파와 오른쪽 격벽을 함께 보여 주어 선실의 방향을 읽을 수 있게 한다. 바닥이 오른쪽 격벽 쪽으로 내려가는 경사를 분명하게 보이되, 카메라를 선실과 같은 각도로 기울여 경사가 상쇄되지 않게 한다. 벽과 바닥의 접합선은 곧고 가구 배치는 그대로 유지한다. 인물이나 추가 소품 없이 공간의 기울기만으로 폭풍 순간의 쏠림을 전달한다."
          }
        ],
        "shot_ids": [
          "S79_Shot14"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "Just inside number 3, near number 2, facing north through number 5 with number 4 on the left and number 6 on the right; retain the quiet-state camera station.",
          "camera_height": "eye-level seated approximately 1.2m above the local cabin floor",
          "lens_hint": "28mm wide angle, restrained distortion",
          "framing_notes": "Apply number 7 only in this background: show a severe coherent roll with the floor falling toward number 6 on screen right. Preserve all wall and sofa relationships, leaving number 5 visible for lateral movement. Do not bend the enclosure, move the sofa, or add impact damage, looting, debris, or flooding."
        },
        "reference_decision": {
          "bg_id": "L263B01",
          "fp_id": "fp_boat_crew_cabin",
          "node_index": 1,
          "mode": "same_physical_space_view",
          "is_dwelling_identity_anchor": false,
          "rationale": "S79_Shot14 depicts the same enclosure and fixed markers as L263B02, so inherit its physical layout through one reference. Camera unit 2 with wide coverage provides a genuinely different structural slice from the anchor's narrow camera-unit-5 view, exposing marker 4, clearance 5, and the destination boundary 6 for the full-body trajectory. Although the target markers overlap and marker 7 is transient, this changed camera and coverage require a distinct view rather than a low-delta reuse candidate.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L263B02.png"
          ],
          "source_bg_ids": [
            "L263B02"
          ],
          "fp_included": false,
          "reference_decision": {
            "selected_refs": [
              {
                "ref_bg_id": "L263B02",
                "physical_space_id": "fp_boat_crew_cabin:unit_1",
                "space_description": "Unit 1 enclosing persistent marker 4, clearance unit 5, and boundary unit 6."
              }
            ],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "single_same_physical_space_reference",
            "why_single_ref_or_two_refs": "S79_Shot14 co-shows markers 4, 5, and 6 within the same enclosure established by L263B02. These are not two distinct physical spaces, so one layout reference suffices.",
            "physical_space_id_per_ref": [
              "fp_boat_crew_cabin:unit_1"
            ],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 2,
            "camera_cell": [
              8,
              3
            ],
            "look_at_unit": 1,
            "look_at_cell": [
              4,
              3
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Use broad coverage from unit 2 toward marker 4 within unit 1, retaining clearance 5 and boundary 6 toward the right side of the view. This is a separate wide representative view for S79_Shot14, not an identical-camera crop of L263B02."
          },
          "render_guidance": {
            "visible_space_directive": "From unit 2, show marker 4 inside unit 1 together with the intervening clearance of unit 5 and the interior face of boundary unit 6 at the rightward extent of the broad view. Keep marker 4 fixed against the west boundary on its north-to-south axis, clearance 5 centrally and eastward, and boundary 6 opposite marker 4, inheriting the layout identity of L263B02. Opening 3 is not a required visible element; no opening adjacency is established by the readback.",
            "camera_framing_directive": "Place the camera at unit 2, cell [8, 3], looking toward unit 1 at the supplied marker-4 target cell [4, 3], with a wide 90-degree field of view. Use broad coverage for the staged head-to-foot composition and its diagonally downward observation. Honor S79_Shot14's marker-4 upper-left and marker-6 lower-right relationship through the committed physical tilt and composition, rather than an arbitrary camera roll.",
            "subject_position_directive": "Reserve the visible clearance between markers 4 and 6 for 현우 sliding sideways with one knee folding and 찰리 following in a different phase with torso pitched and legs trailing. Show both from head to foot in the consuming shot, with lowered attention toward marker 6 and clear space remaining before contact. Keep marker 4 behind their displacement.",
            "state_cue_directive": "Apply transient marker 7, Severe storm heel, to the space: the visible floor plane is sharply tilted with the ship toward the staged lower-right destination. Preserve the existing ambient illumination and controlled contrast inherited from L263B02. Keep the fixed elements in their established relative positions through the tilt; the staged moment is before contact, with no committed persistent structural alteration.",
            "negative_continuity_directive": "No ignored numbered elements are listed. Avoid relocating marker 4 relative to units 5 and 6, importing the narrow crop of L263B02 into this wide view, substituting camera roll for marker 7, or adding uncommitted permanent changes to marker 6. Do not expose additional units or opening 3 solely because they occur in visibility supersets."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L263B02' physical_space_id='fp_boat_crew_cabin:unit_1'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [8, 3]\n  - look_at_unit: 1\n  - look_at_cell: [4, 3]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Use broad coverage from unit 2 toward marker 4 within unit 1, retaining clearance 5 and boundary 6 toward the right side of the view. This is a separate wide representative view for S79_Shot14, not an identical-camera crop of L263B02.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 2, show marker 4 inside unit 1 together with the intervening clearance of unit 5 and the interior face of boundary unit 6 at the rightward extent of the broad view. Keep marker 4 fixed against the west boundary on its north-to-south axis, clearance 5 centrally and eastward, and boundary 6 opposite marker 4, inheriting the layout identity of L263B02. Opening 3 is not a required visible element; no opening adjacency is established by the readback.\n  - camera_framing_directive: Place the camera at unit 2, cell [8, 3], looking toward unit 1 at the supplied marker-4 target cell [4, 3], with a wide 90-degree field of view. Use broad coverage for the staged head-to-foot composition and its diagonally downward observation. Honor S79_Shot14's marker-4 upper-left and marker-6 lower-right relationship through the committed physical tilt and composition, rather than an arbitrary camera roll.\n  - subject_position_directive: Reserve the visible clearance between markers 4 and 6 for 현우 sliding sideways with one knee folding and 찰리 following in a different phase with torso pitched and legs trailing. Show both from head to foot in the consuming shot, with lowered attention toward marker 6 and clear space remaining before contact. Keep marker 4 behind their displacement.\n  - state_cue_directive: Apply transient marker 7, Severe storm heel, to the space: the visible floor plane is sharply tilted with the ship toward the staged lower-right destination. Preserve the existing ambient illumination and controlled contrast inherited from L263B02. Keep the fixed elements in their established relative positions through the tilt; the staged moment is before contact, with no committed persistent structural alteration.\n  - negative_continuity_directive: No ignored numbered elements are listed. Avoid relocating marker 4 relative to units 5 and 6, importing the narrow crop of L263B02 into this wide view, substituting camera roll for marker 7, or adding uncommitted permanent changes to marker 6. Do not expose additional units or opening 3 solely because they occur in visibility supersets.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L263B02' physical_space_id='fp_boat_crew_cabin:unit_1'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [8, 3]\n  - look_at_unit: 1\n  - look_at_cell: [4, 3]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Use broad coverage from unit 2 toward marker 4 within unit 1, retaining clearance 5 and boundary 6 toward the right side of the view. This is a separate wide representative view for S79_Shot14, not an identical-camera crop of L263B02.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 2, show marker 4 inside unit 1 together with the intervening clearance of unit 5 and the interior face of boundary unit 6 at the rightward extent of the broad view. Keep marker 4 fixed against the west boundary on its north-to-south axis, clearance 5 centrally and eastward, and boundary 6 opposite marker 4, inheriting the layout identity of L263B02. Opening 3 is not a required visible element; no opening adjacency is established by the readback.\n  - camera_framing_directive: Place the camera at unit 2, cell [8, 3], looking toward unit 1 at the supplied marker-4 target cell [4, 3], with a wide 90-degree field of view. Use broad coverage for the staged head-to-foot composition and its diagonally downward observation. Honor S79_Shot14's marker-4 upper-left and marker-6 lower-right relationship through the committed physical tilt and composition, rather than an arbitrary camera roll.\n  - subject_position_directive: Reserve the visible clearance between markers 4 and 6 for 현우 sliding sideways with one knee folding and 찰리 following in a different phase with torso pitched and legs trailing. Show both from head to foot in the consuming shot, with lowered attention toward marker 6 and clear space remaining before contact. Keep marker 4 behind their displacement.\n  - state_cue_directive: Apply transient marker 7, Severe storm heel, to the space: the visible floor plane is sharply tilted with the ship toward the staged lower-right destination. Preserve the existing ambient illumination and controlled contrast inherited from L263B02. Keep the fixed elements in their established relative positions through the tilt; the staged moment is before contact, with no committed persistent structural alteration.\n  - negative_continuity_directive: No ignored numbered elements are listed. Avoid relocating marker 4 relative to units 5 and 6, importing the narrow crop of L263B02 into this wide view, substituting camera roll for marker 7, or adding uncommitted permanent changes to marker 6. Do not expose additional units or opening 3 solely because they occur in visibility supersets.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L263B02' physical_space_id='fp_boat_crew_cabin:unit_1'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [8, 3]\n  - look_at_unit: 1\n  - look_at_cell: [4, 3]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Use broad coverage from unit 2 toward marker 4 within unit 1, retaining clearance 5 and boundary 6 toward the right side of the view. This is a separate wide representative view for S79_Shot14, not an identical-camera crop of L263B02.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 2, show marker 4 inside unit 1 together with the intervening clearance of unit 5 and the interior face of boundary unit 6 at the rightward extent of the broad view. Keep marker 4 fixed against the west boundary on its north-to-south axis, clearance 5 centrally and eastward, and boundary 6 opposite marker 4, inheriting the layout identity of L263B02. Opening 3 is not a required visible element; no opening adjacency is established by the readback.\n  - camera_framing_directive: Place the camera at unit 2, cell [8, 3], looking toward unit 1 at the supplied marker-4 target cell [4, 3], with a wide 90-degree field of view. Use broad coverage for the staged head-to-foot composition and its diagonally downward observation. Honor S79_Shot14's marker-4 upper-left and marker-6 lower-right relationship through the committed physical tilt and composition, rather than an arbitrary camera roll.\n  - subject_position_directive: Reserve the visible clearance between markers 4 and 6 for 현우 sliding sideways with one knee folding and 찰리 following in a different phase with torso pitched and legs trailing. Show both from head to foot in the consuming shot, with lowered attention toward marker 6 and clear space remaining before contact. Keep marker 4 behind their displacement.\n  - state_cue_directive: Apply transient marker 7, Severe storm heel, to the space: the visible floor plane is sharply tilted with the ship toward the staged lower-right destination. Preserve the existing ambient illumination and controlled contrast inherited from L263B02. Keep the fixed elements in their established relative positions through the tilt; the staged moment is before contact, with no committed persistent structural alteration.\n  - negative_continuity_directive: No ignored numbered elements are listed. Avoid relocating marker 4 relative to units 5 and 6, importing the narrow crop of L263B02 into this wide view, substituting camera roll for marker 7, or adding uncommitted permanent changes to marker 6. Do not expose additional units or opening 3 solely because they occur in visibility supersets.\n\n기후 재난 이후인 2069년 무렵, 한국 연안에서 사용되는 선박의 비어 있는 선원실을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 미래에도 계속 쓰이는 소박하고 실용적인 선실로, 직사각형 내부와 기존 가구 배치를 유지한다. 서쪽 벽을 따라 긴 소파가 남북 방향으로 놓여 있고, 소파와 맞은편 동쪽 격벽 사이에는 중앙에서 동쪽까지 이어지는 넓은 빈 바닥이 있다. 동쪽 격벽은 끊김 없이 이어지는 선실의 경계다. 선실 남쪽 안쪽에서 북쪽을 바라보며 소파는 화면 왼쪽, 빈 바닥은 전경과 중앙, 동쪽 격벽은 오른쪽에 담는다.\n폭풍의 충격으로 선체 전체가 심하게 기울어진 바로 그 순간이다. 중력 기준 수평에 대해 바닥이 오른쪽의 동쪽 격벽으로 뚜렷하게 낮아지며, 벽과 소파도 선체와 함께 같은 각도로 기울어져 있다. 바닥과 벽의 접합각 및 선실의 직사각형 구조는 변형되지 않는다. 쏠림은 공간 전체의 경사로만 전달하고 가구의 위치와 형태는 유지한다.\n실제 도장 금속 격벽의 은은한 표면 요철, 바닥의 생활 마모, 소파 덮개의 직물 짜임과 오래 사용한 눌림을 세밀하게 기록한다. 화면 밖에서 들어오는 흐린 날의 약한 자연광이 내부에 퍼지며, 차가운 회색 계열과 실제 현장에 맞는 명암을 유지한다. 과장된 색 보정 없이 어두운 부분에도 재료의 결이 남는다. 풀프레임 미러리스 카메라와 왜곡이 억제된 28밀리미터 광각 렌즈로, 바닥에서 약 1.6미터 높이의 서 있는 사람 눈높이에서 촬영한 자연스러운 원근과 피사계 심도. 위에서 내려다보는 구도가 아닌 실제 실내 현장 기록 사진이며, 도면이나 건축 시각화가 아니다. 사람, 얼굴, 인체 형태의 형상은 전혀 없는 배경만 담는다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 2,
          "camera_cell": [
            8,
            3
          ],
          "look_at_unit": 1,
          "look_at_cell": [
            4,
            3
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Use broad coverage from unit 2 toward marker 4 within unit 1, retaining clearance 5 and boundary 6 toward the right side of the view. This is a separate wide representative view for S79_Shot14, not an identical-camera crop of L263B02."
        },
        "shot_aware_plan_node_index": 1,
        "shot_aware_plan_mode": "same_physical_space_view",
        "render_guidance": {
          "visible_space_directive": "From unit 2, show marker 4 inside unit 1 together with the intervening clearance of unit 5 and the interior face of boundary unit 6 at the rightward extent of the broad view. Keep marker 4 fixed against the west boundary on its north-to-south axis, clearance 5 centrally and eastward, and boundary 6 opposite marker 4, inheriting the layout identity of L263B02. Opening 3 is not a required visible element; no opening adjacency is established by the readback.",
          "camera_framing_directive": "Place the camera at unit 2, cell [8, 3], looking toward unit 1 at the supplied marker-4 target cell [4, 3], with a wide 90-degree field of view. Use broad coverage for the staged head-to-foot composition and its diagonally downward observation. Honor S79_Shot14's marker-4 upper-left and marker-6 lower-right relationship through the committed physical tilt and composition, rather than an arbitrary camera roll.",
          "subject_position_directive": "Reserve the visible clearance between markers 4 and 6 for 현우 sliding sideways with one knee folding and 찰리 following in a different phase with torso pitched and legs trailing. Show both from head to foot in the consuming shot, with lowered attention toward marker 6 and clear space remaining before contact. Keep marker 4 behind their displacement.",
          "state_cue_directive": "Apply transient marker 7, Severe storm heel, to the space: the visible floor plane is sharply tilted with the ship toward the staged lower-right destination. Preserve the existing ambient illumination and controlled contrast inherited from L263B02. Keep the fixed elements in their established relative positions through the tilt; the staged moment is before contact, with no committed persistent structural alteration.",
          "negative_continuity_directive": "No ignored numbered elements are listed. Avoid relocating marker 4 relative to units 5 and 6, importing the narrow crop of L263B02 into this wide view, substituting camera roll for marker 7, or adding uncommitted permanent changes to marker 6. Do not expose additional units or opening 3 solely because they occur in visibility supersets."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_boat_crew_cabin",
          "prior_bg_ids": [
            "L263B02"
          ],
          "attached_ref_labels": [
            "bg:L263B02"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L261B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L261",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L261B01.png",
        "t2i_prompt": "기후 재난 이후인 2069년 무렵, 한국 연안에서 운용되는 낡은 작업선의 야간 태풍 속 갑판을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람 없이 작업 갑판과 지지 기둥, 갑판 가장자리의 방호 난간, 그 너머의 바다가 보이는 실제 현장 기록 사진이다. 미래라는 이유로 선박 설비를 첨단 장치로 바꾸지 않고, 오래 사용한 철제 작업선의 실용적인 구조와 재료를 보여준다.\n참조 평면도는 구조물의 종류와 상대적인 위치를 파악하는 용도로만 사용한다. 작업 갑판 위, 오른쪽 지지 기둥보다 약간 선수 쪽이면서 선체 안쪽인 위치에서 선미와 선체 바깥을 향해 비스듬히 촬영한다. 실제 디지털 미러리스 카메라의 35밀리미터 광각 렌즈, 갑판 위 약 1.6미터의 서 있는 눈높이 시점이다. 지지 기둥은 오른쪽 갑판 둘레의 방호 난간 바로 안쪽에 있고, 기둥 옆의 동일한 난간 구간과 그 바깥 수면이 한 화면에서 명확하게 읽힌다. 기둥과 난간 너머 수면을 함께 볼 수 있도록 가장자리 바깥으로 충분한 시야를 남긴다. 작업 갑판의 바닥은 전경에서 이어지며, 화물 적재 구역은 평면도상 갑판 왼쪽 아래에 해당하는 쪽에 두고 기둥으로 이어지는 통로와 분리한다.\n태풍의 장대비가 갑판 전체를 비스듬히 가로지르고, 난간 바깥의 거친 파도가 가장자리를 넘어 갑판 위로 바닷물을 밀어 올린다. 갑판을 얕게 휩쓰는 물의 흐름, 가장자리에서 부서지는 흰 포말, 비에 가려지는 어두운 수면을 물리적으로 자연스럽게 표현한다. 화물 적재 구역에는 고정이 풀린 육중한 화물이 임시로 놓여 있다. 이 화물은 이동 가능한 물체이며, 갑판 가장자리에 붙은 영구 설비처럼 배치하지 않는다. 기둥과 인접 난간을 가리지 않는 적재 구역 쪽에 보이게 한다.\n흐린 밤의 희미한 자연 주변광에 맞춘 저조도 노출로, 젖은 금속과 포말에만 약한 반사가 생기고 바다는 실제 밤처럼 어둡게 남는다. 차가운 회색은 젖은 재료와 야간 빛에서 자연스럽게 드러나며, 인위적인 색 보정이나 과장된 조명을 사용하지 않는다. 강철 바닥의 미끄럼 방지 표면, 난간과 기둥의 용접 이음, 오래된 도막의 마모와 염분 얼룩, 금속의 실제 부식 질감이 물막 아래에서도 구분된다. 자연스러운 피사계 심도로 가까운 기둥과 난간은 읽히고 먼 바다는 비와 어둠 때문에 흐려진다. 사람, 얼굴, 손, 신체 일부, 인체 형태의 실루엣은 전혀 묘사하지 않는다. 매끈한 광고 사진이 아니라 실제 장소를 기록한 사진이며, 위에서 내려다보는 구도나 도면 표현을 사용하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S80_Shot9",
            "guide_text": "갑판 안쪽에서 지지 기둥과 그 바로 바깥 난간 구간을 비스듬히 바라보는 약 1.6미터 눈높이를 사용한다. 기둥, 난간, 외부 수면이 겹쳐 가려지지 않도록 바깥쪽 시야를 확보한다. 장대비와 갑판을 휩쓰는 물은 배경에 포함하되 인물이나 신체 동작은 그리지 않는다. 고정이 풀린 화물은 적재 구역에 연관된 임시 물체로 두며, 별도의 이동 지시 없이 가장자리로 옮기지 않는다."
          },
          {
            "shot_id": "S80_Shot15",
            "guide_text": "앞선 숏과 같은 지지 기둥, 인접 난간 구간, 바다 방향을 유지한다. 카메라를 난간 반대편으로 넘기거나 기둥의 좌우 관계를 뒤집지 않고, 가장자리 바깥의 열린 시야를 이어 간다. 야간 노출과 젖은 금속의 질감은 동일하게 유지하되 비와 포말의 순간적인 모양까지 복제할 필요는 없다. 화물의 추가 이동이나 수중 위치는 임의로 확정하지 않으며, 인물과 신체 일부는 배경에 포함하지 않는다."
          }
        ],
        "shot_ids": [
          "S80_Shot9",
          "S80_Shot15"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_2",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "On number 1, just forward and inboard of number 5, facing diagonally aft and outward toward number 5, number 6, and the water at number 8.",
          "camera_height": "Standing eye level, approximately 1.5–1.7 m above the deck",
          "lens_hint": "28–35 mm wide angle",
          "framing_notes": "Keep the supporting post and the same adjacent deck-edge segment prominent in both shots. Preserve open framing beyond the edge for the held-hand and released-hand action without changing camera geography. Cabin access may remain behind the camera. Apply rain and deck wash as background overlays; loose cargo remains event-dependent, not permanently fixed or already submerged in both shots. Do not depict people or hand-grip states as part of the background."
        },
        "reference_decision": {
          "bg_id": "L261B01",
          "fp_id": "fp_boat_deck",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L261B01 is the sole ready BG and the sole authorized anchor candidate under the supplied ramped fallback; its clean_background_expected value remains false. With no prior references, establish its fixed identity directly from the floor plan. Camera unit 1 looking toward marker 5 within unit 1 supports the deck-side close staging shared by S80_Shot9 and S80_Shot15. Preserve that framing through the change in hand positions rather than establishing another view.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_boat_deck.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "No reference is selected because this is the first and only node and the same-fp reference catalog is empty.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 1,
            "camera_cell": [
              5,
              5
            ],
            "look_at_unit": 1,
            "look_at_cell": [
              5,
              7
            ],
            "lens_enum": "normal",
            "fov_deg": 50,
            "framing_notes": "Neutral optical coverage aimed toward marker 5 within unit 1; apply the staged close composition slightly above wrist height and diagonally downward. Retain only the local strip of unit 1 and the adjacent perimeter segment of marker 6, with unit 8 beyond. Both consuming shots retain the same scale and axis."
          },
          "render_guidance": {
            "visible_space_directive": "Show the local portion of unit 1 around marker 5 and the adjacent segment of perimeter marker 6, with a restricted portion of unit 8 beyond that perimeter where the crop permits. Keep markers 5 and 6 in their floor-plan positions. Unit 7 is a contextual target, not a requirement to expand this close view; the visibility supersets do not commit opening 3 or every listed unit to the image.",
            "camera_framing_directive": "Use camera unit 1 at [5, 5], looking within unit 1 toward [5, 7], with a normal lens and 50-degree field of view for neutral coverage. Follow the committed close framing slightly above the wrists, looking diagonally downward. Preserve the same narrow perimeter reference and framing for S80_Shot9 and S80_Shot15; the later downward tilt is deferred until the separation reads.",
            "subject_position_directive": "Reserve the central close composition for the staged wrist contact: in S80_Shot9 the metal hand grips the wrist, with the bracing forearm entering upper left and the tensioned arm extending lower right beyond the edge. In S80_Shot15 retain that axis while the opened metal fingers remain upper left and the released hand moves lower right, leaving a visible gap. Faces stay outside the crop. These are consuming-shot subject positions, not simultaneous actions to bake into the background.",
            "state_cue_directive": "Carry marker 9, \"Typhoon rain and deck wash\", with the committed nighttime storm ambience and rain-obscured contrast. Marker 10, \"Loose heavy cargo\", remains an authorized transient element only where its placement is supported and visible; do not invent a position in this close crop. Preserve illumination through both shots without a flash or new source. The staged \"Wave water\" in S80_Shot15 may interrupt the surroundings while leaving the hand-separation area readable.",
            "negative_continuity_directive": "No ignored numbered elements or ignored overlay markers are listed. Avoid relocating markers 5 or 6, widening the composition to force unit 7 or marker 10 into view, or treating candidate visibility of units 2 and 4 and opening 3 as committed visibility. Keep overlays 9 and 10 distinct from permanent structure, and avoid changing the fixed framing between the two consuming shots."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [5, 5]\n  - look_at_unit: 1\n  - look_at_cell: [5, 7]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral optical coverage aimed toward marker 5 within unit 1; apply the staged close composition slightly above wrist height and diagonally downward. Retain only the local strip of unit 1 and the adjacent perimeter segment of marker 6, with unit 8 beyond. Both consuming shots retain the same scale and axis.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the local portion of unit 1 around marker 5 and the adjacent segment of perimeter marker 6, with a restricted portion of unit 8 beyond that perimeter where the crop permits. Keep markers 5 and 6 in their floor-plan positions. Unit 7 is a contextual target, not a requirement to expand this close view; the visibility supersets do not commit opening 3 or every listed unit to the image.\n  - camera_framing_directive: Use camera unit 1 at [5, 5], looking within unit 1 toward [5, 7], with a normal lens and 50-degree field of view for neutral coverage. Follow the committed close framing slightly above the wrists, looking diagonally downward. Preserve the same narrow perimeter reference and framing for S80_Shot9 and S80_Shot15; the later downward tilt is deferred until the separation reads.\n  - subject_position_directive: Reserve the central close composition for the staged wrist contact: in S80_Shot9 the metal hand grips the wrist, with the bracing forearm entering upper left and the tensioned arm extending lower right beyond the edge. In S80_Shot15 retain that axis while the opened metal fingers remain upper left and the released hand moves lower right, leaving a visible gap. Faces stay outside the crop. These are consuming-shot subject positions, not simultaneous actions to bake into the background.\n  - state_cue_directive: Carry marker 9, \"Typhoon rain and deck wash\", with the committed nighttime storm ambience and rain-obscured contrast. Marker 10, \"Loose heavy cargo\", remains an authorized transient element only where its placement is supported and visible; do not invent a position in this close crop. Preserve illumination through both shots without a flash or new source. The staged \"Wave water\" in S80_Shot15 may interrupt the surroundings while leaving the hand-separation area readable.\n  - negative_continuity_directive: No ignored numbered elements or ignored overlay markers are listed. Avoid relocating markers 5 or 6, widening the composition to force unit 7 or marker 10 into view, or treating candidate visibility of units 2 and 4 and opening 3 as committed visibility. Keep overlays 9 and 10 distinct from permanent structure, and avoid changing the fixed framing between the two consuming shots.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [5, 5]\n  - look_at_unit: 1\n  - look_at_cell: [5, 7]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral optical coverage aimed toward marker 5 within unit 1; apply the staged close composition slightly above wrist height and diagonally downward. Retain only the local strip of unit 1 and the adjacent perimeter segment of marker 6, with unit 8 beyond. Both consuming shots retain the same scale and axis.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the local portion of unit 1 around marker 5 and the adjacent segment of perimeter marker 6, with a restricted portion of unit 8 beyond that perimeter where the crop permits. Keep markers 5 and 6 in their floor-plan positions. Unit 7 is a contextual target, not a requirement to expand this close view; the visibility supersets do not commit opening 3 or every listed unit to the image.\n  - camera_framing_directive: Use camera unit 1 at [5, 5], looking within unit 1 toward [5, 7], with a normal lens and 50-degree field of view for neutral coverage. Follow the committed close framing slightly above the wrists, looking diagonally downward. Preserve the same narrow perimeter reference and framing for S80_Shot9 and S80_Shot15; the later downward tilt is deferred until the separation reads.\n  - subject_position_directive: Reserve the central close composition for the staged wrist contact: in S80_Shot9 the metal hand grips the wrist, with the bracing forearm entering upper left and the tensioned arm extending lower right beyond the edge. In S80_Shot15 retain that axis while the opened metal fingers remain upper left and the released hand moves lower right, leaving a visible gap. Faces stay outside the crop. These are consuming-shot subject positions, not simultaneous actions to bake into the background.\n  - state_cue_directive: Carry marker 9, \"Typhoon rain and deck wash\", with the committed nighttime storm ambience and rain-obscured contrast. Marker 10, \"Loose heavy cargo\", remains an authorized transient element only where its placement is supported and visible; do not invent a position in this close crop. Preserve illumination through both shots without a flash or new source. The staged \"Wave water\" in S80_Shot15 may interrupt the surroundings while leaving the hand-separation area readable.\n  - negative_continuity_directive: No ignored numbered elements or ignored overlay markers are listed. Avoid relocating markers 5 or 6, widening the composition to force unit 7 or marker 10 into view, or treating candidate visibility of units 2 and 4 and opening 3 as committed visibility. Keep overlays 9 and 10 distinct from permanent structure, and avoid changing the fixed framing between the two consuming shots.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [5, 5]\n  - look_at_unit: 1\n  - look_at_cell: [5, 7]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral optical coverage aimed toward marker 5 within unit 1; apply the staged close composition slightly above wrist height and diagonally downward. Retain only the local strip of unit 1 and the adjacent perimeter segment of marker 6, with unit 8 beyond. Both consuming shots retain the same scale and axis.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the local portion of unit 1 around marker 5 and the adjacent segment of perimeter marker 6, with a restricted portion of unit 8 beyond that perimeter where the crop permits. Keep markers 5 and 6 in their floor-plan positions. Unit 7 is a contextual target, not a requirement to expand this close view; the visibility supersets do not commit opening 3 or every listed unit to the image.\n  - camera_framing_directive: Use camera unit 1 at [5, 5], looking within unit 1 toward [5, 7], with a normal lens and 50-degree field of view for neutral coverage. Follow the committed close framing slightly above the wrists, looking diagonally downward. Preserve the same narrow perimeter reference and framing for S80_Shot9 and S80_Shot15; the later downward tilt is deferred until the separation reads.\n  - subject_position_directive: Reserve the central close composition for the staged wrist contact: in S80_Shot9 the metal hand grips the wrist, with the bracing forearm entering upper left and the tensioned arm extending lower right beyond the edge. In S80_Shot15 retain that axis while the opened metal fingers remain upper left and the released hand moves lower right, leaving a visible gap. Faces stay outside the crop. These are consuming-shot subject positions, not simultaneous actions to bake into the background.\n  - state_cue_directive: Carry marker 9, \"Typhoon rain and deck wash\", with the committed nighttime storm ambience and rain-obscured contrast. Marker 10, \"Loose heavy cargo\", remains an authorized transient element only where its placement is supported and visible; do not invent a position in this close crop. Preserve illumination through both shots without a flash or new source. The staged \"Wave water\" in S80_Shot15 may interrupt the surroundings while leaving the hand-separation area readable.\n  - negative_continuity_directive: No ignored numbered elements or ignored overlay markers are listed. Avoid relocating markers 5 or 6, widening the composition to force unit 7 or marker 10 into view, or treating candidate visibility of units 2 and 4 and opening 3 as committed visibility. Keep overlays 9 and 10 distinct from permanent structure, and avoid changing the fixed framing between the two consuming shots.\n\n기후 재난 이후인 2069년 무렵, 한국 연안에서 운용되는 낡은 작업선의 야간 태풍 속 갑판을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람 없이 작업 갑판과 지지 기둥, 갑판 가장자리의 방호 난간, 그 너머의 바다가 보이는 실제 현장 기록 사진이다. 미래라는 이유로 선박 설비를 첨단 장치로 바꾸지 않고, 오래 사용한 철제 작업선의 실용적인 구조와 재료를 보여준다.\n참조 평면도는 구조물의 종류와 상대적인 위치를 파악하는 용도로만 사용한다. 작업 갑판 위, 오른쪽 지지 기둥보다 약간 선수 쪽이면서 선체 안쪽인 위치에서 선미와 선체 바깥을 향해 비스듬히 촬영한다. 실제 디지털 미러리스 카메라의 35밀리미터 광각 렌즈, 갑판 위 약 1.6미터의 서 있는 눈높이 시점이다. 지지 기둥은 오른쪽 갑판 둘레의 방호 난간 바로 안쪽에 있고, 기둥 옆의 동일한 난간 구간과 그 바깥 수면이 한 화면에서 명확하게 읽힌다. 기둥과 난간 너머 수면을 함께 볼 수 있도록 가장자리 바깥으로 충분한 시야를 남긴다. 작업 갑판의 바닥은 전경에서 이어지며, 화물 적재 구역은 평면도상 갑판 왼쪽 아래에 해당하는 쪽에 두고 기둥으로 이어지는 통로와 분리한다.\n태풍의 장대비가 갑판 전체를 비스듬히 가로지르고, 난간 바깥의 거친 파도가 가장자리를 넘어 갑판 위로 바닷물을 밀어 올린다. 갑판을 얕게 휩쓰는 물의 흐름, 가장자리에서 부서지는 흰 포말, 비에 가려지는 어두운 수면을 물리적으로 자연스럽게 표현한다. 화물 적재 구역에는 고정이 풀린 육중한 화물이 임시로 놓여 있다. 이 화물은 이동 가능한 물체이며, 갑판 가장자리에 붙은 영구 설비처럼 배치하지 않는다. 기둥과 인접 난간을 가리지 않는 적재 구역 쪽에 보이게 한다.\n흐린 밤의 희미한 자연 주변광에 맞춘 저조도 노출로, 젖은 금속과 포말에만 약한 반사가 생기고 바다는 실제 밤처럼 어둡게 남는다. 차가운 회색은 젖은 재료와 야간 빛에서 자연스럽게 드러나며, 인위적인 색 보정이나 과장된 조명을 사용하지 않는다. 강철 바닥의 미끄럼 방지 표면, 난간과 기둥의 용접 이음, 오래된 도막의 마모와 염분 얼룩, 금속의 실제 부식 질감이 물막 아래에서도 구분된다. 자연스러운 피사계 심도로 가까운 기둥과 난간은 읽히고 먼 바다는 비와 어둠 때문에 흐려진다. 사람, 얼굴, 손, 신체 일부, 인체 형태의 실루엣은 전혀 묘사하지 않는다. 매끈한 광고 사진이 아니라 실제 장소를 기록한 사진이며, 위에서 내려다보는 구도나 도면 표현을 사용하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThe LAST attached image is a TOP-DOWN INTERIOR FLOOR PLAN of the building at this location — a STRUCTURAL REFERENCE ONLY, never content to draw. It defines the building's real scale: its footprint, room count, and the placement of its doors and windows. Render the scene so the building's exterior size, number of storeys, and the scale and placement of its doors and windows stay consistent with that plan. Do NOT draw the floor plan itself, its lines, text or numbers anywhere in the image.",
        "camera_decision": {
          "camera_unit": 1,
          "camera_cell": [
            5,
            5
          ],
          "look_at_unit": 1,
          "look_at_cell": [
            5,
            7
          ],
          "lens_enum": "normal",
          "fov_deg": 50,
          "framing_notes": "Neutral optical coverage aimed toward marker 5 within unit 1; apply the staged close composition slightly above wrist height and diagonally downward. Retain only the local strip of unit 1 and the adjacent perimeter segment of marker 6, with unit 8 beyond. Both consuming shots retain the same scale and axis."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Show the local portion of unit 1 around marker 5 and the adjacent segment of perimeter marker 6, with a restricted portion of unit 8 beyond that perimeter where the crop permits. Keep markers 5 and 6 in their floor-plan positions. Unit 7 is a contextual target, not a requirement to expand this close view; the visibility supersets do not commit opening 3 or every listed unit to the image.",
          "camera_framing_directive": "Use camera unit 1 at [5, 5], looking within unit 1 toward [5, 7], with a normal lens and 50-degree field of view for neutral coverage. Follow the committed close framing slightly above the wrists, looking diagonally downward. Preserve the same narrow perimeter reference and framing for S80_Shot9 and S80_Shot15; the later downward tilt is deferred until the separation reads.",
          "subject_position_directive": "Reserve the central close composition for the staged wrist contact: in S80_Shot9 the metal hand grips the wrist, with the bracing forearm entering upper left and the tensioned arm extending lower right beyond the edge. In S80_Shot15 retain that axis while the opened metal fingers remain upper left and the released hand moves lower right, leaving a visible gap. Faces stay outside the crop. These are consuming-shot subject positions, not simultaneous actions to bake into the background.",
          "state_cue_directive": "Carry marker 9, \"Typhoon rain and deck wash\", with the committed nighttime storm ambience and rain-obscured contrast. Marker 10, \"Loose heavy cargo\", remains an authorized transient element only where its placement is supported and visible; do not invent a position in this close crop. Preserve illumination through both shots without a flash or new source. The staged \"Wave water\" in S80_Shot15 may interrupt the surroundings while leaving the hand-separation area readable.",
          "negative_continuity_directive": "No ignored numbered elements or ignored overlay markers are listed. Avoid relocating markers 5 or 6, widening the composition to force unit 7 or marker 10 into view, or treating candidate visibility of units 2 and 4 and opening 3 as committed visibility. Keep overlays 9 and 10 distinct from permanent structure, and avoid changing the fixed framing between the two consuming shots."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_boat_deck",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_boat_deck",
            "building_fp:fp_boat_crew_cabin"
          ],
          "ref_used": "refs_2",
          "db_write_policy": "checkpoint_only"
        },
        "building_fp_ref": {
          "fp_id": "fp_boat_crew_cabin",
          "indoor_loc_sid": "L263",
          "group_id": "bg_storm_boat",
          "fp_asset_id": "c21e0121-41bc-45ef-abb5-e1d21d610828"
        }
      },
      "L261B02": {
        "status": "ok",
        "location_id": "L261",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L261B02.png",
        "t2i_prompt": "기후 재난 이후 미래의 한국 주변 해역, 선박 아래 깊은 물속의 실제 수중 공간을 촬영한 배경 사진. 환상이나 의식 속 공간이 아니라 빛이 거의 도달하지 않는 물리적인 바닷물이다. 선박은 화면 밖 위쪽에 있으며 선체, 갑판, 실내 구조, 수면, 해저는 보이지 않는다. 화면 전체를 칠흑에 가까운 차가운 회흑색 수괴로 채우고, 중앙에는 아무 물체도 없는 넓은 여백을 둔다. 극소량의 미세한 부유 퇴적물만 가까운 곳에서 희미하게 식별되며, 먼 곳의 입자는 물의 흡수와 산란으로 자연스럽게 사라진다.\n\n방수 하우징에 넣은 실제 미러리스 카메라와 35밀리미터급 렌즈로 촬영한 다큐멘터리 풍 사진. 서 있는 사람의 약 1.6미터 눈높이 촬영에 해당하는 수평 시선과 원근감을 수중에 적용하며, 아래를 내려다보거나 위를 올려다보지 않는다. 실제 수중 촬영의 자연스러운 피사계 심도와 부유물의 불규칙한 물성을 유지한다. 위쪽 먼 수역에서 전달되는 극미약한 자연광만 남기고, 뚜렷한 빛줄기나 인공 조명 없이 아래쪽과 먼 배경은 거의 완전한 검정에 잠긴다. 서서히 암전하기 직전처럼 공간의 깊이가 가까스로 남아 있는 낮은 밝기이되, 단순한 검정 단색 화면으로 만들지는 않는다.\n\n사람, 얼굴, 인체 형태의 실루엣, 시신, 혈흔, 로봇, 생물, 발광 장치, 잔해를 넣지 않는다. 시대와 지역을 설명하기 위한 건축물이나 미래 장비를 임의로 추가하지 않는다. 실제 현장 기록 사진과 구별되지 않는 사실성으로, 인위적인 색 보정이나 미화 없이 촬영한다. 삽화, 컴퓨터 생성 이미지, 건축 시각화, 평면도, 조감도가 아니다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S80_Shot20",
            "guide_text": "수평 시선으로 어두운 수괴를 바라보는 빈 배경을 사용한다. 이후 두 인물의 실루엣을 별도로 배치할 수 있도록 중앙과 하단의 여백을 확보하되, 배경 자체에는 인물이나 사람 모양의 그림자를 그리지 않는다. 미세한 부유물과 극약한 밝기 차이로만 수중 깊이를 남기고, 숏이 진행되면서 이 단서들까지 서서히 사라지도록 암전한다. 갑판이나 실내로 전환된 듯한 구조적 윤곽은 보이지 않아야 한다."
          }
        ],
        "shot_ids": [
          "S80_Shot20"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_2",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {},
        "reference_decision": {
          "mode": "surface_role_direct_plate",
          "surface_role": "site_surface",
          "fp_id": "",
          "source_bg_ids": []
        },
        "effective_render_prompt": "기후 재난 이후 미래의 한국 주변 해역, 선박 아래 깊은 물속의 실제 수중 공간을 촬영한 배경 사진. 환상이나 의식 속 공간이 아니라 빛이 거의 도달하지 않는 물리적인 바닷물이다. 선박은 화면 밖 위쪽에 있으며 선체, 갑판, 실내 구조, 수면, 해저는 보이지 않는다. 화면 전체를 칠흑에 가까운 차가운 회흑색 수괴로 채우고, 중앙에는 아무 물체도 없는 넓은 여백을 둔다. 극소량의 미세한 부유 퇴적물만 가까운 곳에서 희미하게 식별되며, 먼 곳의 입자는 물의 흡수와 산란으로 자연스럽게 사라진다.\n\n방수 하우징에 넣은 실제 미러리스 카메라와 35밀리미터급 렌즈로 촬영한 다큐멘터리 풍 사진. 서 있는 사람의 약 1.6미터 눈높이 촬영에 해당하는 수평 시선과 원근감을 수중에 적용하며, 아래를 내려다보거나 위를 올려다보지 않는다. 실제 수중 촬영의 자연스러운 피사계 심도와 부유물의 불규칙한 물성을 유지한다. 위쪽 먼 수역에서 전달되는 극미약한 자연광만 남기고, 뚜렷한 빛줄기나 인공 조명 없이 아래쪽과 먼 배경은 거의 완전한 검정에 잠긴다. 서서히 암전하기 직전처럼 공간의 깊이가 가까스로 남아 있는 낮은 밝기이되, 단순한 검정 단색 화면으로 만들지는 않는다.\n\n사람, 얼굴, 인체 형태의 실루엣, 시신, 혈흔, 로봇, 생물, 발광 장치, 잔해를 넣지 않는다. 시대와 지역을 설명하기 위한 건축물이나 미래 장비를 임의로 추가하지 않는다. 실제 현장 기록 사진과 구별되지 않는 사실성으로, 인위적인 색 보정이나 미화 없이 촬영한다. 삽화, 컴퓨터 생성 이미지, 건축 시각화, 평면도, 조감도가 아니다. 16:9 가로 비율, 실제 카메라 촬영본\n\nOne attached image is a PHOTOREAL RENDER of this SAME place — the same physical location, possibly seen from a different angle or at a different moment. Treat it as the PLACE IDENTITY reference. Keep this render consistent with it: the same spatial layout and architecture, the same surface materials and colors, and the same permanently installed fixtures and furniture. Lettering visible in the reference is reproduced EXACTLY — same characters, same mark, same position; never invent different wording from render to render. Camera angle, framing, lighting, time of day and weather follow THIS prompt — do NOT copy the reference's composition or mood; only the place's physical identity carries over.\n\nThe LAST attached image is a TOP-DOWN INTERIOR FLOOR PLAN of the building at this location — a STRUCTURAL REFERENCE ONLY, never content to draw. It defines the building's real scale: its footprint, room count, and the placement of its doors and windows. Render the scene so the building's exterior size, number of storeys, and the scale and placement of its doors and windows stay consistent with that plan. Do NOT draw the floor plan itself, its lines, text or numbers anywhere in the image.",
        "shot_aware_plan_mode": "surface_role_direct_plate",
        "attached_reference_lineage": {
          "fp_id": "",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "same_loc_anchor:L261B01",
            "building_fp:fp_boat_crew_cabin"
          ],
          "ref_used": "refs_2",
          "db_write_policy": "checkpoint_only"
        },
        "building_fp_ref": {
          "fp_id": "fp_boat_crew_cabin",
          "indoor_loc_sid": "L263",
          "group_id": "bg_storm_boat",
          "fp_asset_id": "c21e0121-41bc-45ef-abb5-e1d21d610828"
        },
        "same_loc_anchor_ref": {
          "anchor_bg_id": "L261B01",
          "loc_id": "L261"
        }
      },
      "L266B02": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L266",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L266B02.png",
        "t2i_prompt": "실제 카메라로 촬영한 다큐멘터리 풍 사진. 기후 재난 이후인 2069년 대한민국 제주 해안의 임시보호소 안, 관리가 유지되는 조용한 흰 병실의 낮 풍경이다. 미래 시설이지만 익숙한 실용적 병실 구조와 물리적인 생활 장비를 사용한다. 공간은 깨끗하고 정돈된 상태다.\n남서쪽 출입 문턱 바로 안에서 북동쪽을 바라보며, 약 1.6미터의 서 있는 사람 눈높이에서 촬영한다. 전면형 센서의 실제 미러리스 카메라와 28밀리미터 광각 렌즈로 찍은 자연스러운 원근감이며, 과도한 광각 왜곡은 없다. 왼쪽에는 북쪽 벽을 머리 쪽으로 둔 흰색 일인용 침대가 있고, 그 오른쪽 정면의 북쪽 벽에는 바다를 향한 창이 있다. 오른쪽 동쪽 벽에는 화상통화용 모니터와 바로 옆의 통화 조작 스위치가 있다. 스위치 앞은 접근 가능한 빈 바닥으로 유지한다. 침대, 창, 모니터가 한 화면에 함께 들어오고, 화면 위쪽에는 병실 중앙 통로 위의 천장 형광등 기구가 보인다. 모니터는 화면 면을 식별할 수 있는 비스듬한 각도로 보이되, 벽에 부착된 평면 장비로 분명하게 표현한다. 모니터의 화면 영역을 병실 밖의 별도 방이나 실제 공간으로 확장하지 않는다.\n강한 백색 형광등이 흰 벽과 침대를 고르게 밝히고, 창으로 들어오는 자연 주광이 부드럽게 더해진다. 창밖에는 낮빛을 받는 에메랄드빛 제주 바다가 보이며, 실내의 흰색과 절제된 차가운 회색 사이에서 바다의 실제 색감이 살아난다. 흰색 도장 벽의 미세한 표면 질감, 침대 금속 프레임의 현실적인 광택, 흰 침구의 직물 짜임과 자연스러운 주름, 창유리와 모니터 표면의 약한 반사를 세밀하게 담는다. 재질에는 오래 사용하며 관리한 일상 장비의 자연스러운 시간감이 있지만 과장된 폐허의 모습은 없다. 흰 표면의 질감과 창밖 바다가 모두 읽히는 현실적인 노출, 자연스러운 심도와 그림자, 과도한 보정 없는 실제 현장 기록 사진으로 표현한다. 사람, 얼굴, 인체 형태의 형상은 실내와 화면 및 반사면 어디에도 묘사하지 않는다. 내려다보는 시점이나 평면도, 건축 도해가 아닌 실제 눈높이 사진이다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S81_Shot5",
            "guide_text": "출입 문턱 바로 안의 눈높이 고정 구도를 사용한다. 왼쪽 침대, 정면의 에메랄드빛 바다 창, 오른쪽 모니터와 스위치, 상단 형광등을 함께 유지한다. 비어 있는 병실 배경만 표현하며 모니터 화면을 별도의 실내 공간으로 확장하지 않는다."
          },
          {
            "shot_id": "S83_Shot5",
            "guide_text": "같은 카메라 위치와 약 1.6미터 높이, 28밀리미터 화각을 유지한다. 강한 백색 형광등과 창의 낮빛, 흰 침구와 벽의 질감을 앞선 배경과 일치시킨다. 모니터는 오른쪽 벽의 기존 위치에 두고 사람이나 얼굴을 추가하지 않는다."
          },
          {
            "shot_id": "S83_Shot6",
            "guide_text": "병실 전체를 보는 기존 눈높이 구도를 유지하며 모니터 쪽으로 카메라를 옮기거나 별도 방으로 전환하지 않는다. 비스듬히 보이는 모니터의 화면 경계와 옆 스위치가 분명하게 읽히도록 한다. 후속 통화 영상은 화면 내부에만 한정하고 배경 자체는 인물 없이 유지한다."
          },
          {
            "shot_id": "S83_Shot7",
            "guide_text": "동일한 고정 구도에서 침대와 창, 모니터의 크기와 위치 관계를 유지한다. 조용하고 정돈된 흰 병실의 낮 조명과 창밖 바다 색을 바꾸지 않는다. 새로운 환경 변화나 물건을 추가하지 않고, 통화 화면은 병실과 구별되는 평면 화면으로 유지한다."
          }
        ],
        "shot_ids": [
          "S81_Shot5",
          "S83_Shot5",
          "S83_Shot6",
          "S83_Shot7"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Just inside number 2 (entry threshold), facing northeast across number 1 (bedroom), with number 5 (bed) on the left, number 6 (sea-facing window) ahead, and numbers 11 and 12 (monitor and switch) on the right.",
          "camera_height": "eye-level standing, approximately 1.6 m",
          "lens_hint": "28mm wide angle",
          "framing_notes": "Maintain this camera for all referenced shots. Include the bed, sea window, and monitor together, with enough upper frame for number 13. Preserve the quiet white institutional bedroom, bright fluorescent illumination, and emerald sea outside in downstream backgrounds only. Keep the monitor face readable at an oblique angle; any call insert remains bounded by its screen. Changing and shower facilities remain behind or outside this framing, not removed from the layout."
        },
        "reference_decision": {
          "bg_id": "L266B02",
          "fp_id": "fp_l266_shelter_room",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L266B02 is the sole clean anchor candidate and the sole readiness-ok BG. Establish its identity directly from the floor plan because no prior references exist. Camera unit 2 looking into unit 1 with wide coverage provides a representative structural plate for target units 1 and 2 and base markers 5, 6, 11, 12, and 13. The consuming shots require different directions and scales; this single committed camera establishes the shared space rather than pretending to reproduce all four shot compositions simultaneously.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_l266_shelter_room.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "No reference is selected: this is the first and only node, seeded from the floor plan.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 2,
            "camera_cell": [
              8,
              1
            ],
            "look_at_unit": 1,
            "look_at_cell": [
              4,
              5
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad diagonal coverage from unit 2 into unit 1, directed toward the plan projection of marker 13. This is a representative clean identity view, not a simultaneous reconstruction of the doorway-facing, device-facing, reaction, and elevated compositions."
          },
          "render_guidance": {
            "visible_space_directive": "Show unit 1 from unit 2, retaining unit 2 as near-camera circulation where it enters the frame. Establish marker 5 in its northwest position, marker 6 on the north wall east of marker 5, markers 11 and 12 together on the east wall, and marker 13 above central circulation. Preserve their floor-plan relationships and include only portions supported by the selected view. The visible-unit and visible-opening lists are supersets, not permission to expose units 3 and 4 or every opening.",
            "camera_framing_directive": "Use camera unit 2 at [8, 1], looking into unit 1 at [4, 5], with a wide lens and 90-degree field of view. Keep broad coverage of the fixed structure along this diagonal. Do not incorporate the consuming shots' separate camera movements or close framings into this one plate.",
            "subject_position_directive": "Keep this clean background plate free of rendered subjects. Preserve the fixed spatial anchors needed by the supplied staging: S81_Shot5 places its subject at the threshold with marker 5 toward frame left; S83_Shot5 places its subjects within marker 11's displayed image; S83_Shot6 places its subject toward the monitor side of the composition; S83_Shot7 places its subject on marker 5. These are separate shot-layer arrangements, not a simultaneous occupancy instruction for this camera.",
            "state_cue_directive": "No committed state cue beyond \"clean residential space\" applies to this clean plate, and no transient markers are listed. Refrain from inventing additional cues. Keep marker 13 as the fixed illumination fixture and preserve readable, controlled room illumination without an unsupported colored glow. The live display and later occupancy states belong to their respective consuming shots, not to a combined background state.",
            "negative_continuity_directive": "No ignored numbered elements or ignored state-overlay markers are supplied. Avoid relocating or duplicating markers 5, 6, 11, 12, or 13 to fit incompatible shot compositions. Do not force marker 7 or openings 8 and 9 into this view, expose units 3 and 4 solely because they occur in visibility supersets, or bake shot-specific subjects and display content into the clean anchor."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [8, 1]\n  - look_at_unit: 1\n  - look_at_cell: [4, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad diagonal coverage from unit 2 into unit 1, directed toward the plan projection of marker 13. This is a representative clean identity view, not a simultaneous reconstruction of the doorway-facing, device-facing, reaction, and elevated compositions.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 1 from unit 2, retaining unit 2 as near-camera circulation where it enters the frame. Establish marker 5 in its northwest position, marker 6 on the north wall east of marker 5, markers 11 and 12 together on the east wall, and marker 13 above central circulation. Preserve their floor-plan relationships and include only portions supported by the selected view. The visible-unit and visible-opening lists are supersets, not permission to expose units 3 and 4 or every opening.\n  - camera_framing_directive: Use camera unit 2 at [8, 1], looking into unit 1 at [4, 5], with a wide lens and 90-degree field of view. Keep broad coverage of the fixed structure along this diagonal. Do not incorporate the consuming shots' separate camera movements or close framings into this one plate.\n  - subject_position_directive: Keep this clean background plate free of rendered subjects. Preserve the fixed spatial anchors needed by the supplied staging: S81_Shot5 places its subject at the threshold with marker 5 toward frame left; S83_Shot5 places its subjects within marker 11's displayed image; S83_Shot6 places its subject toward the monitor side of the composition; S83_Shot7 places its subject on marker 5. These are separate shot-layer arrangements, not a simultaneous occupancy instruction for this camera.\n  - state_cue_directive: No committed state cue beyond \"clean residential space\" applies to this clean plate, and no transient markers are listed. Refrain from inventing additional cues. Keep marker 13 as the fixed illumination fixture and preserve readable, controlled room illumination without an unsupported colored glow. The live display and later occupancy states belong to their respective consuming shots, not to a combined background state.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are supplied. Avoid relocating or duplicating markers 5, 6, 11, 12, or 13 to fit incompatible shot compositions. Do not force marker 7 or openings 8 and 9 into this view, expose units 3 and 4 solely because they occur in visibility supersets, or bake shot-specific subjects and display content into the clean anchor.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [8, 1]\n  - look_at_unit: 1\n  - look_at_cell: [4, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad diagonal coverage from unit 2 into unit 1, directed toward the plan projection of marker 13. This is a representative clean identity view, not a simultaneous reconstruction of the doorway-facing, device-facing, reaction, and elevated compositions.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 1 from unit 2, retaining unit 2 as near-camera circulation where it enters the frame. Establish marker 5 in its northwest position, marker 6 on the north wall east of marker 5, markers 11 and 12 together on the east wall, and marker 13 above central circulation. Preserve their floor-plan relationships and include only portions supported by the selected view. The visible-unit and visible-opening lists are supersets, not permission to expose units 3 and 4 or every opening.\n  - camera_framing_directive: Use camera unit 2 at [8, 1], looking into unit 1 at [4, 5], with a wide lens and 90-degree field of view. Keep broad coverage of the fixed structure along this diagonal. Do not incorporate the consuming shots' separate camera movements or close framings into this one plate.\n  - subject_position_directive: Keep this clean background plate free of rendered subjects. Preserve the fixed spatial anchors needed by the supplied staging: S81_Shot5 places its subject at the threshold with marker 5 toward frame left; S83_Shot5 places its subjects within marker 11's displayed image; S83_Shot6 places its subject toward the monitor side of the composition; S83_Shot7 places its subject on marker 5. These are separate shot-layer arrangements, not a simultaneous occupancy instruction for this camera.\n  - state_cue_directive: No committed state cue beyond \"clean residential space\" applies to this clean plate, and no transient markers are listed. Refrain from inventing additional cues. Keep marker 13 as the fixed illumination fixture and preserve readable, controlled room illumination without an unsupported colored glow. The live display and later occupancy states belong to their respective consuming shots, not to a combined background state.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are supplied. Avoid relocating or duplicating markers 5, 6, 11, 12, or 13 to fit incompatible shot compositions. Do not force marker 7 or openings 8 and 9 into this view, expose units 3 and 4 solely because they occur in visibility supersets, or bake shot-specific subjects and display content into the clean anchor.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [8, 1]\n  - look_at_unit: 1\n  - look_at_cell: [4, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad diagonal coverage from unit 2 into unit 1, directed toward the plan projection of marker 13. This is a representative clean identity view, not a simultaneous reconstruction of the doorway-facing, device-facing, reaction, and elevated compositions.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 1 from unit 2, retaining unit 2 as near-camera circulation where it enters the frame. Establish marker 5 in its northwest position, marker 6 on the north wall east of marker 5, markers 11 and 12 together on the east wall, and marker 13 above central circulation. Preserve their floor-plan relationships and include only portions supported by the selected view. The visible-unit and visible-opening lists are supersets, not permission to expose units 3 and 4 or every opening.\n  - camera_framing_directive: Use camera unit 2 at [8, 1], looking into unit 1 at [4, 5], with a wide lens and 90-degree field of view. Keep broad coverage of the fixed structure along this diagonal. Do not incorporate the consuming shots' separate camera movements or close framings into this one plate.\n  - subject_position_directive: Keep this clean background plate free of rendered subjects. Preserve the fixed spatial anchors needed by the supplied staging: S81_Shot5 places its subject at the threshold with marker 5 toward frame left; S83_Shot5 places its subjects within marker 11's displayed image; S83_Shot6 places its subject toward the monitor side of the composition; S83_Shot7 places its subject on marker 5. These are separate shot-layer arrangements, not a simultaneous occupancy instruction for this camera.\n  - state_cue_directive: No committed state cue beyond \"clean residential space\" applies to this clean plate, and no transient markers are listed. Refrain from inventing additional cues. Keep marker 13 as the fixed illumination fixture and preserve readable, controlled room illumination without an unsupported colored glow. The live display and later occupancy states belong to their respective consuming shots, not to a combined background state.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are supplied. Avoid relocating or duplicating markers 5, 6, 11, 12, or 13 to fit incompatible shot compositions. Do not force marker 7 or openings 8 and 9 into this view, expose units 3 and 4 solely because they occur in visibility supersets, or bake shot-specific subjects and display content into the clean anchor.\n\n실제 카메라로 촬영한 다큐멘터리 풍 사진. 기후 재난 이후인 2069년 대한민국 제주 해안의 임시보호소 안, 관리가 유지되는 조용한 흰 병실의 낮 풍경이다. 미래 시설이지만 익숙한 실용적 병실 구조와 물리적인 생활 장비를 사용한다. 공간은 깨끗하고 정돈된 상태다.\n남서쪽 출입 문턱 바로 안에서 북동쪽을 바라보며, 약 1.6미터의 서 있는 사람 눈높이에서 촬영한다. 전면형 센서의 실제 미러리스 카메라와 28밀리미터 광각 렌즈로 찍은 자연스러운 원근감이며, 과도한 광각 왜곡은 없다. 왼쪽에는 북쪽 벽을 머리 쪽으로 둔 흰색 일인용 침대가 있고, 그 오른쪽 정면의 북쪽 벽에는 바다를 향한 창이 있다. 오른쪽 동쪽 벽에는 화상통화용 모니터와 바로 옆의 통화 조작 스위치가 있다. 스위치 앞은 접근 가능한 빈 바닥으로 유지한다. 침대, 창, 모니터가 한 화면에 함께 들어오고, 화면 위쪽에는 병실 중앙 통로 위의 천장 형광등 기구가 보인다. 모니터는 화면 면을 식별할 수 있는 비스듬한 각도로 보이되, 벽에 부착된 평면 장비로 분명하게 표현한다. 모니터의 화면 영역을 병실 밖의 별도 방이나 실제 공간으로 확장하지 않는다.\n강한 백색 형광등이 흰 벽과 침대를 고르게 밝히고, 창으로 들어오는 자연 주광이 부드럽게 더해진다. 창밖에는 낮빛을 받는 에메랄드빛 제주 바다가 보이며, 실내의 흰색과 절제된 차가운 회색 사이에서 바다의 실제 색감이 살아난다. 흰색 도장 벽의 미세한 표면 질감, 침대 금속 프레임의 현실적인 광택, 흰 침구의 직물 짜임과 자연스러운 주름, 창유리와 모니터 표면의 약한 반사를 세밀하게 담는다. 재질에는 오래 사용하며 관리한 일상 장비의 자연스러운 시간감이 있지만 과장된 폐허의 모습은 없다. 흰 표면의 질감과 창밖 바다가 모두 읽히는 현실적인 노출, 자연스러운 심도와 그림자, 과도한 보정 없는 실제 현장 기록 사진으로 표현한다. 사람, 얼굴, 인체 형태의 형상은 실내와 화면 및 반사면 어디에도 묘사하지 않는다. 내려다보는 시점이나 평면도, 건축 도해가 아닌 실제 눈높이 사진이다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 2,
          "camera_cell": [
            8,
            1
          ],
          "look_at_unit": 1,
          "look_at_cell": [
            4,
            5
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad diagonal coverage from unit 2 into unit 1, directed toward the plan projection of marker 13. This is a representative clean identity view, not a simultaneous reconstruction of the doorway-facing, device-facing, reaction, and elevated compositions."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Show unit 1 from unit 2, retaining unit 2 as near-camera circulation where it enters the frame. Establish marker 5 in its northwest position, marker 6 on the north wall east of marker 5, markers 11 and 12 together on the east wall, and marker 13 above central circulation. Preserve their floor-plan relationships and include only portions supported by the selected view. The visible-unit and visible-opening lists are supersets, not permission to expose units 3 and 4 or every opening.",
          "camera_framing_directive": "Use camera unit 2 at [8, 1], looking into unit 1 at [4, 5], with a wide lens and 90-degree field of view. Keep broad coverage of the fixed structure along this diagonal. Do not incorporate the consuming shots' separate camera movements or close framings into this one plate.",
          "subject_position_directive": "Keep this clean background plate free of rendered subjects. Preserve the fixed spatial anchors needed by the supplied staging: S81_Shot5 places its subject at the threshold with marker 5 toward frame left; S83_Shot5 places its subjects within marker 11's displayed image; S83_Shot6 places its subject toward the monitor side of the composition; S83_Shot7 places its subject on marker 5. These are separate shot-layer arrangements, not a simultaneous occupancy instruction for this camera.",
          "state_cue_directive": "No committed state cue beyond \"clean residential space\" applies to this clean plate, and no transient markers are listed. Refrain from inventing additional cues. Keep marker 13 as the fixed illumination fixture and preserve readable, controlled room illumination without an unsupported colored glow. The live display and later occupancy states belong to their respective consuming shots, not to a combined background state.",
          "negative_continuity_directive": "No ignored numbered elements or ignored state-overlay markers are supplied. Avoid relocating or duplicating markers 5, 6, 11, 12, or 13 to fit incompatible shot compositions. Do not force marker 7 or openings 8 and 9 into this view, expose units 3 and 4 solely because they occur in visibility supersets, or bake shot-specific subjects and display content into the clean anchor."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_l266_shelter_room",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_l266_shelter_room"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L266B01": {
        "status": "ok",
        "location_id": "L266",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L266B01.png",
        "t2i_prompt": "실제 미러리스 카메라와 35밀리미터급 렌즈로 촬영한 다큐멘터리 풍 사진. 기후 재난 이후인 2069년 대한민국의 유지·관리되는 연구시설, 낮의 복도에서 연구센터로 진입하는 자동문 문턱을 바라본 빈 공간이다. 카메라는 문턱 바로 앞 복도에 서 있는 사람의 눈높이 약 1.6미터에 두고, 이동하다 멈춰 문 너머를 처음 살펴보는 수평 시선으로 촬영한다. 두꺼운 좌우 개폐식 자동문의 양쪽 문짝이 옆으로 물러나 열린 상태이며, 화면 양옆에 문짝의 두께와 견고한 금속 문틀, 아래쪽에 닳은 문턱이 보인다. 열린 문 사이로 연구센터의 짧은 진입 공간과 안쪽으로 이어지는 통로가 자연스럽게 드러난다. 발견의 대상은 임의로 추가하지 않고 문 너머 시야와 빈 공간 자체를 확보한다. 병실 내부 구조를 반복하지 않으며 침대, 병상 커튼, 병실용 장비는 두지 않는다.\n\n한국의 공공 연구동에서 볼 수 있는 실용적인 시설 구조를 바탕으로, 회백색 도장 벽체와 바닥의 회색 수지 마감, 금속 걸레받이, 두꺼운 강판 자동문, 문 상부의 작은 감지 센서와 천장 매입형 조명기구를 표현한다. 문 옆에는 작은 한글 표지판에 ‘연구센터’라고만 표시한다. 첨단 시설이지만 모든 표면을 새것처럼 만들지 않는다. 실제 도장면의 미세한 요철, 금속 표면의 잔흠집과 산화 흔적, 바닥의 옅은 신발 마찰 자국, 문턱 가장자리의 생활 오염과 국소적인 보수 흔적이 가까이서도 사실적으로 보인다. 건물 전체를 폐허로 만들거나 근거 없는 잔해와 파손을 추가하지 않는다.\n\n화면 밖 복도 쪽에서 유입되는 부드러운 낮의 자연광과 정상 작동 중인 천장 조명의 약한 백색광이 섞인다. 절제된 차가운 회색 계열은 실제 자재의 색으로 표현하고, 문틀 안쪽의 접촉 그림자와 금속 반사는 현실적인 밝기를 유지한다. 문턱과 양쪽 문틀은 선명하고 안쪽 통로는 거리에 따라 조금 부드러워지는 자연스러운 피사계 심도. 과도한 보정 없이 실제 장소 기록 사진과 구별할 수 없는 질감과 노출로 촬영한다. 사람, 얼굴, 인체, 시신, 혈흔, 로봇, 홀로그램은 전혀 없다. 위에서 내려다보는 시점이나 평면도, 건축 도해가 아니며 삽화나 컴퓨터 합성 이미지, 건축 시각화, 지나치게 정돈된 광고 사진처럼 보이지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S81_Shot13",
            "guide_text": "세부 장면 설명이 없으므로 공통 배경 상태를 적용한다. 복도에서 자동문 문턱 앞에 멈춘 눈높이 시선으로, 가까운 바닥과 양쪽 문틀을 함께 담아 진입 방향을 읽을 수 있게 한다. 두꺼운 문짝은 좌우로 열린 상태를 유지하고 문 너머에는 빈 연구센터 진입 통로만 보이게 한다."
          },
          {
            "shot_id": "S81_Shot16",
            "guide_text": "같은 문턱과 개방 상태를 유지하면서 열린 문 사이의 시야를 중심으로 구성한다. 양옆 문짝의 두께가 화면 가장자리에 남아 공간의 경계를 드러내도록 하고, 안쪽 통로를 처음 바라보는 정지된 눈높이 시선을 유지한다. 발견 대상은 임의로 만들지 않으며 병실 구조나 인물, 로봇을 추가하지 않는다."
          }
        ],
        "shot_ids": [
          "S81_Shot13",
          "S81_Shot16"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {},
        "reference_decision": {
          "mode": "surface_role_direct_plate",
          "surface_role": "transition_zone",
          "fp_id": "",
          "source_bg_ids": []
        },
        "effective_render_prompt": "실제 미러리스 카메라와 35밀리미터급 렌즈로 촬영한 다큐멘터리 풍 사진. 기후 재난 이후인 2069년 대한민국의 유지·관리되는 연구시설, 낮의 복도에서 연구센터로 진입하는 자동문 문턱을 바라본 빈 공간이다. 카메라는 문턱 바로 앞 복도에 서 있는 사람의 눈높이 약 1.6미터에 두고, 이동하다 멈춰 문 너머를 처음 살펴보는 수평 시선으로 촬영한다. 두꺼운 좌우 개폐식 자동문의 양쪽 문짝이 옆으로 물러나 열린 상태이며, 화면 양옆에 문짝의 두께와 견고한 금속 문틀, 아래쪽에 닳은 문턱이 보인다. 열린 문 사이로 연구센터의 짧은 진입 공간과 안쪽으로 이어지는 통로가 자연스럽게 드러난다. 발견의 대상은 임의로 추가하지 않고 문 너머 시야와 빈 공간 자체를 확보한다. 병실 내부 구조를 반복하지 않으며 침대, 병상 커튼, 병실용 장비는 두지 않는다.\n\n한국의 공공 연구동에서 볼 수 있는 실용적인 시설 구조를 바탕으로, 회백색 도장 벽체와 바닥의 회색 수지 마감, 금속 걸레받이, 두꺼운 강판 자동문, 문 상부의 작은 감지 센서와 천장 매입형 조명기구를 표현한다. 문 옆에는 작은 한글 표지판에 ‘연구센터’라고만 표시한다. 첨단 시설이지만 모든 표면을 새것처럼 만들지 않는다. 실제 도장면의 미세한 요철, 금속 표면의 잔흠집과 산화 흔적, 바닥의 옅은 신발 마찰 자국, 문턱 가장자리의 생활 오염과 국소적인 보수 흔적이 가까이서도 사실적으로 보인다. 건물 전체를 폐허로 만들거나 근거 없는 잔해와 파손을 추가하지 않는다.\n\n화면 밖 복도 쪽에서 유입되는 부드러운 낮의 자연광과 정상 작동 중인 천장 조명의 약한 백색광이 섞인다. 절제된 차가운 회색 계열은 실제 자재의 색으로 표현하고, 문틀 안쪽의 접촉 그림자와 금속 반사는 현실적인 밝기를 유지한다. 문턱과 양쪽 문틀은 선명하고 안쪽 통로는 거리에 따라 조금 부드러워지는 자연스러운 피사계 심도. 과도한 보정 없이 실제 장소 기록 사진과 구별할 수 없는 질감과 노출로 촬영한다. 사람, 얼굴, 인체, 시신, 혈흔, 로봇, 홀로그램은 전혀 없다. 위에서 내려다보는 시점이나 평면도, 건축 도해가 아니며 삽화나 컴퓨터 합성 이미지, 건축 시각화, 지나치게 정돈된 광고 사진처럼 보이지 않는다. 16:9 가로 비율, 실제 카메라 촬영본\n\nOne attached image is a PHOTOREAL RENDER of the SAME building/site this scene belongs to — it may show the outside while this scene is inside, or another part of the same place. Treat it as the BUILDING IDENTITY reference. Keep this render consistent with it: the same era, age and state of repair, the same palette and material quality, the same window and door frame styles, and anything visible through openings (windows, doorways, passages) must belong to that same building and its surroundings. Lettering visible in the reference is reproduced EXACTLY — same characters, same mark, same position; never invent different wording from render to render. Lighting and time of day follow THIS prompt. Do NOT copy the reference's composition, framing or camera angle; only the building's physical identity carries over.",
        "shot_aware_plan_mode": "surface_role_direct_plate",
        "attached_reference_lineage": {
          "fp_id": "",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "building_anchor:L278B01"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        },
        "building_anchor_ref": {
          "anchor_bg_id": "L278B01",
          "group_id": "bg_island_research_complex"
        }
      },
      "L268B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L268",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L268B01.png",
        "t2i_prompt": "기후 재난 이후인 2069년 대한민국의 유지 관리되는 대형 연구센터 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 낮에 가동 중인 시설의 빈 공간과 장비만 담는다. 사람, 얼굴, 인체 형상의 물체와 로봇은 화면과 유리 반사를 포함해 어디에도 없다. 실제 장소의 기록 사진처럼 자연스러운 노출과 재료의 질감을 유지한다.\n\n참조 평면도는 공간의 연결 관계와 기존 설비의 위치를 파악하는 용도로만 사용한다. 주 연구홀에서 연결 실험실로 들어가는 자동문 바로 바깥에 카메라를 놓고, 높이 약 1.6미터에서 동북동쪽을 바라본다. 35밀리미터 규격의 미러리스 카메라에 28밀리미터 광각 렌즈를 사용한 넓은 시야이며, 수직선과 거리감은 자연스럽다. 문 너머 원형 유리 실험 구획과 중앙의 스테인리스 검사 침대가 보이고, 가까운 전경에는 통행로를 가리지 않는 감독용 조작대와 일체형 마이크가 놓인다. 위에서 내려다보는 구도가 아니라 서 있는 관찰자의 눈높이 구도다.\n\n서쪽의 주 연구홀과 동쪽의 연결 실험실은 기존 구획을 유지한다. 원형 실험 구획의 유리는 옅은 푸른 기가 있으며, 자동문을 향한 남서쪽 출입문과 바로 옆 벽의 문 스위치가 보인다. 내부 중앙의 검사 침대는 남북 방향으로 길게 놓여 있고, 침대 양옆의 동쪽과 서쪽에는 실제 금속 관절과 연결부를 갖춘 스캔 장치가 자리한다. 원형 유리벽 바깥 북쪽과 동쪽 벽을 따라 컴퓨터 조작대가 이어진다. 연구홀 남서쪽 가장자리의 열대 식물 식재대는 기존 위치에 유지하며, 이 시야에서 보이는 부분만 자연스럽게 담는다. 식물을 실험실 안으로 옮기거나 시야를 위해 설비를 재배치하지 않는다.\n\n이번 사진은 실험 실패 순간의 환경 상태다. 빈 검사 침대의 상부, 실험 접속 지점에 해당하는 높이에서 국소적인 검은 연기가 발생해 위로 흐트러지며 퍼진다. 연기는 실제 입자의 불규칙한 농도와 빛의 차폐를 보이고, 주변 구획 전체를 가리는 안개로 확대하지 않는다. 북쪽과 동쪽 컴퓨터 조작대 및 감독용 조작대의 켜진 화면 안에는 실험 오류를 알리는 경고와 진단 표시가 나타난다. 표시는 화면 표면 안에만 존재한다. 인접 실험 장비에서 침대의 실험 접속 위치까지 이어지는 임시 실험 연결선이 있으며, 접속 끝과 케이블의 처짐만 묘사하고 연결 대상의 몸체는 그리지 않는다.\n\n외부에서 실내로 퍼지는 낮의 자연광과 가동 중인 설비의 절제된 실내 조명이 공존한다. 차가운 회색 계열의 실내와 푸른 유리, 스테인리스의 무광 반사 사이에 열대 식물 잎의 실제 녹색이 드러난다. 한국의 현대 연구시설에서 이어진 실용적인 자동문, 밀폐 유리 구획, 물리적인 컴퓨터 조작 장비를 바탕으로 발전된 기술을 표현한다. 유리의 약한 닦임 흔적, 금속의 미세한 사용 흠집, 조작대 표면의 일상적인 마모가 보이되 폐허처럼 만들지 않는다. 자연스러운 심도로 전경 조작대와 안쪽 실험 구획의 거리가 읽히며, 과도한 배경 흐림이나 인위적인 색 보정 없이 실제 현장 사진의 명암을 유지한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S82_Shot14",
            "guide_text": "자동문 바깥 눈높이에서 원형 유리 구획과 검사 침대의 공간 관계를 유지한다. 컷별 상세 설명이 없으므로 실패 순간 여부를 임의로 확정하지 말고, 검은 연기와 화면 오류는 실패 컷으로 확인된 경우에만 사용한다."
          },
          {
            "shot_id": "S82_Shot17",
            "guide_text": "더 좁은 구도가 필요하면 같은 카메라 위치와 동북동 방향을 유지한 채 잘라 쓴다. 유리 구획의 출입문과 스위치, 침대와 스캔 장치를 구도에 맞추려고 이동하지 않는다. 실패 효과는 해당 순간에만 한정한다."
          },
          {
            "shot_id": "S82_Shot26",
            "guide_text": "검사 침대 주변을 강조할 경우 양쪽 스캔 장치와 유리벽의 실제 깊이 관계를 보존한다. 임시 연결선은 유선 실험 순간에 한정하고, 배경 자체에는 연결 대상의 몸체나 사람 형상을 추가하지 않는다."
          },
          {
            "shot_id": "S85_Shot11",
            "guide_text": "배정된 대화 클로즈업에 해당하면 같은 시점의 배경 일부만 좁게 사용해 연구시설 전체가 드러나지 않도록 한다. 대화 장소를 추정해 식당 가구를 추가하지 않으며, 실패 순간이 아닌 대화에 연기와 오류 표시를 노출하지 않는다."
          },
          {
            "shot_id": "S85_Shot22",
            "guide_text": "대화 클로즈업으로 사용할 경우 기존 유리면이나 실내 표면의 제한된 부분을 배경으로 삼고 낮의 광량과 재료 색을 유지한다. 새로운 공간 구조를 만들지 않는다. 실험 실패 효과의 사용 여부는 컷의 실제 시점에 따른다."
          },
          {
            "shot_id": "S85_Shot23",
            "guide_text": "타이트한 구도에서도 같은 카메라 축과 자연스러운 원근을 유지하고, 배경 확대를 위해 설비를 재배치하지 않는다. 대화용 배경이라면 공간 단서를 최소화하며, 이번 실패 상태를 다른 순간에 그대로 이어 붙이지 않는다."
          }
        ],
        "shot_ids": [
          "S82_Shot14",
          "S82_Shot17",
          "S82_Shot26",
          "S85_Shot11",
          "S85_Shot22",
          "S85_Shot23"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Near number 6 (automatic laboratory doorway), on its hall side, facing east-northeast through the opening toward number 7 (glazed testing enclosure) and number 10 (examination bed), with number 15 (supervisor console) in the near foreground.",
          "camera_height": "Standing eye level, approximately 1.6 m",
          "lens_hint": "28 mm wide-angle master view; tighter crops retain the same camera position and axis",
          "framing_notes": "Keep the circular glazed wall, bed, scanning assemblies, and perimeter consoles spatially consistent. Allow nearby hall planting at number 18 to edge the foreground without blocking the laboratory view. Blue glass and stainless surfaces belong to downstream background appearance, not plan rendering. This single background identifier covers several moments: markers 21 and 22 are conditional overlay references for experiment-failure cuts only, never permanent features of the shared background; marker 23 applies only when attached test leads are required. Suppress all failure cues in normal-operation and dialogue crops. For assigned dining-dialogue close-ups, tightly restrict the background to a non-identifying crop; do not establish dining furniture inside the laboratory or invent a dining-room connection. Do not import later restraints, alarms, combat damage, or rooftop events."
        },
        "reference_decision": {
          "bg_id": "L268B01",
          "fp_id": "fp_l268_main_center",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L268B01 is the sole ready BG and the sole supplied anchor candidate; the reference catalog is empty. Select it as the fresh floor-plan anchor under the explicitly reported ramped fallback, retaining clean_background_expected=false rather than treating it as clean. Camera unit 5 looking into unit 7 with wide coverage establishes the fixed separation and central arrangement required by S82_Shot14 and S82_Shot26. The listed coordinate candidates take precedence over the unit-center look-at coordinates in the direction records. This is a representative structural view: S82_Shot17, S85_Shot11, S85_Shot22 and S85_Shot23 specify different framing or subject arrangements that cannot all be literal simultaneous contents of this one camera view. In particular, the shot-specific setting elements in S85_Shot23 have no committed base-marker placement; do not invent a structural placement to reconcile them.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_l268_main_center.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "No prior same-fp plate exists. The sole eligible anchor is rendered directly from the supplied floor plan, without references.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 5,
            "camera_cell": [
              6,
              7
            ],
            "look_at_unit": 7,
            "look_at_cell": [
              3,
              6
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad representative coverage from unit 5 outside unit 7, aimed at base marker 10 using an exact listed look-at candidate. Preserve the intervening transparent boundary and the arrangement of markers 10, 11 and 12. The 90-degree FOV matches the advertised wide lens. Do not interpret this representative camera as satisfying every consuming shot's distinct close or interior viewpoint."
          },
          "render_guidance": {
            "visible_space_directive": "Show the forward portion of unit 5 and unit 7 through its near transparent boundary, centered on base marker 10 with markers 11 and 12 around it. Opening 8 lies toward the left portion of this view; marker 13 supplies forward peripheral context where unobstructed. Keep marker 10 on its committed north-south axis, marker 11 west of it and marker 12 east of it. The shared grid cell for markers 10 and 11 is a coarse readback collision, not a requirement to merge them. Visibility lists are supersets, not proof that all listed units and openings are visible. Do not expand the composition merely to include every referenced base marker.",
            "camera_framing_directive": "Use camera unit 5 at [6, 7], looking into unit 7 at [3, 6], with wide lens and 90-degree FOV for broad coverage. Retain the boundary between the camera and marker 10, with the central fixed arrangement readable through it. Use the establishing relationship described in S82_Shot14 and S82_Shot26; their differing height and subject-framing instructions remain shot-specific rather than simultaneous camera requirements.",
            "subject_position_directive": "For the representative exterior view, reserve the central region beyond the boundary for 찰리 on marker 10, as staged in S82_Shot14 and S82_Shot26. S82_Shot14 places 연구원들 small at peripheral work positions. S82_Shot26 places 현우 left and 지소영 right in the middle ground, backs toward the camera, leaving an interval toward 찰리. These are alternative shot-layer arrangements, not a combined subject tableau. S82_Shot17's pressed-palms close view, S85_Shot11's seated torso crop, and the separate subject arrangements in S85_Shot22 and S85_Shot23 remain specific to those consuming shots; do not invent additional subject positions in this structural plate.",
            "state_cue_directive": "This BG is explicitly not clean. Preserve the supplied transient identities: marker 21 is Failed test black smoke, marker 22 is Experiment error display, and marker 23 is Attached experimental leads. S85_Shot11 localizes marker 21 to a gap in the still-moving Chest ring and marker 23 to 찰리's body; retain those as shot-specific cues rather than permanent room features or general haze. Marker 22 has no committed display location or exact content, so do not invent either. S82_Shot14 and S82_Shot26 instead commit scanning activity around marker 10. Keep these states separate by consuming shot. Neutral ambient illumination and controlled contrast are supplied for S82_Shot14 and S85_Shot11; the subdued blue treatment belongs specifically to S82_Shot26. S85_Shot23's Dining table and Bread and food are shot-facing facts without base-marker placement, not permission to add permanent fixtures.",
            "negative_continuity_directive": "The ignore-numbered-elements and ignored-state-overlay lists are empty. Avoid relocating or merging markers 10, 11 and 12, converting markers 21–23 into permanent structure, or combining incompatible shot states. Do not force units 1 and 2 or openings 3, 6 and 20 into this forward view solely because they appear in visibility supersets. Do not force markers 14–16 and 18 into the frame by widening beyond the selected cone. Avoid treating unassigned shot elements as new fixed base markers or interpreting absent wall-occlusion data as confirmed visibility."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 5\n  - camera_cell: [6, 7]\n  - look_at_unit: 7\n  - look_at_cell: [3, 6]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad representative coverage from unit 5 outside unit 7, aimed at base marker 10 using an exact listed look-at candidate. Preserve the intervening transparent boundary and the arrangement of markers 10, 11 and 12. The 90-degree FOV matches the advertised wide lens. Do not interpret this representative camera as satisfying every consuming shot's distinct close or interior viewpoint.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward portion of unit 5 and unit 7 through its near transparent boundary, centered on base marker 10 with markers 11 and 12 around it. Opening 8 lies toward the left portion of this view; marker 13 supplies forward peripheral context where unobstructed. Keep marker 10 on its committed north-south axis, marker 11 west of it and marker 12 east of it. The shared grid cell for markers 10 and 11 is a coarse readback collision, not a requirement to merge them. Visibility lists are supersets, not proof that all listed units and openings are visible. Do not expand the composition merely to include every referenced base marker.\n  - camera_framing_directive: Use camera unit 5 at [6, 7], looking into unit 7 at [3, 6], with wide lens and 90-degree FOV for broad coverage. Retain the boundary between the camera and marker 10, with the central fixed arrangement readable through it. Use the establishing relationship described in S82_Shot14 and S82_Shot26; their differing height and subject-framing instructions remain shot-specific rather than simultaneous camera requirements.\n  - subject_position_directive: For the representative exterior view, reserve the central region beyond the boundary for 찰리 on marker 10, as staged in S82_Shot14 and S82_Shot26. S82_Shot14 places 연구원들 small at peripheral work positions. S82_Shot26 places 현우 left and 지소영 right in the middle ground, backs toward the camera, leaving an interval toward 찰리. These are alternative shot-layer arrangements, not a combined subject tableau. S82_Shot17's pressed-palms close view, S85_Shot11's seated torso crop, and the separate subject arrangements in S85_Shot22 and S85_Shot23 remain specific to those consuming shots; do not invent additional subject positions in this structural plate.\n  - state_cue_directive: This BG is explicitly not clean. Preserve the supplied transient identities: marker 21 is Failed test black smoke, marker 22 is Experiment error display, and marker 23 is Attached experimental leads. S85_Shot11 localizes marker 21 to a gap in the still-moving Chest ring and marker 23 to 찰리's body; retain those as shot-specific cues rather than permanent room features or general haze. Marker 22 has no committed display location or exact content, so do not invent either. S82_Shot14 and S82_Shot26 instead commit scanning activity around marker 10. Keep these states separate by consuming shot. Neutral ambient illumination and controlled contrast are supplied for S82_Shot14 and S85_Shot11; the subdued blue treatment belongs specifically to S82_Shot26. S85_Shot23's Dining table and Bread and food are shot-facing facts without base-marker placement, not permission to add permanent fixtures.\n  - negative_continuity_directive: The ignore-numbered-elements and ignored-state-overlay lists are empty. Avoid relocating or merging markers 10, 11 and 12, converting markers 21–23 into permanent structure, or combining incompatible shot states. Do not force units 1 and 2 or openings 3, 6 and 20 into this forward view solely because they appear in visibility supersets. Do not force markers 14–16 and 18 into the frame by widening beyond the selected cone. Avoid treating unassigned shot elements as new fixed base markers or interpreting absent wall-occlusion data as confirmed visibility.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 5\n  - camera_cell: [6, 7]\n  - look_at_unit: 7\n  - look_at_cell: [3, 6]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad representative coverage from unit 5 outside unit 7, aimed at base marker 10 using an exact listed look-at candidate. Preserve the intervening transparent boundary and the arrangement of markers 10, 11 and 12. The 90-degree FOV matches the advertised wide lens. Do not interpret this representative camera as satisfying every consuming shot's distinct close or interior viewpoint.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward portion of unit 5 and unit 7 through its near transparent boundary, centered on base marker 10 with markers 11 and 12 around it. Opening 8 lies toward the left portion of this view; marker 13 supplies forward peripheral context where unobstructed. Keep marker 10 on its committed north-south axis, marker 11 west of it and marker 12 east of it. The shared grid cell for markers 10 and 11 is a coarse readback collision, not a requirement to merge them. Visibility lists are supersets, not proof that all listed units and openings are visible. Do not expand the composition merely to include every referenced base marker.\n  - camera_framing_directive: Use camera unit 5 at [6, 7], looking into unit 7 at [3, 6], with wide lens and 90-degree FOV for broad coverage. Retain the boundary between the camera and marker 10, with the central fixed arrangement readable through it. Use the establishing relationship described in S82_Shot14 and S82_Shot26; their differing height and subject-framing instructions remain shot-specific rather than simultaneous camera requirements.\n  - subject_position_directive: For the representative exterior view, reserve the central region beyond the boundary for 찰리 on marker 10, as staged in S82_Shot14 and S82_Shot26. S82_Shot14 places 연구원들 small at peripheral work positions. S82_Shot26 places 현우 left and 지소영 right in the middle ground, backs toward the camera, leaving an interval toward 찰리. These are alternative shot-layer arrangements, not a combined subject tableau. S82_Shot17's pressed-palms close view, S85_Shot11's seated torso crop, and the separate subject arrangements in S85_Shot22 and S85_Shot23 remain specific to those consuming shots; do not invent additional subject positions in this structural plate.\n  - state_cue_directive: This BG is explicitly not clean. Preserve the supplied transient identities: marker 21 is Failed test black smoke, marker 22 is Experiment error display, and marker 23 is Attached experimental leads. S85_Shot11 localizes marker 21 to a gap in the still-moving Chest ring and marker 23 to 찰리's body; retain those as shot-specific cues rather than permanent room features or general haze. Marker 22 has no committed display location or exact content, so do not invent either. S82_Shot14 and S82_Shot26 instead commit scanning activity around marker 10. Keep these states separate by consuming shot. Neutral ambient illumination and controlled contrast are supplied for S82_Shot14 and S85_Shot11; the subdued blue treatment belongs specifically to S82_Shot26. S85_Shot23's Dining table and Bread and food are shot-facing facts without base-marker placement, not permission to add permanent fixtures.\n  - negative_continuity_directive: The ignore-numbered-elements and ignored-state-overlay lists are empty. Avoid relocating or merging markers 10, 11 and 12, converting markers 21–23 into permanent structure, or combining incompatible shot states. Do not force units 1 and 2 or openings 3, 6 and 20 into this forward view solely because they appear in visibility supersets. Do not force markers 14–16 and 18 into the frame by widening beyond the selected cone. Avoid treating unassigned shot elements as new fixed base markers or interpreting absent wall-occlusion data as confirmed visibility.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 5\n  - camera_cell: [6, 7]\n  - look_at_unit: 7\n  - look_at_cell: [3, 6]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad representative coverage from unit 5 outside unit 7, aimed at base marker 10 using an exact listed look-at candidate. Preserve the intervening transparent boundary and the arrangement of markers 10, 11 and 12. The 90-degree FOV matches the advertised wide lens. Do not interpret this representative camera as satisfying every consuming shot's distinct close or interior viewpoint.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward portion of unit 5 and unit 7 through its near transparent boundary, centered on base marker 10 with markers 11 and 12 around it. Opening 8 lies toward the left portion of this view; marker 13 supplies forward peripheral context where unobstructed. Keep marker 10 on its committed north-south axis, marker 11 west of it and marker 12 east of it. The shared grid cell for markers 10 and 11 is a coarse readback collision, not a requirement to merge them. Visibility lists are supersets, not proof that all listed units and openings are visible. Do not expand the composition merely to include every referenced base marker.\n  - camera_framing_directive: Use camera unit 5 at [6, 7], looking into unit 7 at [3, 6], with wide lens and 90-degree FOV for broad coverage. Retain the boundary between the camera and marker 10, with the central fixed arrangement readable through it. Use the establishing relationship described in S82_Shot14 and S82_Shot26; their differing height and subject-framing instructions remain shot-specific rather than simultaneous camera requirements.\n  - subject_position_directive: For the representative exterior view, reserve the central region beyond the boundary for 찰리 on marker 10, as staged in S82_Shot14 and S82_Shot26. S82_Shot14 places 연구원들 small at peripheral work positions. S82_Shot26 places 현우 left and 지소영 right in the middle ground, backs toward the camera, leaving an interval toward 찰리. These are alternative shot-layer arrangements, not a combined subject tableau. S82_Shot17's pressed-palms close view, S85_Shot11's seated torso crop, and the separate subject arrangements in S85_Shot22 and S85_Shot23 remain specific to those consuming shots; do not invent additional subject positions in this structural plate.\n  - state_cue_directive: This BG is explicitly not clean. Preserve the supplied transient identities: marker 21 is Failed test black smoke, marker 22 is Experiment error display, and marker 23 is Attached experimental leads. S85_Shot11 localizes marker 21 to a gap in the still-moving Chest ring and marker 23 to 찰리's body; retain those as shot-specific cues rather than permanent room features or general haze. Marker 22 has no committed display location or exact content, so do not invent either. S82_Shot14 and S82_Shot26 instead commit scanning activity around marker 10. Keep these states separate by consuming shot. Neutral ambient illumination and controlled contrast are supplied for S82_Shot14 and S85_Shot11; the subdued blue treatment belongs specifically to S82_Shot26. S85_Shot23's Dining table and Bread and food are shot-facing facts without base-marker placement, not permission to add permanent fixtures.\n  - negative_continuity_directive: The ignore-numbered-elements and ignored-state-overlay lists are empty. Avoid relocating or merging markers 10, 11 and 12, converting markers 21–23 into permanent structure, or combining incompatible shot states. Do not force units 1 and 2 or openings 3, 6 and 20 into this forward view solely because they appear in visibility supersets. Do not force markers 14–16 and 18 into the frame by widening beyond the selected cone. Avoid treating unassigned shot elements as new fixed base markers or interpreting absent wall-occlusion data as confirmed visibility.\n\n기후 재난 이후인 2069년 대한민국의 유지 관리되는 대형 연구센터 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 낮에 가동 중인 시설의 빈 공간과 장비만 담는다. 사람, 얼굴, 인체 형상의 물체와 로봇은 화면과 유리 반사를 포함해 어디에도 없다. 실제 장소의 기록 사진처럼 자연스러운 노출과 재료의 질감을 유지한다.\n\n참조 평면도는 공간의 연결 관계와 기존 설비의 위치를 파악하는 용도로만 사용한다. 주 연구홀에서 연결 실험실로 들어가는 자동문 바로 바깥에 카메라를 놓고, 높이 약 1.6미터에서 동북동쪽을 바라본다. 35밀리미터 규격의 미러리스 카메라에 28밀리미터 광각 렌즈를 사용한 넓은 시야이며, 수직선과 거리감은 자연스럽다. 문 너머 원형 유리 실험 구획과 중앙의 스테인리스 검사 침대가 보이고, 가까운 전경에는 통행로를 가리지 않는 감독용 조작대와 일체형 마이크가 놓인다. 위에서 내려다보는 구도가 아니라 서 있는 관찰자의 눈높이 구도다.\n\n서쪽의 주 연구홀과 동쪽의 연결 실험실은 기존 구획을 유지한다. 원형 실험 구획의 유리는 옅은 푸른 기가 있으며, 자동문을 향한 남서쪽 출입문과 바로 옆 벽의 문 스위치가 보인다. 내부 중앙의 검사 침대는 남북 방향으로 길게 놓여 있고, 침대 양옆의 동쪽과 서쪽에는 실제 금속 관절과 연결부를 갖춘 스캔 장치가 자리한다. 원형 유리벽 바깥 북쪽과 동쪽 벽을 따라 컴퓨터 조작대가 이어진다. 연구홀 남서쪽 가장자리의 열대 식물 식재대는 기존 위치에 유지하며, 이 시야에서 보이는 부분만 자연스럽게 담는다. 식물을 실험실 안으로 옮기거나 시야를 위해 설비를 재배치하지 않는다.\n\n이번 사진은 실험 실패 순간의 환경 상태다. 빈 검사 침대의 상부, 실험 접속 지점에 해당하는 높이에서 국소적인 검은 연기가 발생해 위로 흐트러지며 퍼진다. 연기는 실제 입자의 불규칙한 농도와 빛의 차폐를 보이고, 주변 구획 전체를 가리는 안개로 확대하지 않는다. 북쪽과 동쪽 컴퓨터 조작대 및 감독용 조작대의 켜진 화면 안에는 실험 오류를 알리는 경고와 진단 표시가 나타난다. 표시는 화면 표면 안에만 존재한다. 인접 실험 장비에서 침대의 실험 접속 위치까지 이어지는 임시 실험 연결선이 있으며, 접속 끝과 케이블의 처짐만 묘사하고 연결 대상의 몸체는 그리지 않는다.\n\n외부에서 실내로 퍼지는 낮의 자연광과 가동 중인 설비의 절제된 실내 조명이 공존한다. 차가운 회색 계열의 실내와 푸른 유리, 스테인리스의 무광 반사 사이에 열대 식물 잎의 실제 녹색이 드러난다. 한국의 현대 연구시설에서 이어진 실용적인 자동문, 밀폐 유리 구획, 물리적인 컴퓨터 조작 장비를 바탕으로 발전된 기술을 표현한다. 유리의 약한 닦임 흔적, 금속의 미세한 사용 흠집, 조작대 표면의 일상적인 마모가 보이되 폐허처럼 만들지 않는다. 자연스러운 심도로 전경 조작대와 안쪽 실험 구획의 거리가 읽히며, 과도한 배경 흐림이나 인위적인 색 보정 없이 실제 현장 사진의 명암을 유지한다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 5,
          "camera_cell": [
            6,
            7
          ],
          "look_at_unit": 7,
          "look_at_cell": [
            3,
            6
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad representative coverage from unit 5 outside unit 7, aimed at base marker 10 using an exact listed look-at candidate. Preserve the intervening transparent boundary and the arrangement of markers 10, 11 and 12. The 90-degree FOV matches the advertised wide lens. Do not interpret this representative camera as satisfying every consuming shot's distinct close or interior viewpoint."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Show the forward portion of unit 5 and unit 7 through its near transparent boundary, centered on base marker 10 with markers 11 and 12 around it. Opening 8 lies toward the left portion of this view; marker 13 supplies forward peripheral context where unobstructed. Keep marker 10 on its committed north-south axis, marker 11 west of it and marker 12 east of it. The shared grid cell for markers 10 and 11 is a coarse readback collision, not a requirement to merge them. Visibility lists are supersets, not proof that all listed units and openings are visible. Do not expand the composition merely to include every referenced base marker.",
          "camera_framing_directive": "Use camera unit 5 at [6, 7], looking into unit 7 at [3, 6], with wide lens and 90-degree FOV for broad coverage. Retain the boundary between the camera and marker 10, with the central fixed arrangement readable through it. Use the establishing relationship described in S82_Shot14 and S82_Shot26; their differing height and subject-framing instructions remain shot-specific rather than simultaneous camera requirements.",
          "subject_position_directive": "For the representative exterior view, reserve the central region beyond the boundary for 찰리 on marker 10, as staged in S82_Shot14 and S82_Shot26. S82_Shot14 places 연구원들 small at peripheral work positions. S82_Shot26 places 현우 left and 지소영 right in the middle ground, backs toward the camera, leaving an interval toward 찰리. These are alternative shot-layer arrangements, not a combined subject tableau. S82_Shot17's pressed-palms close view, S85_Shot11's seated torso crop, and the separate subject arrangements in S85_Shot22 and S85_Shot23 remain specific to those consuming shots; do not invent additional subject positions in this structural plate.",
          "state_cue_directive": "This BG is explicitly not clean. Preserve the supplied transient identities: marker 21 is Failed test black smoke, marker 22 is Experiment error display, and marker 23 is Attached experimental leads. S85_Shot11 localizes marker 21 to a gap in the still-moving Chest ring and marker 23 to 찰리's body; retain those as shot-specific cues rather than permanent room features or general haze. Marker 22 has no committed display location or exact content, so do not invent either. S82_Shot14 and S82_Shot26 instead commit scanning activity around marker 10. Keep these states separate by consuming shot. Neutral ambient illumination and controlled contrast are supplied for S82_Shot14 and S85_Shot11; the subdued blue treatment belongs specifically to S82_Shot26. S85_Shot23's Dining table and Bread and food are shot-facing facts without base-marker placement, not permission to add permanent fixtures.",
          "negative_continuity_directive": "The ignore-numbered-elements and ignored-state-overlay lists are empty. Avoid relocating or merging markers 10, 11 and 12, converting markers 21–23 into permanent structure, or combining incompatible shot states. Do not force units 1 and 2 or openings 3, 6 and 20 into this forward view solely because they appear in visibility supersets. Do not force markers 14–16 and 18 into the frame by widening beyond the selected cone. Avoid treating unassigned shot elements as new fixed base markers or interpreting absent wall-occlusion data as confirmed visibility."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_l268_main_center",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_l268_main_center"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L269B03": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L269",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L269B03.png",
        "t2i_prompt": "2069년 기후 재난 이후 대한민국에서 유지·관리되고 있는 첨단 연구시설의 고요한 야간 실험실. 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진으로, 실제 장소 답사 사진과 구별되지 않는 사실적인 배경이다. 풀프레임 환산 40밀리미터 렌즈를 사용하고 카메라는 높이 약 1.6미터의 서 있는 사람 눈높이에 둔다. 남쪽 자동 유리 출입문에서 남서쪽으로 떨어진 관찰 통로에 서서 북동쪽을 바라본다. 곡면 유리 경계 너머 중앙의 금속 처치 침대와 머리맡 연결 패널을 담고, 그 뒤로 동쪽 컴퓨터 작업대가 보이게 한다. 위에서 내려다보는 구도가 아닌 수평에 가까운 실내 사진이다.\n\n평면도는 구조물과 고정 설비의 상대 위치를 파악하는 자료로만 사용한다. 실험실 중앙보다 약간 북쪽에 연속된 유리 경계로 둘러싸인 원형 실험 구역이 있고, 그 둘레로 관찰 통로가 이어진다. 외곽 서쪽·북쪽·동쪽에는 연결된 U자형 제어 작업 구역이 놓인다. 원형 구역 중앙의 강철 처치 침대는 남북 방향이며 머리맡은 북쪽이다. 침대 양쪽에는 일체형 고정 장착부가 있다. 서쪽과 동쪽의 기계식 작업 팔 설비는 남쪽 진입 동선을 가리지 않는 위치에 놓이고, 침대 남서쪽에는 침대 곁 의자가 있다. 남쪽 자동 유리문은 침대 발치와 정렬되며, 문 바로 동쪽 유리 경계에 내부에서 조작할 수 있는 스위치가 고정되어 있다. 북쪽 유리 경계의 통화용 스피커는 관찰 통로를 향하고, 그 맞은편 북쪽 컴퓨터 작업대의 안쪽 가장자리에는 마이크가 놓인다. 북쪽과 동쪽 작업대의 컴퓨터는 실험 구역을 향한다.\n\n침대 북쪽 머리맡의 고정 연결 패널에서 나온 임시 모니터링 전선이 침대 쪽으로 연결되어 있다. 가느다란 절연 전선과 연결 단자의 실제 크기, 중력에 따른 자연스러운 처짐을 보여주고, 침대 위 연결 부분은 신체 없이 전선 자체만 보이게 한다. 유리 경계가 앞쪽 관찰 공간과 침대가 놓인 안쪽 공간을 명확히 나눈다.\n\n야간 작업용의 절제된 푸른 조명이 유리 안쪽과 후경 작업대를 은은하게 밝히고, 전경은 중성적인 차가운 회색을 유지한다. 실제 실내광의 자연스러운 거리별 밝기 감소와 약한 유리 반사, 금속 표면의 부드러운 반사광을 담는다. 정비된 한국의 연구시설에 어울리는 실용적인 금속 가공부와 밀폐형 유리 접합부, 물리적인 컴퓨터 설비를 표현한다. 스테인리스의 미세한 연마 결, 도장 금속의 작은 마모, 유리의 옅은 닦임 자국, 전선 피복의 질감을 현실적인 정도로 보여준다. 공간 전체를 폐허처럼 만들지 않는다. 침대와 연결 전선은 식별 가능하고 먼 작업대는 자연스럽게 조금 부드러워지는 광학적 심도를 사용한다. 과도한 보정 없이 차분하고 부드러운 실제 실내의 명암을 유지한다. 사람, 얼굴, 신체 형태의 형상은 화면과 반사면을 포함하여 전혀 묘사하지 않는다. 삽화나 건축 시각화가 아닌 실제 카메라 촬영 사진이다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S84_Shot1",
            "guide_text": "야간 실험실의 위치 관계를 읽을 수 있는 배경으로 사용한다. 남서쪽 관찰 통로의 눈높이에서 유리 경계 너머 금속 침대, 머리맡 패널, 연결 전선을 중심으로 담고 동쪽 작업대를 후경에 둔다. 기계식 작업 팔과 의자는 기존 위치를 유지하며 남쪽 진입 동선을 가리지 않는다. 전선은 이 배경의 부착 상태로 유지하고, 배경에는 사람이나 신체 형상을 넣지 않는다."
          },
          {
            "shot_id": "S84_Shot11",
            "guide_text": "재회 근접 화면에서는 배경의 장소 식별성을 낮추고 모던한 실내의 부드러운 명암과 차분한 회색 계열만 제한적으로 사용한다. 이 실험실 사진으로 연결된 다른 방의 구조를 확정하지 않는다. 원형 유리 구역, 침대, 작업 설비가 재회 공간의 구조처럼 드러나는 구도는 피하고 다른 방의 가구나 구조물을 실험실에 추가하지 않는다. 배경 자체는 인물 없이 유지한다."
          },
          {
            "shot_id": "S84_Shot14",
            "guide_text": "재회 근접 화면의 연속성을 위해 배경을 좁고 부드럽게 흐린 실내 면과 은은한 반사 정도로 제한한다. 실험실의 푸른 작업광을 화면 전체에 강하게 덮지 말고 부드러운 중성 명암을 유지한다. 연결된 다른 실내와 실험실을 하나의 평면으로 합치지 않는다. 실험실 전선의 부착·제거는 해당 숏의 명시된 연속성에 따르며, 근접 배경에 이를 임의로 노출하거나 새로운 상태로 바꾸지 않는다."
          }
        ],
        "shot_ids": [
          "S84_Shot1",
          "S84_Shot11",
          "S84_Shot14"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "In number 2 southwest of number 11, facing northeast through number 1 toward number 5 and number 18, with number 10 beyond the glass.",
          "camera_height": "Standing eye level, approximately 1.5-1.6 m",
          "lens_hint": "40mm moderate-wide reference view",
          "framing_notes": "Use a quiet night laboratory state with restrained blue working illumination in the downstream background only. Emphasize number 5 and overlay 19, with the glass boundary establishing separation. This laboratory reference does not establish the adjoining office: for the assigned reunion close-ups, limit background specificity and do not import the office piano or columns into this plan. Do not depict morning restraints or red alarm illumination."
        },
        "reference_decision": {
          "bg_id": "L269B03",
          "fp_id": "fp_l269_observation_lab",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L269B03 is the sole authorized anchor candidate under the supplied fallback selection metadata, despite clean_background_expected being false. Establish identity from the base plan, retaining transient marker 19. Camera unit 1 looking toward marker 5 in unit 1 supports the reclining-head context of S84_Shot1. S84_Shot11 and S84_Shot14 supply additional subject compositions, but their Old piano/Piano elements have no mapped position in this floor plan; do not invent a permanent location for them or claim that this camera resolves those compositions completely.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_l269_observation_lab.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The authorized identity anchor is established directly from the floor plan; no prior reference is selected.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 1,
            "camera_cell": [
              2,
              3
            ],
            "look_at_unit": 1,
            "look_at_cell": [
              3,
              4
            ],
            "lens_enum": "normal",
            "fov_deg": 50,
            "framing_notes": "Neutral coverage from the available unit 1 camera position toward base marker 5. This is a fixed background view supporting the reclining-head context, not a claim to reproduce every staged close or medium composition with one camera."
          },
          "render_guidance": {
            "visible_space_directive": "Establish unit 1 around base marker 5, with marker 16 remaining integrated along its sides. Preserve marker 17 southwest of marker 5 and markers 6 and 7 on their respective west and east sides, showing only portions falling within this normal view. Units 2 and 3 and openings 11 and 13 are visibility candidates, not a requirement to display all of them. The supplied coordinates do not locate the Old piano/Piano staging elements.",
            "camera_framing_directive": "Use camera unit 1 at [2, 3], looking into unit 1 at [3, 4], with normal lens and 50-degree field of view. Maintain neutral coverage toward marker 5; the shot-specific close framing may retain only a narrow margin of its upper surface. Do not represent this single fixed view as an additional camera track.",
            "subject_position_directive": "Treat the surfaced shots as separate subject states. S84_Shot1 places 찰리 reclining, face central, looking upward without meeting the lens. S84_Shot11 places 지소영 center-right with 찰리's near shoulder at left. S84_Shot14 places 찰리 left and center and 지소영 right within the embrace. Preserve these as shot-layer cues rather than combining the subjects' different poses into one background plate; no floor-plan location is committed for the latter two compositions.",
            "state_cue_directive": "Retain transient marker 19, Attached monitoring leads, in its supplied attached state where visible. S84_Shot1 commits subdued blue laboratory illumination and newly opened eyes, without an added eye-light color or flare. The other surfaced shots commit restrained ambience without a new light source. This fallback anchor is not a clean-background plate.",
            "negative_continuity_directive": "Exclude overlay markers 20 and 21. Keep base marker 16 distinct from excluded overlay marker 20. Do not relocate fixed markers to force all target units into the frame, promote visibility supersets to guaranteed views, or assign unmapped staging elements invented permanent coordinates."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [2, 3]\n  - look_at_unit: 1\n  - look_at_cell: [3, 4]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral coverage from the available unit 1 camera position toward base marker 5. This is a fixed background view supporting the reclining-head context, not a claim to reproduce every staged close or medium composition with one camera.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 1 around base marker 5, with marker 16 remaining integrated along its sides. Preserve marker 17 southwest of marker 5 and markers 6 and 7 on their respective west and east sides, showing only portions falling within this normal view. Units 2 and 3 and openings 11 and 13 are visibility candidates, not a requirement to display all of them. The supplied coordinates do not locate the Old piano/Piano staging elements.\n  - camera_framing_directive: Use camera unit 1 at [2, 3], looking into unit 1 at [3, 4], with normal lens and 50-degree field of view. Maintain neutral coverage toward marker 5; the shot-specific close framing may retain only a narrow margin of its upper surface. Do not represent this single fixed view as an additional camera track.\n  - subject_position_directive: Treat the surfaced shots as separate subject states. S84_Shot1 places 찰리 reclining, face central, looking upward without meeting the lens. S84_Shot11 places 지소영 center-right with 찰리's near shoulder at left. S84_Shot14 places 찰리 left and center and 지소영 right within the embrace. Preserve these as shot-layer cues rather than combining the subjects' different poses into one background plate; no floor-plan location is committed for the latter two compositions.\n  - state_cue_directive: Retain transient marker 19, Attached monitoring leads, in its supplied attached state where visible. S84_Shot1 commits subdued blue laboratory illumination and newly opened eyes, without an added eye-light color or flare. The other surfaced shots commit restrained ambience without a new light source. This fallback anchor is not a clean-background plate.\n  - negative_continuity_directive: Exclude overlay markers 20 and 21. Keep base marker 16 distinct from excluded overlay marker 20. Do not relocate fixed markers to force all target units into the frame, promote visibility supersets to guaranteed views, or assign unmapped staging elements invented permanent coordinates.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [2, 3]\n  - look_at_unit: 1\n  - look_at_cell: [3, 4]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral coverage from the available unit 1 camera position toward base marker 5. This is a fixed background view supporting the reclining-head context, not a claim to reproduce every staged close or medium composition with one camera.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 1 around base marker 5, with marker 16 remaining integrated along its sides. Preserve marker 17 southwest of marker 5 and markers 6 and 7 on their respective west and east sides, showing only portions falling within this normal view. Units 2 and 3 and openings 11 and 13 are visibility candidates, not a requirement to display all of them. The supplied coordinates do not locate the Old piano/Piano staging elements.\n  - camera_framing_directive: Use camera unit 1 at [2, 3], looking into unit 1 at [3, 4], with normal lens and 50-degree field of view. Maintain neutral coverage toward marker 5; the shot-specific close framing may retain only a narrow margin of its upper surface. Do not represent this single fixed view as an additional camera track.\n  - subject_position_directive: Treat the surfaced shots as separate subject states. S84_Shot1 places 찰리 reclining, face central, looking upward without meeting the lens. S84_Shot11 places 지소영 center-right with 찰리's near shoulder at left. S84_Shot14 places 찰리 left and center and 지소영 right within the embrace. Preserve these as shot-layer cues rather than combining the subjects' different poses into one background plate; no floor-plan location is committed for the latter two compositions.\n  - state_cue_directive: Retain transient marker 19, Attached monitoring leads, in its supplied attached state where visible. S84_Shot1 commits subdued blue laboratory illumination and newly opened eyes, without an added eye-light color or flare. The other surfaced shots commit restrained ambience without a new light source. This fallback anchor is not a clean-background plate.\n  - negative_continuity_directive: Exclude overlay markers 20 and 21. Keep base marker 16 distinct from excluded overlay marker 20. Do not relocate fixed markers to force all target units into the frame, promote visibility supersets to guaranteed views, or assign unmapped staging elements invented permanent coordinates.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [2, 3]\n  - look_at_unit: 1\n  - look_at_cell: [3, 4]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral coverage from the available unit 1 camera position toward base marker 5. This is a fixed background view supporting the reclining-head context, not a claim to reproduce every staged close or medium composition with one camera.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 1 around base marker 5, with marker 16 remaining integrated along its sides. Preserve marker 17 southwest of marker 5 and markers 6 and 7 on their respective west and east sides, showing only portions falling within this normal view. Units 2 and 3 and openings 11 and 13 are visibility candidates, not a requirement to display all of them. The supplied coordinates do not locate the Old piano/Piano staging elements.\n  - camera_framing_directive: Use camera unit 1 at [2, 3], looking into unit 1 at [3, 4], with normal lens and 50-degree field of view. Maintain neutral coverage toward marker 5; the shot-specific close framing may retain only a narrow margin of its upper surface. Do not represent this single fixed view as an additional camera track.\n  - subject_position_directive: Treat the surfaced shots as separate subject states. S84_Shot1 places 찰리 reclining, face central, looking upward without meeting the lens. S84_Shot11 places 지소영 center-right with 찰리's near shoulder at left. S84_Shot14 places 찰리 left and center and 지소영 right within the embrace. Preserve these as shot-layer cues rather than combining the subjects' different poses into one background plate; no floor-plan location is committed for the latter two compositions.\n  - state_cue_directive: Retain transient marker 19, Attached monitoring leads, in its supplied attached state where visible. S84_Shot1 commits subdued blue laboratory illumination and newly opened eyes, without an added eye-light color or flare. The other surfaced shots commit restrained ambience without a new light source. This fallback anchor is not a clean-background plate.\n  - negative_continuity_directive: Exclude overlay markers 20 and 21. Keep base marker 16 distinct from excluded overlay marker 20. Do not relocate fixed markers to force all target units into the frame, promote visibility supersets to guaranteed views, or assign unmapped staging elements invented permanent coordinates.\n\n2069년 기후 재난 이후 대한민국에서 유지·관리되고 있는 첨단 연구시설의 고요한 야간 실험실. 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진으로, 실제 장소 답사 사진과 구별되지 않는 사실적인 배경이다. 풀프레임 환산 40밀리미터 렌즈를 사용하고 카메라는 높이 약 1.6미터의 서 있는 사람 눈높이에 둔다. 남쪽 자동 유리 출입문에서 남서쪽으로 떨어진 관찰 통로에 서서 북동쪽을 바라본다. 곡면 유리 경계 너머 중앙의 금속 처치 침대와 머리맡 연결 패널을 담고, 그 뒤로 동쪽 컴퓨터 작업대가 보이게 한다. 위에서 내려다보는 구도가 아닌 수평에 가까운 실내 사진이다.\n\n평면도는 구조물과 고정 설비의 상대 위치를 파악하는 자료로만 사용한다. 실험실 중앙보다 약간 북쪽에 연속된 유리 경계로 둘러싸인 원형 실험 구역이 있고, 그 둘레로 관찰 통로가 이어진다. 외곽 서쪽·북쪽·동쪽에는 연결된 U자형 제어 작업 구역이 놓인다. 원형 구역 중앙의 강철 처치 침대는 남북 방향이며 머리맡은 북쪽이다. 침대 양쪽에는 일체형 고정 장착부가 있다. 서쪽과 동쪽의 기계식 작업 팔 설비는 남쪽 진입 동선을 가리지 않는 위치에 놓이고, 침대 남서쪽에는 침대 곁 의자가 있다. 남쪽 자동 유리문은 침대 발치와 정렬되며, 문 바로 동쪽 유리 경계에 내부에서 조작할 수 있는 스위치가 고정되어 있다. 북쪽 유리 경계의 통화용 스피커는 관찰 통로를 향하고, 그 맞은편 북쪽 컴퓨터 작업대의 안쪽 가장자리에는 마이크가 놓인다. 북쪽과 동쪽 작업대의 컴퓨터는 실험 구역을 향한다.\n\n침대 북쪽 머리맡의 고정 연결 패널에서 나온 임시 모니터링 전선이 침대 쪽으로 연결되어 있다. 가느다란 절연 전선과 연결 단자의 실제 크기, 중력에 따른 자연스러운 처짐을 보여주고, 침대 위 연결 부분은 신체 없이 전선 자체만 보이게 한다. 유리 경계가 앞쪽 관찰 공간과 침대가 놓인 안쪽 공간을 명확히 나눈다.\n\n야간 작업용의 절제된 푸른 조명이 유리 안쪽과 후경 작업대를 은은하게 밝히고, 전경은 중성적인 차가운 회색을 유지한다. 실제 실내광의 자연스러운 거리별 밝기 감소와 약한 유리 반사, 금속 표면의 부드러운 반사광을 담는다. 정비된 한국의 연구시설에 어울리는 실용적인 금속 가공부와 밀폐형 유리 접합부, 물리적인 컴퓨터 설비를 표현한다. 스테인리스의 미세한 연마 결, 도장 금속의 작은 마모, 유리의 옅은 닦임 자국, 전선 피복의 질감을 현실적인 정도로 보여준다. 공간 전체를 폐허처럼 만들지 않는다. 침대와 연결 전선은 식별 가능하고 먼 작업대는 자연스럽게 조금 부드러워지는 광학적 심도를 사용한다. 과도한 보정 없이 차분하고 부드러운 실제 실내의 명암을 유지한다. 사람, 얼굴, 신체 형태의 형상은 화면과 반사면을 포함하여 전혀 묘사하지 않는다. 삽화나 건축 시각화가 아닌 실제 카메라 촬영 사진이다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 1,
          "camera_cell": [
            2,
            3
          ],
          "look_at_unit": 1,
          "look_at_cell": [
            3,
            4
          ],
          "lens_enum": "normal",
          "fov_deg": 50,
          "framing_notes": "Neutral coverage from the available unit 1 camera position toward base marker 5. This is a fixed background view supporting the reclining-head context, not a claim to reproduce every staged close or medium composition with one camera."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Establish unit 1 around base marker 5, with marker 16 remaining integrated along its sides. Preserve marker 17 southwest of marker 5 and markers 6 and 7 on their respective west and east sides, showing only portions falling within this normal view. Units 2 and 3 and openings 11 and 13 are visibility candidates, not a requirement to display all of them. The supplied coordinates do not locate the Old piano/Piano staging elements.",
          "camera_framing_directive": "Use camera unit 1 at [2, 3], looking into unit 1 at [3, 4], with normal lens and 50-degree field of view. Maintain neutral coverage toward marker 5; the shot-specific close framing may retain only a narrow margin of its upper surface. Do not represent this single fixed view as an additional camera track.",
          "subject_position_directive": "Treat the surfaced shots as separate subject states. S84_Shot1 places 찰리 reclining, face central, looking upward without meeting the lens. S84_Shot11 places 지소영 center-right with 찰리's near shoulder at left. S84_Shot14 places 찰리 left and center and 지소영 right within the embrace. Preserve these as shot-layer cues rather than combining the subjects' different poses into one background plate; no floor-plan location is committed for the latter two compositions.",
          "state_cue_directive": "Retain transient marker 19, Attached monitoring leads, in its supplied attached state where visible. S84_Shot1 commits subdued blue laboratory illumination and newly opened eyes, without an added eye-light color or flare. The other surfaced shots commit restrained ambience without a new light source. This fallback anchor is not a clean-background plate.",
          "negative_continuity_directive": "Exclude overlay markers 20 and 21. Keep base marker 16 distinct from excluded overlay marker 20. Do not relocate fixed markers to force all target units into the frame, promote visibility supersets to guaranteed views, or assign unmapped staging elements invented permanent coordinates."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_l269_observation_lab",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_l269_observation_lab"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L269B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L269",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L269B01.png",
        "t2i_prompt": "기후 재난 이후 2069년 무렵 한국의 유지·관리되는 첨단 연구시설 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람 없이 비어 있는 유리벽 실험실의 현장 참고 사진이며, 실제 미러리스 카메라와 35밀리미터급 렌즈로 촬영한 듯한 원근감과 자연스러운 심도를 갖춘다. 남쪽 자동 유리 출입문 바로 안쪽의 남동측에서 약 1.6미터 눈높이로 북서쪽을 바라본다. 스테인리스 처치 침대와 양옆 결박 장치를 전경 중심에 두고, 서쪽 로봇 팔 작업 장치와 유리 너머 서쪽·북쪽 컴퓨터 작업대가 함께 읽히도록 구성한다. 내려다보는 시점이나 평면도 구도가 아닌, 실내에 서서 바라본 수평에 가까운 시야다.\n\n실험실 중앙에서 조금 북쪽에 치우친 원형 실험 구역을 연속된 유리 경계가 둘러싼다. 그 중앙의 침대는 남북 방향이며 머리 쪽은 북쪽이다. 침대 동쪽과 서쪽에는 실제 산업 장비처럼 견고한 관절과 금속 외장을 가진 로봇 팔 작업 장치가 각각 자리하며, 남쪽 출입 동선을 막지 않는다. 침대 남서쪽의 의자와 침대 곁 접근 공간을 분명하게 보이되 출입문과 로봇 팔 사이 통로는 확보한다. 남쪽 자동 유리문의 바로 동쪽 유리 경계에는 내부에서 조작하는 고정 스위치가 있다. 유리 바깥에는 원형 구역을 둘러싸는 관찰 통로가 있고, 그 바깥 서쪽·북쪽·동쪽 둘레로 이어지는 작업 구역은 서쪽과 북쪽의 컴퓨터 작업대와 연결된다. 북쪽 유리 경계에 고정된 관찰용 스피커는 바깥 통로를 향하며, 그 맞은편 북쪽 작업대의 안쪽 가장자리에는 마이크가 놓여 있다. 북쪽 침대 머리맡에는 고정 케이블 연결 패널이 있다.\n\n이 순간의 준비 상태로, 머리맡 연결 패널에서 나온 임시 모니터링 연결선이 빈 침대 위까지 이어져 있다. 연결선의 말단은 침대 표면에 자연스럽게 놓여 있으며 신체나 신체 형태를 만들지 않는다. 침대 양옆의 고정 결박 부속에는 두꺼운 직조 결박띠와 체결된 금속 잠금장치가 보인다. 결박띠는 빈 침대 표면에 낮게 놓여 그 재질과 연결 구조가 명확하게 드러난다. 이 배경에서는 손 부위 결박의 해제 동작이나 해제 이후 상태를 선행해 표현하지 않는다.\n\n아침 이후의 실내이지만 푸른 작업 조명이 지배적이다. 약한 아침의 확산광은 보조적인 밝기만 제공하고, 차가운 회색 금속과 유리에 푸른빛이 실제 조명처럼 제한적으로 반사된다. 유리의 두께와 투과, 약한 표면 반사, 스테인리스의 가는 가공 결, 금속 접합부의 생활 마모, 결박띠의 실제 직물 짜임, 작업대 표면의 옅은 사용 얼룩을 사실적으로 기록한다. 재난 이후에도 작동하는 전문 연구시설답게 설비는 정비되어 있으며, 미래 기술은 실물 컴퓨터와 기계 장치의 현실적인 제작 구조로 표현한다. 과도한 광택이나 과장된 색 보정 없이 밝은 면과 그림자의 세부가 함께 남는 노출을 사용한다. 사람, 얼굴, 인체형 형상은 화면과 유리 반사에도 전혀 나타나지 않는다. 삽화나 컴퓨터 생성 이미지, 건축 시각화가 아니라 실제 장소를 촬영한 사진처럼 보이게 한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S88_Shot7",
            "guide_text": "침대와 결박 고정부를 주요 배경 기준점으로 삼고 남쪽에서 침대 곁으로 이어지는 접근 공간을 확보한다. 유리 너머 작업대와 북쪽 관찰용 스피커의 위치 관계, 아침 이후에도 유지되는 푸른 작업 조명을 일관되게 유지한다. 기본 배경은 모니터링 연결선이 이어지고 결박 잠금장치가 체결된 상태다. 별도 컷 지시가 없는 한 해제나 분리를 임의로 추가하지 않으며, 배경에는 인물이나 인체형 대상을 넣지 않는다."
          },
          {
            "shot_id": "S88_Shot24",
            "guide_text": "동일한 침대 방향, 남서쪽 의자, 북쪽 연결 패널, 관찰 유리와 작업대의 배치를 유지한다. 작별 대화에 필요한 손 부위 결박 해제는 해당 컷의 명시적 연속성 지시에 따라 국소적으로 처리하고, 배경 전체의 결박 상태나 설비 배치를 일괄 변경하지 않는다. 모니터링 연결선의 부착·분리 역시 컷 지시가 있을 때만 반영한다. 대화나 음성을 이유로 유리 너머 또는 반사면에 인물을 추가하지 않는다."
          }
        ],
        "shot_ids": [
          "S88_Shot7",
          "S88_Shot24"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "At the southeast side of number 11, just inside number 1, facing northwest across number 5 toward number 6, number 8, and number 9.",
          "camera_height": "Standing eye level, approximately 1.5-1.6 m",
          "lens_hint": "35mm wide reference view",
          "framing_notes": "Keep the bed and restraint fittings prominent, the bedside approach clear, and the observation glass, speaker, and researcher workbenches legible beyond. Preserve blue working illumination despite the morning setting. Overlay 20 establishes the preparation state; hand restraints are released only as required by individual-shot continuity. Do not introduce a red alarm, combat damage, or office furnishings."
        },
        "reference_decision": {
          "bg_id": "L269B01",
          "fp_id": "fp_l269_observation_lab",
          "node_index": 1,
          "mode": "same_physical_space_view",
          "is_dwelling_identity_anchor": false,
          "rationale": "S88_Shot7 and S88_Shot24 use the same unit 1 fixed setting established by L269B03. Select that anchor for layout continuity while moving the available camera to unit 2, looking toward marker 5. This footward-side, broad view exposes a different slice of the fixed arrangement than the anchor's unit 1 normal view, so it requires its own plate rather than low-delta reuse. The restricted candidate geometry does not separately encode the staged elevations or the headward-quarter camera of S88_Shot24.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L269B03.png"
          ],
          "source_bg_ids": [
            "L269B03"
          ],
          "fp_included": false,
          "reference_decision": {
            "selected_refs": [
              {
                "ref_bg_id": "L269B03",
                "physical_space_id": "fp_l269_observation_lab:unit_1",
                "space_description": "Unit 1 centered on base marker 5, with its fixed boundary and associated fixtures."
              }
            ],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "single_same_physical_space_reference",
            "why_single_ref_or_two_refs": "One earlier reference commits the shared unit 1 layout. Peripheral visibility does not require a second identity reference.",
            "physical_space_id_per_ref": [
              "fp_l269_observation_lab:unit_1"
            ],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 2,
            "camera_cell": [
              6,
              2
            ],
            "look_at_unit": 1,
            "look_at_cell": [
              3,
              4
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad coverage toward marker 5 from the available footward-side unit 2 position. Use this as the shared spatial plate; the staged elevated reveal and closer headward-quarter exchange are not separate coordinate candidates."
          },
          "render_guidance": {
            "visible_space_directive": "Look from unit 2 into unit 1 toward marker 5, retaining surrounding floor and the visible fixed boundary. Preserve L269B03's marker 5 orientation, marker 16 placement along its sides, markers 6 and 7 west and east of it, and marker 17 southwest of it. Retain the base positions of markers 18, 14, 9 and 15 in the headward context where visible. Unit 3 may contribute only the portion actually exposed through this broad view; openings 11 and 13 are not automatically visible merely because they appear in the superset.",
            "camera_framing_directive": "Use camera unit 2 at [6, 2], looking into unit 1 at [3, 4], with wide lens and 90-degree field of view. Provide broad coverage appropriate to S88_Shot7's diagonal full-body spatial context and surrounding floor. Preserve the fixed layout for S88_Shot24's tighter composition without claiming that a crop reproduces its separately staged camera elevation and headward-quarter position.",
            "subject_position_directive": "For S88_Shot7, reserve the middle-center diagonal for 찰리 lying supine under secured restraints, with the headward end toward the upper right and 지소영 outside the headward edge of the initial reveal. For S88_Shot24, retain the separate staging cue of 찰리's reclining upper body at lower left and 현우 leaning into the right midground, with the reaching contact near center. Do not combine the two moments or move fixed markers to manufacture either subject pose.",
            "state_cue_directive": "Use transient markers 19 and 20: Attached monitoring leads and Morning restraint configuration. Preserve marker 16 as the fixed mounting assembly beneath the transient configuration. Apply the committed subdued blue laboratory illumination for S88_Shot7 and subdued illumination with gentle tonal separation for S88_Shot24, without a later alarm cue.",
            "negative_continuity_directive": "Exclude overlay marker 21. Avoid inheriting L269B03's absence of marker 20 as a permanent structural property. Preserve the fixed marker positions inherited from L269B03 while changing viewpoint; do not redraw the layout to imitate its earlier projection or force openings 11 and 13 into this view."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L269B03' physical_space_id='fp_l269_observation_lab:unit_1'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [6, 2]\n  - look_at_unit: 1\n  - look_at_cell: [3, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad coverage toward marker 5 from the available footward-side unit 2 position. Use this as the shared spatial plate; the staged elevated reveal and closer headward-quarter exchange are not separate coordinate candidates.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Look from unit 2 into unit 1 toward marker 5, retaining surrounding floor and the visible fixed boundary. Preserve L269B03's marker 5 orientation, marker 16 placement along its sides, markers 6 and 7 west and east of it, and marker 17 southwest of it. Retain the base positions of markers 18, 14, 9 and 15 in the headward context where visible. Unit 3 may contribute only the portion actually exposed through this broad view; openings 11 and 13 are not automatically visible merely because they appear in the superset.\n  - camera_framing_directive: Use camera unit 2 at [6, 2], looking into unit 1 at [3, 4], with wide lens and 90-degree field of view. Provide broad coverage appropriate to S88_Shot7's diagonal full-body spatial context and surrounding floor. Preserve the fixed layout for S88_Shot24's tighter composition without claiming that a crop reproduces its separately staged camera elevation and headward-quarter position.\n  - subject_position_directive: For S88_Shot7, reserve the middle-center diagonal for 찰리 lying supine under secured restraints, with the headward end toward the upper right and 지소영 outside the headward edge of the initial reveal. For S88_Shot24, retain the separate staging cue of 찰리's reclining upper body at lower left and 현우 leaning into the right midground, with the reaching contact near center. Do not combine the two moments or move fixed markers to manufacture either subject pose.\n  - state_cue_directive: Use transient markers 19 and 20: Attached monitoring leads and Morning restraint configuration. Preserve marker 16 as the fixed mounting assembly beneath the transient configuration. Apply the committed subdued blue laboratory illumination for S88_Shot7 and subdued illumination with gentle tonal separation for S88_Shot24, without a later alarm cue.\n  - negative_continuity_directive: Exclude overlay marker 21. Avoid inheriting L269B03's absence of marker 20 as a permanent structural property. Preserve the fixed marker positions inherited from L269B03 while changing viewpoint; do not redraw the layout to imitate its earlier projection or force openings 11 and 13 into this view.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L269B03' physical_space_id='fp_l269_observation_lab:unit_1'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [6, 2]\n  - look_at_unit: 1\n  - look_at_cell: [3, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad coverage toward marker 5 from the available footward-side unit 2 position. Use this as the shared spatial plate; the staged elevated reveal and closer headward-quarter exchange are not separate coordinate candidates.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Look from unit 2 into unit 1 toward marker 5, retaining surrounding floor and the visible fixed boundary. Preserve L269B03's marker 5 orientation, marker 16 placement along its sides, markers 6 and 7 west and east of it, and marker 17 southwest of it. Retain the base positions of markers 18, 14, 9 and 15 in the headward context where visible. Unit 3 may contribute only the portion actually exposed through this broad view; openings 11 and 13 are not automatically visible merely because they appear in the superset.\n  - camera_framing_directive: Use camera unit 2 at [6, 2], looking into unit 1 at [3, 4], with wide lens and 90-degree field of view. Provide broad coverage appropriate to S88_Shot7's diagonal full-body spatial context and surrounding floor. Preserve the fixed layout for S88_Shot24's tighter composition without claiming that a crop reproduces its separately staged camera elevation and headward-quarter position.\n  - subject_position_directive: For S88_Shot7, reserve the middle-center diagonal for 찰리 lying supine under secured restraints, with the headward end toward the upper right and 지소영 outside the headward edge of the initial reveal. For S88_Shot24, retain the separate staging cue of 찰리's reclining upper body at lower left and 현우 leaning into the right midground, with the reaching contact near center. Do not combine the two moments or move fixed markers to manufacture either subject pose.\n  - state_cue_directive: Use transient markers 19 and 20: Attached monitoring leads and Morning restraint configuration. Preserve marker 16 as the fixed mounting assembly beneath the transient configuration. Apply the committed subdued blue laboratory illumination for S88_Shot7 and subdued illumination with gentle tonal separation for S88_Shot24, without a later alarm cue.\n  - negative_continuity_directive: Exclude overlay marker 21. Avoid inheriting L269B03's absence of marker 20 as a permanent structural property. Preserve the fixed marker positions inherited from L269B03 while changing viewpoint; do not redraw the layout to imitate its earlier projection or force openings 11 and 13 into this view.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L269B03' physical_space_id='fp_l269_observation_lab:unit_1'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [6, 2]\n  - look_at_unit: 1\n  - look_at_cell: [3, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad coverage toward marker 5 from the available footward-side unit 2 position. Use this as the shared spatial plate; the staged elevated reveal and closer headward-quarter exchange are not separate coordinate candidates.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Look from unit 2 into unit 1 toward marker 5, retaining surrounding floor and the visible fixed boundary. Preserve L269B03's marker 5 orientation, marker 16 placement along its sides, markers 6 and 7 west and east of it, and marker 17 southwest of it. Retain the base positions of markers 18, 14, 9 and 15 in the headward context where visible. Unit 3 may contribute only the portion actually exposed through this broad view; openings 11 and 13 are not automatically visible merely because they appear in the superset.\n  - camera_framing_directive: Use camera unit 2 at [6, 2], looking into unit 1 at [3, 4], with wide lens and 90-degree field of view. Provide broad coverage appropriate to S88_Shot7's diagonal full-body spatial context and surrounding floor. Preserve the fixed layout for S88_Shot24's tighter composition without claiming that a crop reproduces its separately staged camera elevation and headward-quarter position.\n  - subject_position_directive: For S88_Shot7, reserve the middle-center diagonal for 찰리 lying supine under secured restraints, with the headward end toward the upper right and 지소영 outside the headward edge of the initial reveal. For S88_Shot24, retain the separate staging cue of 찰리's reclining upper body at lower left and 현우 leaning into the right midground, with the reaching contact near center. Do not combine the two moments or move fixed markers to manufacture either subject pose.\n  - state_cue_directive: Use transient markers 19 and 20: Attached monitoring leads and Morning restraint configuration. Preserve marker 16 as the fixed mounting assembly beneath the transient configuration. Apply the committed subdued blue laboratory illumination for S88_Shot7 and subdued illumination with gentle tonal separation for S88_Shot24, without a later alarm cue.\n  - negative_continuity_directive: Exclude overlay marker 21. Avoid inheriting L269B03's absence of marker 20 as a permanent structural property. Preserve the fixed marker positions inherited from L269B03 while changing viewpoint; do not redraw the layout to imitate its earlier projection or force openings 11 and 13 into this view.\n\n기후 재난 이후 2069년 무렵 한국의 유지·관리되는 첨단 연구시설 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람 없이 비어 있는 유리벽 실험실의 현장 참고 사진이며, 실제 미러리스 카메라와 35밀리미터급 렌즈로 촬영한 듯한 원근감과 자연스러운 심도를 갖춘다. 남쪽 자동 유리 출입문 바로 안쪽의 남동측에서 약 1.6미터 눈높이로 북서쪽을 바라본다. 스테인리스 처치 침대와 양옆 결박 장치를 전경 중심에 두고, 서쪽 로봇 팔 작업 장치와 유리 너머 서쪽·북쪽 컴퓨터 작업대가 함께 읽히도록 구성한다. 내려다보는 시점이나 평면도 구도가 아닌, 실내에 서서 바라본 수평에 가까운 시야다.\n\n실험실 중앙에서 조금 북쪽에 치우친 원형 실험 구역을 연속된 유리 경계가 둘러싼다. 그 중앙의 침대는 남북 방향이며 머리 쪽은 북쪽이다. 침대 동쪽과 서쪽에는 실제 산업 장비처럼 견고한 관절과 금속 외장을 가진 로봇 팔 작업 장치가 각각 자리하며, 남쪽 출입 동선을 막지 않는다. 침대 남서쪽의 의자와 침대 곁 접근 공간을 분명하게 보이되 출입문과 로봇 팔 사이 통로는 확보한다. 남쪽 자동 유리문의 바로 동쪽 유리 경계에는 내부에서 조작하는 고정 스위치가 있다. 유리 바깥에는 원형 구역을 둘러싸는 관찰 통로가 있고, 그 바깥 서쪽·북쪽·동쪽 둘레로 이어지는 작업 구역은 서쪽과 북쪽의 컴퓨터 작업대와 연결된다. 북쪽 유리 경계에 고정된 관찰용 스피커는 바깥 통로를 향하며, 그 맞은편 북쪽 작업대의 안쪽 가장자리에는 마이크가 놓여 있다. 북쪽 침대 머리맡에는 고정 케이블 연결 패널이 있다.\n\n이 순간의 준비 상태로, 머리맡 연결 패널에서 나온 임시 모니터링 연결선이 빈 침대 위까지 이어져 있다. 연결선의 말단은 침대 표면에 자연스럽게 놓여 있으며 신체나 신체 형태를 만들지 않는다. 침대 양옆의 고정 결박 부속에는 두꺼운 직조 결박띠와 체결된 금속 잠금장치가 보인다. 결박띠는 빈 침대 표면에 낮게 놓여 그 재질과 연결 구조가 명확하게 드러난다. 이 배경에서는 손 부위 결박의 해제 동작이나 해제 이후 상태를 선행해 표현하지 않는다.\n\n아침 이후의 실내이지만 푸른 작업 조명이 지배적이다. 약한 아침의 확산광은 보조적인 밝기만 제공하고, 차가운 회색 금속과 유리에 푸른빛이 실제 조명처럼 제한적으로 반사된다. 유리의 두께와 투과, 약한 표면 반사, 스테인리스의 가는 가공 결, 금속 접합부의 생활 마모, 결박띠의 실제 직물 짜임, 작업대 표면의 옅은 사용 얼룩을 사실적으로 기록한다. 재난 이후에도 작동하는 전문 연구시설답게 설비는 정비되어 있으며, 미래 기술은 실물 컴퓨터와 기계 장치의 현실적인 제작 구조로 표현한다. 과도한 광택이나 과장된 색 보정 없이 밝은 면과 그림자의 세부가 함께 남는 노출을 사용한다. 사람, 얼굴, 인체형 형상은 화면과 유리 반사에도 전혀 나타나지 않는다. 삽화나 컴퓨터 생성 이미지, 건축 시각화가 아니라 실제 장소를 촬영한 사진처럼 보이게 한다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 2,
          "camera_cell": [
            6,
            2
          ],
          "look_at_unit": 1,
          "look_at_cell": [
            3,
            4
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad coverage toward marker 5 from the available footward-side unit 2 position. Use this as the shared spatial plate; the staged elevated reveal and closer headward-quarter exchange are not separate coordinate candidates."
        },
        "shot_aware_plan_node_index": 1,
        "shot_aware_plan_mode": "same_physical_space_view",
        "render_guidance": {
          "visible_space_directive": "Look from unit 2 into unit 1 toward marker 5, retaining surrounding floor and the visible fixed boundary. Preserve L269B03's marker 5 orientation, marker 16 placement along its sides, markers 6 and 7 west and east of it, and marker 17 southwest of it. Retain the base positions of markers 18, 14, 9 and 15 in the headward context where visible. Unit 3 may contribute only the portion actually exposed through this broad view; openings 11 and 13 are not automatically visible merely because they appear in the superset.",
          "camera_framing_directive": "Use camera unit 2 at [6, 2], looking into unit 1 at [3, 4], with wide lens and 90-degree field of view. Provide broad coverage appropriate to S88_Shot7's diagonal full-body spatial context and surrounding floor. Preserve the fixed layout for S88_Shot24's tighter composition without claiming that a crop reproduces its separately staged camera elevation and headward-quarter position.",
          "subject_position_directive": "For S88_Shot7, reserve the middle-center diagonal for 찰리 lying supine under secured restraints, with the headward end toward the upper right and 지소영 outside the headward edge of the initial reveal. For S88_Shot24, retain the separate staging cue of 찰리's reclining upper body at lower left and 현우 leaning into the right midground, with the reaching contact near center. Do not combine the two moments or move fixed markers to manufacture either subject pose.",
          "state_cue_directive": "Use transient markers 19 and 20: Attached monitoring leads and Morning restraint configuration. Preserve marker 16 as the fixed mounting assembly beneath the transient configuration. Apply the committed subdued blue laboratory illumination for S88_Shot7 and subdued illumination with gentle tonal separation for S88_Shot24, without a later alarm cue.",
          "negative_continuity_directive": "Exclude overlay marker 21. Avoid inheriting L269B03's absence of marker 20 as a permanent structural property. Preserve the fixed marker positions inherited from L269B03 while changing viewpoint; do not redraw the layout to imitate its earlier projection or force openings 11 and 13 into this view."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_l269_observation_lab",
          "prior_bg_ids": [
            "L269B03"
          ],
          "attached_ref_labels": [
            "bg:L269B03"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L269B02": {
        "status": "ok",
        "is_reuse": true,
        "render_action": "reuse_existing_plate",
        "reuse_target_bg_id": "L269B01",
        "reused_from_bg_id": "L269B01",
        "location_id": "L269",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L269B01.png",
        "t2i_prompt": "2069년 기후 재난 이후 대한민국에서 정상적으로 유지되는 첨단 실험실의 아침. 실제 디지털 일안 반사식 카메라와 35밀리미터급 렌즈로 촬영한 다큐멘터리 풍 사진으로, 실제 장소 답사 사진과 구별되지 않는 물리적 질감과 자연스러운 노출을 구현한다. 카메라는 원형 유리 실험 구획의 남쪽 자동 유리 출입문 바로 안쪽, 문에서 남동쪽으로 비껴선 위치에 놓고, 바닥에서 약 1.6미터 높이로 북서쪽을 바라본다. 전경과 중경의 강철 처치 침대 너머로 서쪽 기계팔 작업대, 유리 경계, 서쪽과 북쪽 컴퓨터 작업대가 이어지는 눈높이 구도다. 위에서 내려다보는 시점이나 평면도 구도가 아니다.\n\n실험실 중앙보다 약간 북쪽에 있는 원형 실험 구획은 연속된 유리 경계로 둘러싸여 있다. 그 바깥에는 끊기지 않는 관찰 통로가 있고, 더 바깥 서쪽·북쪽·동쪽 둘레에는 연결된 말굽형 제어 작업 구역이 놓인다. 서쪽 컴퓨터 작업대는 원형 구획을 향하고, 북쪽 컴퓨터 작업대는 남쪽을 향한다. 구획 중앙의 강철 처치 침대는 머리 쪽이 북쪽, 발치가 남쪽 출입문을 향한다. 침대 양옆의 서쪽·동쪽 기계팔 작업대는 남쪽 진입 동선을 비켜서며, 사람 형상이 아닌 산업용 관절 장비로 보인다. 침대 남서쪽의 의자도 출입문과 기계팔 작업 공간을 가리지 않는다. 자동 유리 출입문 바로 동쪽 경계에는 안쪽에서 조작하는 고정 스위치가 있다. 북쪽 유리 경계의 관찰용 통신 스피커는 바깥 통로를 향하며, 맞은편 북쪽 작업대의 안쪽 가장자리에는 제어용 마이크가 놓여 있다. 침대 양측에는 일체형 구속 고정 장치가 있고, 북쪽 머리맡에는 고정 케이블 연결판이 있다.\n\n머리맡 연결판에서 처치 침대까지 임시로 이어진 감시용 연결선이 보이되, 인체 접속 부위 없이 빈 침대 표면과 장비 쪽 연결만 표현한다. 침대 측면 고정 장치에는 두꺼운 직물 구속 띠와 잠긴 잠금장치가 결합되어 있다. 손목용 띠의 개별 체결 여부는 해당 장면의 연속성을 따르며, 이미 해제된 부분을 경보 때문에 다시 잠긴 상태로 바꾸지 않는다. 사람, 얼굴, 인체 모양의 형상은 실내뿐 아니라 유리 반사와 컴퓨터 화면에도 전혀 나타나지 않는다.\n\n기존의 푸른 작업 조명이 유지되는 가운데 붉은 경보 조명이 점멸하는 밝은 순간을 포착한다. 적색 빛이 원형 관찰 유리의 곡면과 강철 침대 가장자리, 작업대 표면에 실제 광원에서 생기는 반사로 겹치고, 그 사이에는 기존 청색 작업광이 남아 있다. 붉은 빛으로 화면 전체를 균일하게 덮지 않고 재질과 거리별 반사 강도를 구분한다. 아침의 부드러운 주변광과 실내 작업광이 자연스럽게 공존하며, 공간과 모든 설비의 물리적 상태는 온전하게 유지된다. 차가운 회색의 실용적인 한국 연구 시설 마감, 실제 금속의 미세한 흠집과 접촉 얼룩, 유리의 은은한 닦임 자국, 구속 띠의 촘촘한 직물 조직을 사실적으로 담는다. 미래 기술도 실제 제작 가능한 장비의 형태와 접합 구조로 표현한다. 과도한 후처리 없이 적절한 명암과 자연스러운 심도를 유지하여 침대부터 유리 너머 작업대까지 공간 관계가 읽히게 한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S88_Shot29",
            "guide_text": "아침 준비 때와 같은 눈높이와 방향으로 침대, 서쪽 기계팔 작업대, 유리 너머 서쪽·북쪽 컴퓨터 작업대의 위치 관계를 보여준다. 푸른 작업광 위로 붉은 경보광이 켜진 순간을 담되, 유리와 금속의 재질이 읽히도록 노출을 유지한다. 감시용 연결선과 침대 측면 구속 장치는 배경에 포함하고, 손목용 띠가 앞서 해제된 경우 그 상태를 유지한다. 개별 연결선의 탈착도 해당 장면의 연속성을 따르며 경보 발생을 이유로 초기화하지 않는다. 공간과 장비는 온전하게 유지하고, 인물이나 인체 형상의 대체물 없이 빈 배경만 제공한다."
          }
        ],
        "shot_ids": [
          "S88_Shot29"
        ],
        "scenes": [],
        "parent_id": "L269B01",
        "ref_used": "reused_plate",
        "render_attempts": 0,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "At the southeast side of number 11, just inside number 1, facing northwest across number 5 toward number 6, number 8, and number 9, matching the morning preparation reference.",
          "camera_height": "Standing eye level, approximately 1.5-1.6 m",
          "lens_hint": "35mm wide reference view",
          "framing_notes": "Retain the morning layout and existing blue working illumination, adding overlay 21 as flashing red warning illumination in the downstream background only. Keep bed hardware, workbenches, and glass intact. Carry forward the bedside restraint continuity, including the already released hand restraint where applicable; the alarm does not reset restraint state. No broken glass, weapon impacts, fallen equipment, or later battle destruction."
        },
        "reference_decision": {
          "mode": "reference_derived",
          "render_action": "reuse_existing_plate",
          "reuse_target_bg_id": "L269B01",
          "selected_refs": [
            {
              "ref_bg_id": "L269B01",
              "physical_space_id": "fp_l269_observation_lab:unit_1",
              "space_description": "The same unit 1 fixed setting viewed from unit 2 toward base marker 5."
            }
          ]
        },
        "shot_aware_plan_node_index": 2,
        "shot_aware_plan_mode": "reference_derived",
        "render_guidance": {
          "visible_space_directive": "Retain L269B01's view from unit 2 toward unit 1 and marker 5. Keep marker 5, its integrated marker 16, marker 17 southwest of it, and the fixed boundary and fixtures in their established positions. S88_Shot29 needs only a narrow portion of marker 5 along the lower edge and the supporting portion of marker 17; maintain the surrounding plate rather than shifting these elements into a new layout.",
          "camera_framing_directive": "Use camera unit 2 at [6, 2], looking into unit 1 at [3, 4], with wide lens and 90-degree field of view, matching L269B01. Supply broad base coverage for the staged medium reaction framing. Preserve the established side, lower-edge diagonal context and open right third without asserting an additional grid-supported low camera position.",
          "subject_position_directive": "For S88_Shot29, place 현우's upper body at left foreground, still leaning toward the bedside, and seated 지소영 beyond him near center with her torso twisted. Both look toward the same offscreen area to the right; leave the right third open along their shared eyeline. The reaction frame excludes 찰리. Keep these subject changes separate from the fixed background layout.",
          "state_cue_directive": "Retain transient markers 19 and 20 where the reaction framing exposes them, and add marker 21, Red alarm illumination. The sudden red light interrupts the existing illumination while preserving readable expressions and restrained tonal contrast. Treat the lighting change and occupied marker 17 as shot state, not fixture rearrangement.",
          "negative_continuity_directive": "No numbered elements are explicitly ignored for this BG. Avoid preserving L269B01's exclusion of overlay 21, carrying forward its earlier subject arrangement, or relocating markers 5 and 17 to fit the reaction. Do not add another reference for the same physical space or expand visibility to out-of-cone units and openings."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_l269_observation_lab",
          "prior_bg_ids": [
            "L269B01"
          ],
          "attached_ref_labels": [
            "bg:L269B01"
          ],
          "ref_used": "reused_plate",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L270B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L270",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L270B01.png",
        "t2i_prompt": "2069년 기후 재난 이후에도 정상적으로 관리되는 대한민국 연구센터의 모던한 소장실 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실재 장소를 기록한 것처럼 담백하고 사실적인 빈 실내이며, 삽화나 컴퓨터 생성 이미지, 건축 시각화가 아니다. 미래의 연구시설이지만 현실적인 한국 업무시설의 절제된 마감과 오래 사용한 가구가 공존한다.\n남쪽 출입문을 막 지난 실내 문턱에서 북쪽 책상을 향해 바라본다. 촬영 높이는 서 있는 사람의 눈높이인 약 1.6미터, 35밀리미터 풀프레임 미러리스 카메라에 28밀리미터 광각 렌즈를 사용한 시야다. 수직선과 거리감이 자연스럽고 과장된 광각 왜곡이 없다. 위에서 내려다보는 시점이나 평면도 구도가 아니다. 출입문은 동쪽으로 실내 개방되는 구조이며 문틀 일부가 화면 양끝의 가까운 전경에 걸릴 수 있다.\n중앙 공용 홀 너머로 북쪽 업무 구역이 개방되어 이어진다. 북쪽 중앙의 소장 책상은 방문객을 맞는 면이 남쪽을 향하며, 책상 뒤와 북쪽 벽 사이에 소장 의자가 놓여 있다. 출입구에서 책상 앞까지의 접근 동선을 분명하게 보여준다. 책상 상판 북동쪽 모서리에는 작은 사진 액자가 원래 크기로 놓여 있고, 이 촬영 방향에서는 액자의 뒷면만 보여 사진 내용은 드러나지 않는다. 홀 중앙보다 약간 서쪽에 있는 낡은 피아노는 화면 왼쪽 중경에 들어온다. 건반은 남쪽을 향하고, 피아노 의자는 건반 바로 남쪽에 놓여 있다. 피아노 남서쪽의 서쪽 구조 기둥은 피아노 의자와 출입 동선을 가리지 않으며, 홀 동쪽 중앙의 동쪽 구조 기둥은 책상으로 이어지는 통로 오른쪽에서 보인다. 두 기둥과 가구의 윤곽이 겹쳐 뭉개지지 않도록 한다.\n밤의 실내 조명은 현실적인 밝기의 부드러운 간접광과 벽면 반사광으로 표현한다. 차분한 냉회색 실내에 피아노 목재의 은은한 갈색이 자연스럽게 남고, 책상 아래와 기둥 뒤에는 실제 광원에 맞는 부드러운 그림자가 생긴다. 콘크리트와 무광 금속의 미세한 표면 질감, 책상과 피아노의 실제 나뭇결, 의자 마감의 촉감과 일상적인 사용감을 세밀하게 기록한다. 오래된 피아노의 마감은 새 가구처럼 균일하지 않지만 잘 관리되어 있다. 공간은 깨끗하고 정돈된 평온한 상태다. 인물, 얼굴, 인체 형태의 형상은 어디에도 묘사하지 않는다. 자연스러운 피사계 심도로 전경부터 책상까지 공간 관계를 읽을 수 있게 하고, 과도한 보정이나 광고 사진 같은 인위적인 광택 없이 실제 현장 사진의 노출과 색을 유지한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S86_Shot2",
            "guide_text": "출입구 바로 안쪽의 약 1.6미터 눈높이에서 북쪽 책상을 향하는 고정 구도를 사용한다. 왼쪽 중경에 피아노와 피아노 의자를 함께 담고, 오른쪽 구조 기둥과 책상 접근 통로를 구분한다. 책상 뒤 의자와 작은 액자의 뒷면을 유지하며, 인물 없이 정돈된 야간 실내만 보여준다."
          },
          {
            "shot_id": "S86_Shot5",
            "guide_text": "앞 장면과 같은 출입구 안쪽 시점, 렌즈 시야, 촬영 높이와 야간 노출을 유지한다. 책상, 출입문, 두 기둥, 피아노와 피아노 의자의 상대 위치를 바꾸지 않는다. 액자는 확대하지 않고 뒷면만 보이는 작은 배경 요소로 유지한다. 공간의 정돈 상태와 재질을 동일하게 이어가며 인물이나 추가 상황 흔적을 넣지 않는다."
          }
        ],
        "shot_ids": [
          "S86_Shot2",
          "S86_Shot5"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "At number 3, immediately inside number 4, facing north toward number 5, with number 8 to the left and number 10 to the right.",
          "camera_height": "eye-level standing, approximately 1.6 m",
          "lens_hint": "24–28mm wide angle",
          "framing_notes": "Use one consistent entrance-facing interior setup for both shots. Keep the desk and its visitor approach legible, the piano and bench in the left middle ground, and the columns separated from furniture silhouettes. Entry jamb edges may frame the extreme foreground. Preserve the small family-photo frame on the desk without enlarging its contents. The nighttime background remains orderly and undamaged; do not encode nighttime lighting in the floor plan."
        },
        "reference_decision": {
          "bg_id": "L270B01",
          "fp_id": "fp_l270_director_suite",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L270B01 is the sole clean anchor candidate and the sole ready BG. With no prior references, establish its fixed identity directly from the floor plan. The normal view from unit 1 toward unit 3 and marker 4 prioritizes the entrance-side background required by S86_Shot2. S86_Shot5 supplies a different subject-facing composition but no additional background element; this single plate does not claim to encode both shot-specific camera positions.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_l270_director_suite.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "No reference is selected because this is the first dwelling-identity anchor and the same-fp catalog is empty.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 1,
            "camera_cell": [
              6,
              5
            ],
            "look_at_unit": 3,
            "look_at_cell": [
              8,
              4
            ],
            "lens_enum": "normal",
            "fov_deg": 50,
            "framing_notes": "Neutral coverage from unit 1 toward marker 4 in unit 3. Both coordinates are copied from the unit-1 candidate arrays. This is a single entrance-facing background view, not a reconstruction of both consuming shots' distinct subject-facing positions."
          },
          "render_guidance": {
            "visible_space_directive": "Show the forward portion of unit 1 toward unit 3, with opening marker 4 at the selected look-at cell. Keep marker 4 in its committed south-wall position and preserve its inward opening toward the east. Treat the geometry's visible-unit and visible-opening lists as supersets rather than guarantees; the full marker inventory is not an instruction to bring every marker into this view.",
            "camera_framing_directive": "Use camera unit 1 at [6, 5], looking toward unit 3 at [8, 4], with normal-lens neutral coverage and a 50-degree field of view. Preserve this fixed background framing; do not combine the two consuming shots' distinct camera positions into one perspective.",
            "subject_position_directive": "Keep the clean background free of rendered subjects while preserving space for the committed shot-specific compositions. S86_Shot2 places 현우 right of center, with 지소영 immediately outside the left edge and his pointing forearm directed toward that off-screen position rather than the lens. S86_Shot5 places 지소영 left of center with separated open hands below her face, addressing 현우 beyond the right crop. These are separate subject-layer arrangements, not simultaneous occupants to bake into the plate.",
            "state_cue_directive": "No committed state cue beyond \"clean residential space\" applies to this clean background with no transient markers; refrain from inventing additional cues. Preserve the explicitly staged open configuration of marker 4 for S86_Shot2. Use the committed restrained ambient illumination without inventing a colored source.",
            "negative_continuity_directive": "No numbered elements or state-overlay markers are explicitly ignored. Avoid relocating marker 4 or changing the fixed arrangement of markers 5, 6, 7, 8, and 11 to force them into frame. Do not force units 2, 9, or 10 into this entrance-facing cone merely because they occur in the visibility supersets. Do not invent opening adjacency, additional overlays, or a second perspective within this plate."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [6, 5]\n  - look_at_unit: 3\n  - look_at_cell: [8, 4]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: \"Neutral coverage from unit 1 toward marker 4 in unit 3. Both coordinates are copied from the unit-1 candidate arrays. This is a single entrance-facing background view, not a reconstruction of both consuming shots' distinct subject-facing positions.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward portion of unit 1 toward unit 3, with opening marker 4 at the selected look-at cell. Keep marker 4 in its committed south-wall position and preserve its inward opening toward the east. Treat the geometry's visible-unit and visible-opening lists as supersets rather than guarantees; the full marker inventory is not an instruction to bring every marker into this view.\n  - camera_framing_directive: Use camera unit 1 at [6, 5], looking toward unit 3 at [8, 4], with normal-lens neutral coverage and a 50-degree field of view. Preserve this fixed background framing; do not combine the two consuming shots' distinct camera positions into one perspective.\n  - subject_position_directive: Keep the clean background free of rendered subjects while preserving space for the committed shot-specific compositions. S86_Shot2 places 현우 right of center, with 지소영 immediately outside the left edge and his pointing forearm directed toward that off-screen position rather than the lens. S86_Shot5 places 지소영 left of center with separated open hands below her face, addressing 현우 beyond the right crop. These are separate subject-layer arrangements, not simultaneous occupants to bake into the plate.\n  - state_cue_directive: No committed state cue beyond \"clean residential space\" applies to this clean background with no transient markers; refrain from inventing additional cues. Preserve the explicitly staged open configuration of marker 4 for S86_Shot2. Use the committed restrained ambient illumination without inventing a colored source.\n  - negative_continuity_directive: No numbered elements or state-overlay markers are explicitly ignored. Avoid relocating marker 4 or changing the fixed arrangement of markers 5, 6, 7, 8, and 11 to force them into frame. Do not force units 2, 9, or 10 into this entrance-facing cone merely because they occur in the visibility supersets. Do not invent opening adjacency, additional overlays, or a second perspective within this plate.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [6, 5]\n  - look_at_unit: 3\n  - look_at_cell: [8, 4]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: \"Neutral coverage from unit 1 toward marker 4 in unit 3. Both coordinates are copied from the unit-1 candidate arrays. This is a single entrance-facing background view, not a reconstruction of both consuming shots' distinct subject-facing positions.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward portion of unit 1 toward unit 3, with opening marker 4 at the selected look-at cell. Keep marker 4 in its committed south-wall position and preserve its inward opening toward the east. Treat the geometry's visible-unit and visible-opening lists as supersets rather than guarantees; the full marker inventory is not an instruction to bring every marker into this view.\n  - camera_framing_directive: Use camera unit 1 at [6, 5], looking toward unit 3 at [8, 4], with normal-lens neutral coverage and a 50-degree field of view. Preserve this fixed background framing; do not combine the two consuming shots' distinct camera positions into one perspective.\n  - subject_position_directive: Keep the clean background free of rendered subjects while preserving space for the committed shot-specific compositions. S86_Shot2 places 현우 right of center, with 지소영 immediately outside the left edge and his pointing forearm directed toward that off-screen position rather than the lens. S86_Shot5 places 지소영 left of center with separated open hands below her face, addressing 현우 beyond the right crop. These are separate subject-layer arrangements, not simultaneous occupants to bake into the plate.\n  - state_cue_directive: No committed state cue beyond \"clean residential space\" applies to this clean background with no transient markers; refrain from inventing additional cues. Preserve the explicitly staged open configuration of marker 4 for S86_Shot2. Use the committed restrained ambient illumination without inventing a colored source.\n  - negative_continuity_directive: No numbered elements or state-overlay markers are explicitly ignored. Avoid relocating marker 4 or changing the fixed arrangement of markers 5, 6, 7, 8, and 11 to force them into frame. Do not force units 2, 9, or 10 into this entrance-facing cone merely because they occur in the visibility supersets. Do not invent opening adjacency, additional overlays, or a second perspective within this plate.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [6, 5]\n  - look_at_unit: 3\n  - look_at_cell: [8, 4]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: \"Neutral coverage from unit 1 toward marker 4 in unit 3. Both coordinates are copied from the unit-1 candidate arrays. This is a single entrance-facing background view, not a reconstruction of both consuming shots' distinct subject-facing positions.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward portion of unit 1 toward unit 3, with opening marker 4 at the selected look-at cell. Keep marker 4 in its committed south-wall position and preserve its inward opening toward the east. Treat the geometry's visible-unit and visible-opening lists as supersets rather than guarantees; the full marker inventory is not an instruction to bring every marker into this view.\n  - camera_framing_directive: Use camera unit 1 at [6, 5], looking toward unit 3 at [8, 4], with normal-lens neutral coverage and a 50-degree field of view. Preserve this fixed background framing; do not combine the two consuming shots' distinct camera positions into one perspective.\n  - subject_position_directive: Keep the clean background free of rendered subjects while preserving space for the committed shot-specific compositions. S86_Shot2 places 현우 right of center, with 지소영 immediately outside the left edge and his pointing forearm directed toward that off-screen position rather than the lens. S86_Shot5 places 지소영 left of center with separated open hands below her face, addressing 현우 beyond the right crop. These are separate subject-layer arrangements, not simultaneous occupants to bake into the plate.\n  - state_cue_directive: No committed state cue beyond \"clean residential space\" applies to this clean background with no transient markers; refrain from inventing additional cues. Preserve the explicitly staged open configuration of marker 4 for S86_Shot2. Use the committed restrained ambient illumination without inventing a colored source.\n  - negative_continuity_directive: No numbered elements or state-overlay markers are explicitly ignored. Avoid relocating marker 4 or changing the fixed arrangement of markers 5, 6, 7, 8, and 11 to force them into frame. Do not force units 2, 9, or 10 into this entrance-facing cone merely because they occur in the visibility supersets. Do not invent opening adjacency, additional overlays, or a second perspective within this plate.\n\n2069년 기후 재난 이후에도 정상적으로 관리되는 대한민국 연구센터의 모던한 소장실 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실재 장소를 기록한 것처럼 담백하고 사실적인 빈 실내이며, 삽화나 컴퓨터 생성 이미지, 건축 시각화가 아니다. 미래의 연구시설이지만 현실적인 한국 업무시설의 절제된 마감과 오래 사용한 가구가 공존한다.\n남쪽 출입문을 막 지난 실내 문턱에서 북쪽 책상을 향해 바라본다. 촬영 높이는 서 있는 사람의 눈높이인 약 1.6미터, 35밀리미터 풀프레임 미러리스 카메라에 28밀리미터 광각 렌즈를 사용한 시야다. 수직선과 거리감이 자연스럽고 과장된 광각 왜곡이 없다. 위에서 내려다보는 시점이나 평면도 구도가 아니다. 출입문은 동쪽으로 실내 개방되는 구조이며 문틀 일부가 화면 양끝의 가까운 전경에 걸릴 수 있다.\n중앙 공용 홀 너머로 북쪽 업무 구역이 개방되어 이어진다. 북쪽 중앙의 소장 책상은 방문객을 맞는 면이 남쪽을 향하며, 책상 뒤와 북쪽 벽 사이에 소장 의자가 놓여 있다. 출입구에서 책상 앞까지의 접근 동선을 분명하게 보여준다. 책상 상판 북동쪽 모서리에는 작은 사진 액자가 원래 크기로 놓여 있고, 이 촬영 방향에서는 액자의 뒷면만 보여 사진 내용은 드러나지 않는다. 홀 중앙보다 약간 서쪽에 있는 낡은 피아노는 화면 왼쪽 중경에 들어온다. 건반은 남쪽을 향하고, 피아노 의자는 건반 바로 남쪽에 놓여 있다. 피아노 남서쪽의 서쪽 구조 기둥은 피아노 의자와 출입 동선을 가리지 않으며, 홀 동쪽 중앙의 동쪽 구조 기둥은 책상으로 이어지는 통로 오른쪽에서 보인다. 두 기둥과 가구의 윤곽이 겹쳐 뭉개지지 않도록 한다.\n밤의 실내 조명은 현실적인 밝기의 부드러운 간접광과 벽면 반사광으로 표현한다. 차분한 냉회색 실내에 피아노 목재의 은은한 갈색이 자연스럽게 남고, 책상 아래와 기둥 뒤에는 실제 광원에 맞는 부드러운 그림자가 생긴다. 콘크리트와 무광 금속의 미세한 표면 질감, 책상과 피아노의 실제 나뭇결, 의자 마감의 촉감과 일상적인 사용감을 세밀하게 기록한다. 오래된 피아노의 마감은 새 가구처럼 균일하지 않지만 잘 관리되어 있다. 공간은 깨끗하고 정돈된 평온한 상태다. 인물, 얼굴, 인체 형태의 형상은 어디에도 묘사하지 않는다. 자연스러운 피사계 심도로 전경부터 책상까지 공간 관계를 읽을 수 있게 하고, 과도한 보정이나 광고 사진 같은 인위적인 광택 없이 실제 현장 사진의 노출과 색을 유지한다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 1,
          "camera_cell": [
            6,
            5
          ],
          "look_at_unit": 3,
          "look_at_cell": [
            8,
            4
          ],
          "lens_enum": "normal",
          "fov_deg": 50,
          "framing_notes": "Neutral coverage from unit 1 toward marker 4 in unit 3. Both coordinates are copied from the unit-1 candidate arrays. This is a single entrance-facing background view, not a reconstruction of both consuming shots' distinct subject-facing positions."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Show the forward portion of unit 1 toward unit 3, with opening marker 4 at the selected look-at cell. Keep marker 4 in its committed south-wall position and preserve its inward opening toward the east. Treat the geometry's visible-unit and visible-opening lists as supersets rather than guarantees; the full marker inventory is not an instruction to bring every marker into this view.",
          "camera_framing_directive": "Use camera unit 1 at [6, 5], looking toward unit 3 at [8, 4], with normal-lens neutral coverage and a 50-degree field of view. Preserve this fixed background framing; do not combine the two consuming shots' distinct camera positions into one perspective.",
          "subject_position_directive": "Keep the clean background free of rendered subjects while preserving space for the committed shot-specific compositions. S86_Shot2 places 현우 right of center, with 지소영 immediately outside the left edge and his pointing forearm directed toward that off-screen position rather than the lens. S86_Shot5 places 지소영 left of center with separated open hands below her face, addressing 현우 beyond the right crop. These are separate subject-layer arrangements, not simultaneous occupants to bake into the plate.",
          "state_cue_directive": "No committed state cue beyond \"clean residential space\" applies to this clean background with no transient markers; refrain from inventing additional cues. Preserve the explicitly staged open configuration of marker 4 for S86_Shot2. Use the committed restrained ambient illumination without inventing a colored source.",
          "negative_continuity_directive": "No numbered elements or state-overlay markers are explicitly ignored. Avoid relocating marker 4 or changing the fixed arrangement of markers 5, 6, 7, 8, and 11 to force them into frame. Do not force units 2, 9, or 10 into this entrance-facing cone merely because they occur in the visibility supersets. Do not invent opening adjacency, additional overlays, or a second perspective within this plate."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_l270_director_suite",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_l270_director_suite"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L278B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L278",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L278B01.png",
        "t2i_prompt": "2069년 기후 재난 이후 대한민국의 건물 옥상 잔디공원을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실제 장소 기록 사진과 구별되지 않는 물리적 질감과 원근감으로 표현한다. 풀프레임 미러리스 카메라의 28밀리미터 광각 렌즈를 사용하고, 남쪽 통행로와 동쪽 헬기 착지면이 만나는 남동쪽 지점에서 약 1.6미터의 서 있는 눈높이로 북서쪽을 바라본다. 내려다보는 평면 구도가 아니라, 가까운 바닥부터 잔디 위 스피커와 거대한 안테나까지 깊이가 이어지는 수평에 가까운 시선이다. 자연스러운 광학적 심도를 유지한다.\n\n참조 평면도는 공간의 배치와 고정 시설의 위치를 이해하는 데만 사용한다. 직사각형 옥상 둘레에는 연속된 낮은 난간벽이 있고, 서쪽과 중앙에는 잔디가, 동쪽에는 잔디와 벽 없이 맞닿은 헬기 착지면이 있다. 남쪽 통행로가 잔디와 착지면, 남서쪽 계단실을 연결하며, 계단실 동쪽 벽의 출입문이 통행로를 향한다. 잔디 북쪽 중앙에는 거대한 금속 안테나가 서 있고, 그 바로 남쪽에는 여러 방향을 향한 스피커 조립체가 자리한다. 한국의 철근콘크리트 건물 옥상에서 볼 수 있는 방수 마감, 콘크리트 난간벽의 빗물 얼룩, 금속 출입문의 도장 마모, 안테나와 스피커 지지부의 실제 금속 부식과 체결부를 세밀하게 담는다. 잔디는 흙과 개별 잎의 질감이 드러나는 실제 식생이며, 미래 시설도 현실적인 구조와 재료로 이루어져 있다.\n\n한낮의 자연광 아래, 중앙 잔디와 헬기 착지면의 경계를 따라 탄격으로 패인 흙과 찢긴 잔디, 단단한 표면의 작은 충격 자국이 이어진다. 동쪽 착지면에는 무장 헬기 한 대가 착륙해 착륙장치로 바닥을 지지하고 있다. 기체와 부착 무장은 실제 항공기 금속 외판과 기계 구조로 보이며, 안테나 및 스피커와 충분히 떨어져 있다. 스피커의 남동쪽이자 착지면의 서쪽인 잔디 동중앙에서 새하얀 에너지 기둥이 지면에 닿은 채 수직으로 솟아 화면 위로 이어진다. 이 기둥의 강한 빛이 카메라 노출을 압도하여 중심부와 바로 인접한 부분의 세부가 순백색으로 날아가고, 가까운 잔디와 금속 표면에 강한 백색 반사광이 맺힌다. 빛에서 떨어진 화면 가장자리에는 같은 실제 옥상의 난간벽, 잔디, 안테나와 헬기의 공간적 관계가 남아 있어 장소가 바뀌지 않았음을 알 수 있다. 별개의 환상 공간이 아니라 같은 옥상에서 강광을 직접 촬영한 순간이다. 낮의 자연광과 강광에 대한 실제 카메라의 노출 반응을 따르고, 인위적인 색 보정 없이 콘크리트의 회색과 잔디의 자연색을 유지한다. 사람, 얼굴, 인체 형상은 어디에도 보이지 않으며 헬기 내부에도 탑승자가 보이지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S89_Shot42",
            "guide_text": "남동쪽 통행로와 착지면의 접점에서 북서쪽을 보는 눈높이 광각 구도를 기준으로 삼는다. 잔디 중앙의 탄격 흔적, 북쪽 안테나와 그 남쪽 스피커, 동쪽 착지면의 헬기 사이의 거리 관계를 유지한다. 잔디 동중앙에서 솟는 백색 기둥의 과노출을 반영하되, 화면 주변에 남는 바닥과 시설로 실제 옥상임을 읽을 수 있게 한다. 인물이나 인체 형상은 넣지 않는다."
          },
          {
            "shot_id": "S89_Shot53",
            "guide_text": "같은 옥상의 재료, 낮의 자연광, 시설 배치와 착륙한 헬기의 위치를 연속적으로 유지한다. 백색 에너지 기둥의 지면 접점은 스피커 남동쪽이면서 착지면 서쪽인 잔디에 고정한다. 강광이 노출을 압도하는 부분에서도 별도의 흰 공간으로 전환하지 말고, 화면 가장자리의 난간벽과 잔디, 금속 시설에 남는 실제 질감과 반사광으로 장소의 연속성을 유지한다. 인물이나 탑승자는 묘사하지 않는다."
          }
        ],
        "shot_ids": [
          "S89_Shot42",
          "S89_Shot53"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_2",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Near the southeast junction of number 4 (circulation strip) and number 3 (touchdown surface), facing northwest across number 2 (lawn) toward numbers 8 (speakers) and 7 (antenna).",
          "camera_height": "eye-level standing, approximately 1.6 m",
          "lens_hint": "28mm wide angle",
          "framing_notes": "Use one fixed camera for both assigned shots. Keep the landed helicopter at number 11 on the right, the antenna and speakers in the middle distance, and the access enclosure toward the left edge. Retain bullet impact damage at number 10. Number 12 is applicable only to the energy-release moment, not the earlier landing view: its white vertical column overwhelms exposure on this same physical rooftop without replacing the setting with an abstract or imagined space. The marker applicability set is the union of the two shot states; activate the beam only for the energy-release shot."
        },
        "reference_decision": {
          "bg_id": "L278B01",
          "fp_id": "fp_l278_roof_antenna_deck",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L278B01 is the sole supplied anchor candidate and is renderable for both surfaced shots. The candidate metadata explicitly permits this fallback despite clean_background_expected=false. Establish the fixed layout fresh from the floor plan, using broad coverage from unit 4 toward unit 2 to support the continuous ground plane and fixed markers 7 and 8. Treat the two shots' subject arrangements and transient cues separately rather than combining their actions.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_l278_roof_antenna_deck.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The first node establishes the same-fp identity without a prior background reference; the reference catalog is empty.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 4,
            "camera_cell": [
              8,
              5
            ],
            "look_at_unit": 2,
            "look_at_cell": [
              3,
              5
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad coverage from unit 4 toward marker 8 within unit 2, retaining the adjoining visible portions of units 1 and 3 and the forward portion of unit 9. This is a representative fixed plan position for the two wide consuming shots, not a separate geometry commitment for each phase of their camera movement."
          },
          "render_guidance": {
            "visible_space_directive": "Establish the visible ground of units 1 and 2 from unit 4, with adjoining unit 3 on the right and the forward boundary of unit 9. Keep marker 7 at [1, 4] and marker 8 at [3, 5], with marker 8 south of marker 7. Units 2 and 3 adjoin without an intervening wall. The visibility supersets do not require unit 5 or opening 6 to appear in this forward-facing view.",
            "camera_framing_directive": "Use camera unit 4 at [8, 5], looking into unit 2 at [3, 5], with a wide lens and 90-degree field of view. Preserve broad ground-plane coverage. For S89_Shot42, retain the staged full-body center-right composition and low-left foreground allowance; for S89_Shot53, reserve lower-frame ground and an uninterrupted upper-center vertical path with lateral negative space. Apply those shot-specific compositions separately.",
            "subject_position_directive": "For S89_Shot42, the committed staging places 윤성찬 full-body at center-right, one foot on the step, directing his gaze downward, with 현우 cropped low at the left edge. For S89_Shot53, 찰리 is near lower center and 현우 is at lower left beneath the vertical event. Preserve these distinct subject-placement allowances without merging the two shot arrangements or inventing additional subjects.",
            "state_cue_directive": "Use overlay markers 10, 11 and 12 only as supported by each consuming shot. S89_Shot42 commits marker 11 landed, with its step-bearing side oblique and its visible portion occupying less than two-fifths of the image, under daytime ambient light. S89_Shot53 commits marker 12 continuing upward from the staged chest-ring origin toward upper center, locally overwhelming daylight while retaining its origin. Marker 10 is the supplied damage cue; do not expand its unspecified distribution. This fallback anchor is not a clean-background plate.",
            "negative_continuity_directive": "Exclude markers 13, 14 and 15. Do not introduce a division between units 2 and 3, relocate markers 7 or 8, or force unit 5 and opening 6 into the forward view merely because they occur in visibility supersets. Do not combine the separate subject arrangements of S89_Shot42 and S89_Shot53."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [8, 5]\n  - look_at_unit: 2\n  - look_at_cell: [3, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad coverage from unit 4 toward marker 8 within unit 2, retaining the adjoining visible portions of units 1 and 3 and the forward portion of unit 9. This is a representative fixed plan position for the two wide consuming shots, not a separate geometry commitment for each phase of their camera movement.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish the visible ground of units 1 and 2 from unit 4, with adjoining unit 3 on the right and the forward boundary of unit 9. Keep marker 7 at [1, 4] and marker 8 at [3, 5], with marker 8 south of marker 7. Units 2 and 3 adjoin without an intervening wall. The visibility supersets do not require unit 5 or opening 6 to appear in this forward-facing view.\n  - camera_framing_directive: Use camera unit 4 at [8, 5], looking into unit 2 at [3, 5], with a wide lens and 90-degree field of view. Preserve broad ground-plane coverage. For S89_Shot42, retain the staged full-body center-right composition and low-left foreground allowance; for S89_Shot53, reserve lower-frame ground and an uninterrupted upper-center vertical path with lateral negative space. Apply those shot-specific compositions separately.\n  - subject_position_directive: For S89_Shot42, the committed staging places 윤성찬 full-body at center-right, one foot on the step, directing his gaze downward, with 현우 cropped low at the left edge. For S89_Shot53, 찰리 is near lower center and 현우 is at lower left beneath the vertical event. Preserve these distinct subject-placement allowances without merging the two shot arrangements or inventing additional subjects.\n  - state_cue_directive: Use overlay markers 10, 11 and 12 only as supported by each consuming shot. S89_Shot42 commits marker 11 landed, with its step-bearing side oblique and its visible portion occupying less than two-fifths of the image, under daytime ambient light. S89_Shot53 commits marker 12 continuing upward from the staged chest-ring origin toward upper center, locally overwhelming daylight while retaining its origin. Marker 10 is the supplied damage cue; do not expand its unspecified distribution. This fallback anchor is not a clean-background plate.\n  - negative_continuity_directive: Exclude markers 13, 14 and 15. Do not introduce a division between units 2 and 3, relocate markers 7 or 8, or force unit 5 and opening 6 into the forward view merely because they occur in visibility supersets. Do not combine the separate subject arrangements of S89_Shot42 and S89_Shot53.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [8, 5]\n  - look_at_unit: 2\n  - look_at_cell: [3, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad coverage from unit 4 toward marker 8 within unit 2, retaining the adjoining visible portions of units 1 and 3 and the forward portion of unit 9. This is a representative fixed plan position for the two wide consuming shots, not a separate geometry commitment for each phase of their camera movement.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish the visible ground of units 1 and 2 from unit 4, with adjoining unit 3 on the right and the forward boundary of unit 9. Keep marker 7 at [1, 4] and marker 8 at [3, 5], with marker 8 south of marker 7. Units 2 and 3 adjoin without an intervening wall. The visibility supersets do not require unit 5 or opening 6 to appear in this forward-facing view.\n  - camera_framing_directive: Use camera unit 4 at [8, 5], looking into unit 2 at [3, 5], with a wide lens and 90-degree field of view. Preserve broad ground-plane coverage. For S89_Shot42, retain the staged full-body center-right composition and low-left foreground allowance; for S89_Shot53, reserve lower-frame ground and an uninterrupted upper-center vertical path with lateral negative space. Apply those shot-specific compositions separately.\n  - subject_position_directive: For S89_Shot42, the committed staging places 윤성찬 full-body at center-right, one foot on the step, directing his gaze downward, with 현우 cropped low at the left edge. For S89_Shot53, 찰리 is near lower center and 현우 is at lower left beneath the vertical event. Preserve these distinct subject-placement allowances without merging the two shot arrangements or inventing additional subjects.\n  - state_cue_directive: Use overlay markers 10, 11 and 12 only as supported by each consuming shot. S89_Shot42 commits marker 11 landed, with its step-bearing side oblique and its visible portion occupying less than two-fifths of the image, under daytime ambient light. S89_Shot53 commits marker 12 continuing upward from the staged chest-ring origin toward upper center, locally overwhelming daylight while retaining its origin. Marker 10 is the supplied damage cue; do not expand its unspecified distribution. This fallback anchor is not a clean-background plate.\n  - negative_continuity_directive: Exclude markers 13, 14 and 15. Do not introduce a division between units 2 and 3, relocate markers 7 or 8, or force unit 5 and opening 6 into the forward view merely because they occur in visibility supersets. Do not combine the separate subject arrangements of S89_Shot42 and S89_Shot53.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [8, 5]\n  - look_at_unit: 2\n  - look_at_cell: [3, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad coverage from unit 4 toward marker 8 within unit 2, retaining the adjoining visible portions of units 1 and 3 and the forward portion of unit 9. This is a representative fixed plan position for the two wide consuming shots, not a separate geometry commitment for each phase of their camera movement.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish the visible ground of units 1 and 2 from unit 4, with adjoining unit 3 on the right and the forward boundary of unit 9. Keep marker 7 at [1, 4] and marker 8 at [3, 5], with marker 8 south of marker 7. Units 2 and 3 adjoin without an intervening wall. The visibility supersets do not require unit 5 or opening 6 to appear in this forward-facing view.\n  - camera_framing_directive: Use camera unit 4 at [8, 5], looking into unit 2 at [3, 5], with a wide lens and 90-degree field of view. Preserve broad ground-plane coverage. For S89_Shot42, retain the staged full-body center-right composition and low-left foreground allowance; for S89_Shot53, reserve lower-frame ground and an uninterrupted upper-center vertical path with lateral negative space. Apply those shot-specific compositions separately.\n  - subject_position_directive: For S89_Shot42, the committed staging places 윤성찬 full-body at center-right, one foot on the step, directing his gaze downward, with 현우 cropped low at the left edge. For S89_Shot53, 찰리 is near lower center and 현우 is at lower left beneath the vertical event. Preserve these distinct subject-placement allowances without merging the two shot arrangements or inventing additional subjects.\n  - state_cue_directive: Use overlay markers 10, 11 and 12 only as supported by each consuming shot. S89_Shot42 commits marker 11 landed, with its step-bearing side oblique and its visible portion occupying less than two-fifths of the image, under daytime ambient light. S89_Shot53 commits marker 12 continuing upward from the staged chest-ring origin toward upper center, locally overwhelming daylight while retaining its origin. Marker 10 is the supplied damage cue; do not expand its unspecified distribution. This fallback anchor is not a clean-background plate.\n  - negative_continuity_directive: Exclude markers 13, 14 and 15. Do not introduce a division between units 2 and 3, relocate markers 7 or 8, or force unit 5 and opening 6 into the forward view merely because they occur in visibility supersets. Do not combine the separate subject arrangements of S89_Shot42 and S89_Shot53.\n\n2069년 기후 재난 이후 대한민국의 건물 옥상 잔디공원을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실제 장소 기록 사진과 구별되지 않는 물리적 질감과 원근감으로 표현한다. 풀프레임 미러리스 카메라의 28밀리미터 광각 렌즈를 사용하고, 남쪽 통행로와 동쪽 헬기 착지면이 만나는 남동쪽 지점에서 약 1.6미터의 서 있는 눈높이로 북서쪽을 바라본다. 내려다보는 평면 구도가 아니라, 가까운 바닥부터 잔디 위 스피커와 거대한 안테나까지 깊이가 이어지는 수평에 가까운 시선이다. 자연스러운 광학적 심도를 유지한다.\n\n참조 평면도는 공간의 배치와 고정 시설의 위치를 이해하는 데만 사용한다. 직사각형 옥상 둘레에는 연속된 낮은 난간벽이 있고, 서쪽과 중앙에는 잔디가, 동쪽에는 잔디와 벽 없이 맞닿은 헬기 착지면이 있다. 남쪽 통행로가 잔디와 착지면, 남서쪽 계단실을 연결하며, 계단실 동쪽 벽의 출입문이 통행로를 향한다. 잔디 북쪽 중앙에는 거대한 금속 안테나가 서 있고, 그 바로 남쪽에는 여러 방향을 향한 스피커 조립체가 자리한다. 한국의 철근콘크리트 건물 옥상에서 볼 수 있는 방수 마감, 콘크리트 난간벽의 빗물 얼룩, 금속 출입문의 도장 마모, 안테나와 스피커 지지부의 실제 금속 부식과 체결부를 세밀하게 담는다. 잔디는 흙과 개별 잎의 질감이 드러나는 실제 식생이며, 미래 시설도 현실적인 구조와 재료로 이루어져 있다.\n\n한낮의 자연광 아래, 중앙 잔디와 헬기 착지면의 경계를 따라 탄격으로 패인 흙과 찢긴 잔디, 단단한 표면의 작은 충격 자국이 이어진다. 동쪽 착지면에는 무장 헬기 한 대가 착륙해 착륙장치로 바닥을 지지하고 있다. 기체와 부착 무장은 실제 항공기 금속 외판과 기계 구조로 보이며, 안테나 및 스피커와 충분히 떨어져 있다. 스피커의 남동쪽이자 착지면의 서쪽인 잔디 동중앙에서 새하얀 에너지 기둥이 지면에 닿은 채 수직으로 솟아 화면 위로 이어진다. 이 기둥의 강한 빛이 카메라 노출을 압도하여 중심부와 바로 인접한 부분의 세부가 순백색으로 날아가고, 가까운 잔디와 금속 표면에 강한 백색 반사광이 맺힌다. 빛에서 떨어진 화면 가장자리에는 같은 실제 옥상의 난간벽, 잔디, 안테나와 헬기의 공간적 관계가 남아 있어 장소가 바뀌지 않았음을 알 수 있다. 별개의 환상 공간이 아니라 같은 옥상에서 강광을 직접 촬영한 순간이다. 낮의 자연광과 강광에 대한 실제 카메라의 노출 반응을 따르고, 인위적인 색 보정 없이 콘크리트의 회색과 잔디의 자연색을 유지한다. 사람, 얼굴, 인체 형상은 어디에도 보이지 않으며 헬기 내부에도 탑승자가 보이지 않는다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThe LAST attached image is a TOP-DOWN INTERIOR FLOOR PLAN of the building at this location — a STRUCTURAL REFERENCE ONLY, never content to draw. It defines the building's real scale: its footprint, room count, and the placement of its doors and windows. Render the scene so the building's exterior size, number of storeys, and the scale and placement of its doors and windows stay consistent with that plan. Do NOT draw the floor plan itself, its lines, text or numbers anywhere in the image.",
        "camera_decision": {
          "camera_unit": 4,
          "camera_cell": [
            8,
            5
          ],
          "look_at_unit": 2,
          "look_at_cell": [
            3,
            5
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad coverage from unit 4 toward marker 8 within unit 2, retaining the adjoining visible portions of units 1 and 3 and the forward portion of unit 9. This is a representative fixed plan position for the two wide consuming shots, not a separate geometry commitment for each phase of their camera movement."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Establish the visible ground of units 1 and 2 from unit 4, with adjoining unit 3 on the right and the forward boundary of unit 9. Keep marker 7 at [1, 4] and marker 8 at [3, 5], with marker 8 south of marker 7. Units 2 and 3 adjoin without an intervening wall. The visibility supersets do not require unit 5 or opening 6 to appear in this forward-facing view.",
          "camera_framing_directive": "Use camera unit 4 at [8, 5], looking into unit 2 at [3, 5], with a wide lens and 90-degree field of view. Preserve broad ground-plane coverage. For S89_Shot42, retain the staged full-body center-right composition and low-left foreground allowance; for S89_Shot53, reserve lower-frame ground and an uninterrupted upper-center vertical path with lateral negative space. Apply those shot-specific compositions separately.",
          "subject_position_directive": "For S89_Shot42, the committed staging places 윤성찬 full-body at center-right, one foot on the step, directing his gaze downward, with 현우 cropped low at the left edge. For S89_Shot53, 찰리 is near lower center and 현우 is at lower left beneath the vertical event. Preserve these distinct subject-placement allowances without merging the two shot arrangements or inventing additional subjects.",
          "state_cue_directive": "Use overlay markers 10, 11 and 12 only as supported by each consuming shot. S89_Shot42 commits marker 11 landed, with its step-bearing side oblique and its visible portion occupying less than two-fifths of the image, under daytime ambient light. S89_Shot53 commits marker 12 continuing upward from the staged chest-ring origin toward upper center, locally overwhelming daylight while retaining its origin. Marker 10 is the supplied damage cue; do not expand its unspecified distribution. This fallback anchor is not a clean-background plate.",
          "negative_continuity_directive": "Exclude markers 13, 14 and 15. Do not introduce a division between units 2 and 3, relocate markers 7 or 8, or force unit 5 and opening 6 into the forward view merely because they occur in visibility supersets. Do not combine the separate subject arrangements of S89_Shot42 and S89_Shot53."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_l278_roof_antenna_deck",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_l278_roof_antenna_deck",
            "building_fp:fp_l266_shelter_room"
          ],
          "ref_used": "refs_2",
          "db_write_policy": "checkpoint_only"
        },
        "building_fp_ref": {
          "fp_id": "fp_l266_shelter_room",
          "indoor_loc_sid": "L266",
          "group_id": "bg_island_research_complex",
          "fp_asset_id": "bdd32ecf-da94-4fca-85c2-769c0f9f8135"
        }
      },
      "L278B02": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L278",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L278B02.png",
        "t2i_prompt": "2069년 기후 재난 이후 대한민국의 건물 옥상을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실제 장소의 기록 사진과 구별되지 않는 사실적인 야간 배경이다. 풀프레임 미러리스 카메라와 35밀리미터 렌즈를 사용하며, 카메라는 바닥에서 약 1.6미터 높이의 서 있는 사람 눈높이에 둔다. 옥상 남쪽 통행 구역에서 북동쪽을 비스듬히 바라보며 동쪽 중앙의 훼손된 바닥을 전경과 중경에 담는다. 내려다보는 평면도 구도가 아니라 수평 방향의 공간 깊이가 보이는 현장 사진이다.\n\n참조 평면도는 시설의 종류와 상대 위치를 파악하는 용도로만 사용한다. 직사각형 옥상 가장자리를 좁은 콘크리트 난간이 연속해서 둘러싼다. 서쪽과 중앙에는 옥상 잔디 구역이 있고, 동쪽의 헬리콥터 착륙 면과 벽 없이 맞닿는다. 큰 안테나는 잔디 구역 북쪽 중앙이자 착륙 면 서쪽에 있으며, 전방향 스피커 조립체는 안테나 바로 남쪽에 놓여 있다. 두 기존 설비의 앞뒤 관계를 중경에서 읽을 수 있게 한다. 한국의 평지붕 건물에서 볼 수 있는 실용적인 콘크리트 난간, 노출 바닥의 거친 골재, 금속 설비의 오래된 부식과 체결부를 과장 없이 담는다.\n\n중앙 잔디와 착륙 면 경계에는 탄환 충격으로 패인 자국과 가장자리가 깨진 작은 손상들이 이어진다. 동쪽 중앙 잔디에는 검게 그을린 표면이 불규칙하게 퍼져 있고, 그 주변과 인접한 착륙 면 가장자리에 전투로 생긴 금속 파편과 바닥 조각이 흩어져 있다. 그을린 구역 중심에는 로봇 몸통에서 남은 산화된 금속 외피와 내부 구조물 잔해가 낮게 놓여 있다. 잔해는 찌그러진 기계 부품 덩어리로 보이게 하여 사람의 몸이나 완성된 로봇 실루엣으로 읽히지 않게 한다.\n\n희미한 달빛과 밤하늘의 자연 산란광이 표면의 요철을 드러낸다. 자연스럽게 차가운 회색빛을 띠되 잔디의 탁한 녹색, 산화 금속의 갈색, 그을음의 검정이 실제 재료의 색으로 구분된다. 밤의 낮은 밝기를 유지하면서 가까운 파편과 중경 설비를 판독할 수 있는 현실적인 노출과 자연스러운 피사계 심도. 실제 콘크리트의 얼룩과 사용감, 금속의 산화층, 잔디의 질감을 그대로 기록하며 인위적인 색 보정이나 과장된 조명을 사용하지 않는다. 사람, 얼굴, 사람 형태의 형상은 없는 빈 공간이다. 삽화나 컴퓨터 그래픽, 건축 시각화가 아닌 실제 현장 촬영 사진. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S89_Shot66",
            "guide_text": "남쪽 통행 구역에서 동쪽 중앙 잔디를 향한 사선 구도로, 전경의 흩어진 파편과 중경의 산화된 기계 잔해를 함께 담는다. 잔해는 사람 형태가 아닌 낮게 무너진 금속 구조물로 표현한다. 중앙 잔디에서 착륙 면으로 이어지는 탄환 충격 손상과 그을린 표면을 구별하고, 뒤쪽에는 안테나와 그 바로 남쪽 스피커의 위치 관계가 읽히도록 여백을 확보한다. 눈높이의 35밀리미터 사진 구도와 어두운 밤의 자연스러운 노출을 유지한다."
          }
        ],
        "shot_ids": [
          "S89_Shot66"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_2",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "At the southern edge of number 2 (lawn), just north of number 4 (circulation strip), facing north-northwest toward number 15 (torso remains), with numbers 8 (speakers) and 7 (antenna) beyond.",
          "camera_height": "low seated or kneeling viewpoint, approximately 0.9 m",
          "lens_hint": "35mm moderate wide angle",
          "framing_notes": "Nighttime aftermath on the same roof. Place number 15 prominently in the foreground amid numbers 13 and 14, retaining number 10 rather than restoring the surface. Preserve recognizable antenna and speaker positions in the background without assuming they are undamaged. The touchdown-surface edge may remain at frame right. Exclude the energy column completely; do not retain daytime whiteout or add a surviving glow. Keep the helicopter out of this aftermath framing without asserting its fate."
        },
        "reference_decision": {
          "bg_id": "L278B02",
          "fp_id": "fp_l278_roof_antenna_deck",
          "node_index": 1,
          "mode": "same_physical_space_view",
          "is_dwelling_identity_anchor": false,
          "rationale": "L278B02 shares the same-fp physical space and base markers 1, 2, 3, 7, 8 and 9 with L278B01, so it must inherit that fixed layout rather than compose a new space. Keep the same plan camera and look-at pair for continuity while accommodating S89_Shot66's elevated oblique framing. Despite matching plan geometry, marker 13 commits additional surface damage, so this is not a purely scene-layer low-delta reuse candidate. The staging's location wording does not supply geometry for a different space and must not override the committed fp assignment.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L278B01.png"
          ],
          "source_bg_ids": [
            "L278B01"
          ],
          "fp_included": false,
          "reference_decision": {
            "selected_refs": [
              {
                "ref_bg_id": "L278B01",
                "physical_space_id": "fp_l278_roof_antenna_deck_space_01",
                "space_description": "Continuous physical space containing units 1, 2 and 3, bounded by unit 9, with fixed markers 7 and 8."
              }
            ],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "single_same_physical_space_reference",
            "why_single_ref_or_two_refs": "L278B01 supplies the fixed identity of the continuous space used by S89_Shot66. No second distinct-space reference is available or required.",
            "physical_space_id_per_ref": [
              "fp_l278_roof_antenna_deck_space_01"
            ],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 4,
            "camera_cell": [
              8,
              5
            ],
            "look_at_unit": 2,
            "look_at_cell": [
              3,
              5
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Retain L278B01's plan position and target with broad 90-degree coverage. Use S89_Shot66's committed elevated oblique side-view framing and generous empty ground around the lower-middle full-body embrace; elevation is a staging cue, not a newly invented grid coordinate."
          },
          "render_guidance": {
            "visible_space_directive": "Show the forward portions of units 1 and 2, the adjoining portion of unit 3, and the forward boundary of unit 9 from camera unit 4. Preserve L278B01's fixed unit relationships and the positions of markers 7 at [1, 4] and 8 at [3, 5]. Keep units 2 and 3 continuously connected without an intervening wall.",
            "camera_framing_directive": "Use camera unit 4 at [8, 5], looking into unit 2 at [3, 5], with a wide lens and 90-degree field of view. Follow the committed elevated oblique side view looking down on the lower-middle full-body embrace, preserving generous empty ground. Retain the reference's plan geometry while applying this shot's staged vertical framing.",
            "subject_position_directive": "S89_Shot66 places 현우's entire kneeling body in the lower middle, in profile_right, with both arms tightly embracing 찰리's inert surviving torso. His head is directed upward rather than toward the camera. Treat the remains associated with marker 15 as held within the embrace, not as a separate display object elsewhere in the space.",
            "state_cue_directive": "Carry markers 10, 13, 14 and 15: Bullet impact damage, Scorched roof surface, Scattered battle debris, and Oxidized robot torso remains. Marker 13 adds surface damage to the shared fixed layout. Keep marker 15 consistent with the staged embrace. Use the committed subdued nighttime ambient illumination without introducing a visible or specifically colored light source, and retain generous unoccupied ground rather than filling it with additional cues.",
            "negative_continuity_directive": "Exclude markers 11 and 12, including their appearance in reference L278B01. Preserve markers 7 and 8 and the fixed relationships of units 1, 2, 3 and 9; do not reinterpret the state change as a different layout. Do not force unit 5 or opening 6 into this view, duplicate marker 15 away from the staged subject placement, or add unlisted overlays."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L278B01' physical_space_id='fp_l278_roof_antenna_deck_space_01'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [8, 5]\n  - look_at_unit: 2\n  - look_at_cell: [3, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Retain L278B01's plan position and target with broad 90-degree coverage. Use S89_Shot66's committed elevated oblique side-view framing and generous empty ground around the lower-middle full-body embrace; elevation is a staging cue, not a newly invented grid coordinate.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward portions of units 1 and 2, the adjoining portion of unit 3, and the forward boundary of unit 9 from camera unit 4. Preserve L278B01's fixed unit relationships and the positions of markers 7 at [1, 4] and 8 at [3, 5]. Keep units 2 and 3 continuously connected without an intervening wall.\n  - camera_framing_directive: Use camera unit 4 at [8, 5], looking into unit 2 at [3, 5], with a wide lens and 90-degree field of view. Follow the committed elevated oblique side view looking down on the lower-middle full-body embrace, preserving generous empty ground. Retain the reference's plan geometry while applying this shot's staged vertical framing.\n  - subject_position_directive: S89_Shot66 places 현우's entire kneeling body in the lower middle, in profile_right, with both arms tightly embracing 찰리's inert surviving torso. His head is directed upward rather than toward the camera. Treat the remains associated with marker 15 as held within the embrace, not as a separate display object elsewhere in the space.\n  - state_cue_directive: Carry markers 10, 13, 14 and 15: Bullet impact damage, Scorched roof surface, Scattered battle debris, and Oxidized robot torso remains. Marker 13 adds surface damage to the shared fixed layout. Keep marker 15 consistent with the staged embrace. Use the committed subdued nighttime ambient illumination without introducing a visible or specifically colored light source, and retain generous unoccupied ground rather than filling it with additional cues.\n  - negative_continuity_directive: Exclude markers 11 and 12, including their appearance in reference L278B01. Preserve markers 7 and 8 and the fixed relationships of units 1, 2, 3 and 9; do not reinterpret the state change as a different layout. Do not force unit 5 or opening 6 into this view, duplicate marker 15 away from the staged subject placement, or add unlisted overlays.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L278B01' physical_space_id='fp_l278_roof_antenna_deck_space_01'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [8, 5]\n  - look_at_unit: 2\n  - look_at_cell: [3, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Retain L278B01's plan position and target with broad 90-degree coverage. Use S89_Shot66's committed elevated oblique side-view framing and generous empty ground around the lower-middle full-body embrace; elevation is a staging cue, not a newly invented grid coordinate.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward portions of units 1 and 2, the adjoining portion of unit 3, and the forward boundary of unit 9 from camera unit 4. Preserve L278B01's fixed unit relationships and the positions of markers 7 at [1, 4] and 8 at [3, 5]. Keep units 2 and 3 continuously connected without an intervening wall.\n  - camera_framing_directive: Use camera unit 4 at [8, 5], looking into unit 2 at [3, 5], with a wide lens and 90-degree field of view. Follow the committed elevated oblique side view looking down on the lower-middle full-body embrace, preserving generous empty ground. Retain the reference's plan geometry while applying this shot's staged vertical framing.\n  - subject_position_directive: S89_Shot66 places 현우's entire kneeling body in the lower middle, in profile_right, with both arms tightly embracing 찰리's inert surviving torso. His head is directed upward rather than toward the camera. Treat the remains associated with marker 15 as held within the embrace, not as a separate display object elsewhere in the space.\n  - state_cue_directive: Carry markers 10, 13, 14 and 15: Bullet impact damage, Scorched roof surface, Scattered battle debris, and Oxidized robot torso remains. Marker 13 adds surface damage to the shared fixed layout. Keep marker 15 consistent with the staged embrace. Use the committed subdued nighttime ambient illumination without introducing a visible or specifically colored light source, and retain generous unoccupied ground rather than filling it with additional cues.\n  - negative_continuity_directive: Exclude markers 11 and 12, including their appearance in reference L278B01. Preserve markers 7 and 8 and the fixed relationships of units 1, 2, 3 and 9; do not reinterpret the state change as a different layout. Do not force unit 5 or opening 6 into this view, duplicate marker 15 away from the staged subject placement, or add unlisted overlays.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L278B01' physical_space_id='fp_l278_roof_antenna_deck_space_01'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [8, 5]\n  - look_at_unit: 2\n  - look_at_cell: [3, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Retain L278B01's plan position and target with broad 90-degree coverage. Use S89_Shot66's committed elevated oblique side-view framing and generous empty ground around the lower-middle full-body embrace; elevation is a staging cue, not a newly invented grid coordinate.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward portions of units 1 and 2, the adjoining portion of unit 3, and the forward boundary of unit 9 from camera unit 4. Preserve L278B01's fixed unit relationships and the positions of markers 7 at [1, 4] and 8 at [3, 5]. Keep units 2 and 3 continuously connected without an intervening wall.\n  - camera_framing_directive: Use camera unit 4 at [8, 5], looking into unit 2 at [3, 5], with a wide lens and 90-degree field of view. Follow the committed elevated oblique side view looking down on the lower-middle full-body embrace, preserving generous empty ground. Retain the reference's plan geometry while applying this shot's staged vertical framing.\n  - subject_position_directive: S89_Shot66 places 현우's entire kneeling body in the lower middle, in profile_right, with both arms tightly embracing 찰리's inert surviving torso. His head is directed upward rather than toward the camera. Treat the remains associated with marker 15 as held within the embrace, not as a separate display object elsewhere in the space.\n  - state_cue_directive: Carry markers 10, 13, 14 and 15: Bullet impact damage, Scorched roof surface, Scattered battle debris, and Oxidized robot torso remains. Marker 13 adds surface damage to the shared fixed layout. Keep marker 15 consistent with the staged embrace. Use the committed subdued nighttime ambient illumination without introducing a visible or specifically colored light source, and retain generous unoccupied ground rather than filling it with additional cues.\n  - negative_continuity_directive: Exclude markers 11 and 12, including their appearance in reference L278B01. Preserve markers 7 and 8 and the fixed relationships of units 1, 2, 3 and 9; do not reinterpret the state change as a different layout. Do not force unit 5 or opening 6 into this view, duplicate marker 15 away from the staged subject placement, or add unlisted overlays.\n\n2069년 기후 재난 이후 대한민국의 건물 옥상을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실제 장소의 기록 사진과 구별되지 않는 사실적인 야간 배경이다. 풀프레임 미러리스 카메라와 35밀리미터 렌즈를 사용하며, 카메라는 바닥에서 약 1.6미터 높이의 서 있는 사람 눈높이에 둔다. 옥상 남쪽 통행 구역에서 북동쪽을 비스듬히 바라보며 동쪽 중앙의 훼손된 바닥을 전경과 중경에 담는다. 내려다보는 평면도 구도가 아니라 수평 방향의 공간 깊이가 보이는 현장 사진이다.\n\n참조 평면도는 시설의 종류와 상대 위치를 파악하는 용도로만 사용한다. 직사각형 옥상 가장자리를 좁은 콘크리트 난간이 연속해서 둘러싼다. 서쪽과 중앙에는 옥상 잔디 구역이 있고, 동쪽의 헬리콥터 착륙 면과 벽 없이 맞닿는다. 큰 안테나는 잔디 구역 북쪽 중앙이자 착륙 면 서쪽에 있으며, 전방향 스피커 조립체는 안테나 바로 남쪽에 놓여 있다. 두 기존 설비의 앞뒤 관계를 중경에서 읽을 수 있게 한다. 한국의 평지붕 건물에서 볼 수 있는 실용적인 콘크리트 난간, 노출 바닥의 거친 골재, 금속 설비의 오래된 부식과 체결부를 과장 없이 담는다.\n\n중앙 잔디와 착륙 면 경계에는 탄환 충격으로 패인 자국과 가장자리가 깨진 작은 손상들이 이어진다. 동쪽 중앙 잔디에는 검게 그을린 표면이 불규칙하게 퍼져 있고, 그 주변과 인접한 착륙 면 가장자리에 전투로 생긴 금속 파편과 바닥 조각이 흩어져 있다. 그을린 구역 중심에는 로봇 몸통에서 남은 산화된 금속 외피와 내부 구조물 잔해가 낮게 놓여 있다. 잔해는 찌그러진 기계 부품 덩어리로 보이게 하여 사람의 몸이나 완성된 로봇 실루엣으로 읽히지 않게 한다.\n\n희미한 달빛과 밤하늘의 자연 산란광이 표면의 요철을 드러낸다. 자연스럽게 차가운 회색빛을 띠되 잔디의 탁한 녹색, 산화 금속의 갈색, 그을음의 검정이 실제 재료의 색으로 구분된다. 밤의 낮은 밝기를 유지하면서 가까운 파편과 중경 설비를 판독할 수 있는 현실적인 노출과 자연스러운 피사계 심도. 실제 콘크리트의 얼룩과 사용감, 금속의 산화층, 잔디의 질감을 그대로 기록하며 인위적인 색 보정이나 과장된 조명을 사용하지 않는다. 사람, 얼굴, 사람 형태의 형상은 없는 빈 공간이다. 삽화나 컴퓨터 그래픽, 건축 시각화가 아닌 실제 현장 촬영 사진. 16:9 가로 비율, 실제 카메라 촬영본\n\nThe LAST attached image is a TOP-DOWN INTERIOR FLOOR PLAN of the building at this location — a STRUCTURAL REFERENCE ONLY, never content to draw. It defines the building's real scale: its footprint, room count, and the placement of its doors and windows. Render the scene so the building's exterior size, number of storeys, and the scale and placement of its doors and windows stay consistent with that plan. Do NOT draw the floor plan itself, its lines, text or numbers anywhere in the image.",
        "camera_decision": {
          "camera_unit": 4,
          "camera_cell": [
            8,
            5
          ],
          "look_at_unit": 2,
          "look_at_cell": [
            3,
            5
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Retain L278B01's plan position and target with broad 90-degree coverage. Use S89_Shot66's committed elevated oblique side-view framing and generous empty ground around the lower-middle full-body embrace; elevation is a staging cue, not a newly invented grid coordinate."
        },
        "shot_aware_plan_node_index": 1,
        "shot_aware_plan_mode": "same_physical_space_view",
        "render_guidance": {
          "visible_space_directive": "Show the forward portions of units 1 and 2, the adjoining portion of unit 3, and the forward boundary of unit 9 from camera unit 4. Preserve L278B01's fixed unit relationships and the positions of markers 7 at [1, 4] and 8 at [3, 5]. Keep units 2 and 3 continuously connected without an intervening wall.",
          "camera_framing_directive": "Use camera unit 4 at [8, 5], looking into unit 2 at [3, 5], with a wide lens and 90-degree field of view. Follow the committed elevated oblique side view looking down on the lower-middle full-body embrace, preserving generous empty ground. Retain the reference's plan geometry while applying this shot's staged vertical framing.",
          "subject_position_directive": "S89_Shot66 places 현우's entire kneeling body in the lower middle, in profile_right, with both arms tightly embracing 찰리's inert surviving torso. His head is directed upward rather than toward the camera. Treat the remains associated with marker 15 as held within the embrace, not as a separate display object elsewhere in the space.",
          "state_cue_directive": "Carry markers 10, 13, 14 and 15: Bullet impact damage, Scorched roof surface, Scattered battle debris, and Oxidized robot torso remains. Marker 13 adds surface damage to the shared fixed layout. Keep marker 15 consistent with the staged embrace. Use the committed subdued nighttime ambient illumination without introducing a visible or specifically colored light source, and retain generous unoccupied ground rather than filling it with additional cues.",
          "negative_continuity_directive": "Exclude markers 11 and 12, including their appearance in reference L278B01. Preserve markers 7 and 8 and the fixed relationships of units 1, 2, 3 and 9; do not reinterpret the state change as a different layout. Do not force unit 5 or opening 6 into this view, duplicate marker 15 away from the staged subject placement, or add unlisted overlays."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_l278_roof_antenna_deck",
          "prior_bg_ids": [
            "L278B01"
          ],
          "attached_ref_labels": [
            "bg:L278B01",
            "building_fp:fp_l266_shelter_room"
          ],
          "ref_used": "refs_2",
          "db_write_policy": "checkpoint_only"
        },
        "building_fp_ref": {
          "fp_id": "fp_l266_shelter_room",
          "indoor_loc_sid": "L266",
          "group_id": "bg_island_research_complex",
          "fp_asset_id": "bdd32ecf-da94-4fca-85c2-769c0f9f8135"
        }
      },
      "L282B02": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L282",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L282B02.png",
        "t2i_prompt": "실제 카메라로 촬영한 다큐멘터리 풍 사진. 기후 재난 이후인 2069년 대한민국의 유지·관리되는 부품 보관 및 복원 연구실 내부를 밤에 촬영한다. 넓고 어두운 직사각형 실내이며, 미래 시설이지만 실제 산업용 연구실의 실용적인 마감과 오래 사용한 장비의 물성을 갖춘다. 차가운 회색 콘크리트 표면과 금속 작업대에 미세한 긁힘, 손때, 일상적인 사용 흔적이 보이되 폐허처럼 과장하지 않는다.\n\n배치 참고 이미지에서는 공간과 고정 설비의 위치만 읽는다. 카메라는 실내 남서쪽에 두고 북동쪽을 비스듬히 바라본다. 높이 약 1.6미터의 서 있는 사람 눈높이, 실제 디지털 카메라의 35밀리미터 렌즈로 촬영한 원근감이다. 남쪽 중앙의 북향 의자 두 개를 전경에 두고, 그 너머 북쪽 중앙의 동서로 긴 복원 작업대와 북쪽 벽의 대형 상태 모니터가 함께 보인다. 작업대 주변의 작업 공간, 서쪽 이동 통로, 동쪽의 열린 설명 공간이 자연스럽게 구분된다. 의자 쪽에서 닿을 수 있는 작업대 남서쪽 가장자리에 일체형 제어 버튼이 있다. 작업대의 단정하고 무게감 있는 배치가 제단을 연상시키지만 실제 용도와 재질은 복원용 금속 작업대 그대로다.\n\n칩 전달 시점에는 작업대 위에 분해된 로봇의 기계 부품이 놓여 있다. 금속 외장 조각과 연결 부품은 개별 물체로 읽히게 하고 얼굴이나 신체 윤곽을 이루지 않는다. 기억 칩은 뒤편 두 의자 곁에서 전달되는 순간에만 속하는 작은 물체이므로, 이 빈 배경 사진의 작업대나 의자 위에 고정 소품으로 배치하지 않는다. 마지막 복원 시점으로 사용할 때에는 흩어진 부품 배치 대신 같은 작업대 위에 재조립된 실물 로봇이 놓이는 장면을 위한 바탕을 준비한다. 다만 이 배경 사진에는 재조립된 로봇의 몸체를 그리지 않고, 해당 대상이 들어갈 작업대 면을 확보한다. 두 시점의 부품 상태를 한 사진에 중복하지 않는다.\n\n대형 모니터의 화면 안에만 세계 지도와 지역별 공급 상태를 나타내는 절제된 도표로 전 세계 에너지원 공급 현황을 표시한다. 화면의 정보가 벽이나 공중으로 확장되지 않게 한다. 밤의 낮은 실내 주변광과 모니터에서 실제로 반사되는 약한 빛으로 작업대 가장자리와 의자 표면을 읽을 수 있게 하며, 어두운 부분에도 자연스러운 재질과 거리 차이를 남긴다. 조용한 실내의 현실적인 노출, 실제 금속의 반사와 표면 마모, 자연스러운 피사계 심도와 광원에 맞는 색을 유지한다. 과도한 보정 없는 실제 장소 기록 사진이며, 광고용으로 지나치게 깨끗하게 꾸민 사진이나 컴퓨터 생성 이미지가 아니다. 사람, 얼굴, 신체 형태의 형상은 화면과 반사를 포함해 어디에도 묘사하지 않는다. 위에서 내려다본 구도나 평면도, 건축 도식이 아닌 실내 눈높이 사진. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S90_Shot4",
            "guide_text": "칩 전달 시점의 배경으로 사용한다. 남서쪽 눈높이에서 의자 두 개 너머의 복원 작업대와 대형 모니터를 함께 잡고, 의자 곁 전달 위치를 가리지 않는 여백을 둔다. 작업대에는 신체 윤곽을 이루지 않는 분해 기계 부품을 배치한다. 기억 칩은 영구적인 배경 소품으로 그리지 않으며 전달 동작에 맞춰 별도로 처리한다. 인물이나 손은 배경에 포함하지 않는다. 전 세계 에너지 공급 현황은 모니터 안에서만 보인다."
          },
          {
            "shot_id": "S90_Shot13",
            "guide_text": "마지막 복원 시점의 배경으로 사용한다. 동일한 작업대, 뒤편 의자, 북쪽 벽 모니터의 위치와 밤의 조명을 유지한다. 작업대 위의 흩어진 분해 부품 배치를 제거하고, 재조립된 실물 로봇을 별도 합성할 수 있도록 작업대 면과 그 주변 여백을 확보한다. 배경 자체에는 신체 형태나 얼굴을 그리지 않는다. 칩 전달 순간을 재현하지 않으며, 모니터의 공급 현황은 화면 내부에 유지한다."
          }
        ],
        "shot_ids": [
          "S90_Shot4",
          "S90_Shot13"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "In the southwest portion of number 1, just east of number 2, facing diagonally northeast past numbers 8 and 9 toward number 7 and number 10.",
          "camera_height": "eye-level standing, approximately 1.6 m",
          "lens_hint": "35mm wide angle",
          "framing_notes": "Use the same camera and unchanged architecture for both shots. Keep number 7 prominent, number 10 readable behind it, and numbers 8 and 9 in the near foreground. Maintain a quiet nighttime laboratory. Overlay applicability is a union across this background's shots, not simultaneous staging: S90_Shot4 uses numbers 12 and 14 and excludes number 13; S90_Shot13 uses number 13 and excludes numbers 12 and 14. Number 16 remains screen-confined in both. The assembled physical body is not the hologram, and a chip alone does not establish completed restoration."
        },
        "reference_decision": {
          "bg_id": "L282B02",
          "fp_id": "fp_l282_restoration_lab",
          "node_index": 1,
          "mode": "same_physical_space_view",
          "is_dwelling_identity_anchor": false,
          "rationale": "Both staged shots use the same physical interior and the same base-marker set established by L282B01, so layout continuity is mandatory. Select a new unit-4-to-unit-3 view centered on marker 7 to prioritize S90_Shot13's exposed supporting surface and surrounding interior. This changes the camera cell from the anchor's diagonal entry view and is not merely a transient-state replacement. S90_Shot4 has a separate medium over-shoulder composition; its staging must remain shot-specific rather than being combined with S90_Shot13 into one simultaneous arrangement.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L282B01.png"
          ],
          "source_bg_ids": [
            "L282B01"
          ],
          "fp_included": false,
          "reference_decision": {
            "selected_refs": [
              {
                "ref_bg_id": "L282B01",
                "physical_space_id": "fp_l282_restoration_lab_space_1",
                "space_description": "The continuous interior of unit 1 containing units 3, 4, and 5 and base markers 7 through 11."
              }
            ],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "single_reference_same_physical_space",
            "why_single_ref_or_two_refs": "L282B01 supplies the fixed identity for the entire shared interior. The consuming shots do not establish two distinct physical spaces requiring separate references.",
            "physical_space_id_per_ref": [
              "fp_l282_restoration_lab_space_1"
            ],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 4,
            "camera_cell": [
              6,
              4
            ],
            "look_at_unit": 3,
            "look_at_cell": [
              3,
              4
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad coverage from unit 4 toward marker 7 in unit 3. This representative view prioritizes S90_Shot13's supporting surface and surrounding space. Its high-oblique elevation is a staging requirement not encoded by the two-dimensional grid. S90_Shot4's medium over-shoulder framing is a separate consuming-shot requirement, not an identical camera view."
          },
          "render_guidance": {
            "visible_space_directive": "From unit 4, show unit 3 around marker 7 and marker 10 beyond, within unit 1. Keep marker 7 at [3,4], marker 10 at [0,4], and marker 11 at [3,2], preserving their positions and fixed appearance from L282B01. Preserve markers 8 and 9 at their established positions even where outside this forward view. Do not force unit 5 or opening 6 into the frame merely because they occur in visibility supersets.",
            "camera_framing_directive": "Use camera unit 4 at [6,4], looking toward unit 3 at [3,4], with wide 90-degree coverage. For the representative S90_Shot13 composition, retain the staged high-oblique view of marker 7, with its supporting surface occupying roughly one-third of the composition and surrounding interior visible. The grid does not specify elevation. Keep S90_Shot4's medium diagonal over-shoulder requirement separate; do not portray it as the same framing as S90_Shot13.",
            "subject_position_directive": "Keep the two consuming-shot arrangements separate. S90_Shot4 places the seated subject's near shoulder before the standing subject's three-quarter upper body at center-right, with shoulder contact and marker 14 offered at lower center. S90_Shot13 instead places the complete supine subject on marker 7, feet lower left and head upper right, with closed eyes. Do not merge these temporally separated arrangements into a single subject tableau.",
            "state_cue_directive": "Use only the authorized transient set 12, 13, 14, and 16, with visibility and temporal state governed by the consuming shot. S90_Shot4 commits marker 14 held out before transfer, at natural finger-relative scale and without invented readable markings. S90_Shot13 commits the fully fitted physical body supported by marker 7, not ongoing assembly. Retain subdued illumination without an activation flash or an unsupported source. Do not treat every authorized transient marker as simultaneously required in frame.",
            "negative_continuity_directive": "Exclude markers 15 and 17, including their transient appearance inherited from L282B01. Avoid moving or redesigning base markers 7 through 11 when changing the camera. Do not pull markers 8 or 9 into the forward cone by relocation, infer unseen opening connections, or collapse the distinct S90_Shot4 and S90_Shot13 states into one frame."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L282B01' physical_space_id='fp_l282_restoration_lab_space_1'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [6, 4]\n  - look_at_unit: 3\n  - look_at_cell: [3, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad coverage from unit 4 toward marker 7 in unit 3. This representative view prioritizes S90_Shot13's supporting surface and surrounding space. Its high-oblique elevation is a staging requirement not encoded by the two-dimensional grid. S90_Shot4's medium over-shoulder framing is a separate consuming-shot requirement, not an identical camera view.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 4, show unit 3 around marker 7 and marker 10 beyond, within unit 1. Keep marker 7 at [3,4], marker 10 at [0,4], and marker 11 at [3,2], preserving their positions and fixed appearance from L282B01. Preserve markers 8 and 9 at their established positions even where outside this forward view. Do not force unit 5 or opening 6 into the frame merely because they occur in visibility supersets.\n  - camera_framing_directive: Use camera unit 4 at [6,4], looking toward unit 3 at [3,4], with wide 90-degree coverage. For the representative S90_Shot13 composition, retain the staged high-oblique view of marker 7, with its supporting surface occupying roughly one-third of the composition and surrounding interior visible. The grid does not specify elevation. Keep S90_Shot4's medium diagonal over-shoulder requirement separate; do not portray it as the same framing as S90_Shot13.\n  - subject_position_directive: Keep the two consuming-shot arrangements separate. S90_Shot4 places the seated subject's near shoulder before the standing subject's three-quarter upper body at center-right, with shoulder contact and marker 14 offered at lower center. S90_Shot13 instead places the complete supine subject on marker 7, feet lower left and head upper right, with closed eyes. Do not merge these temporally separated arrangements into a single subject tableau.\n  - state_cue_directive: Use only the authorized transient set 12, 13, 14, and 16, with visibility and temporal state governed by the consuming shot. S90_Shot4 commits marker 14 held out before transfer, at natural finger-relative scale and without invented readable markings. S90_Shot13 commits the fully fitted physical body supported by marker 7, not ongoing assembly. Retain subdued illumination without an activation flash or an unsupported source. Do not treat every authorized transient marker as simultaneously required in frame.\n  - negative_continuity_directive: Exclude markers 15 and 17, including their transient appearance inherited from L282B01. Avoid moving or redesigning base markers 7 through 11 when changing the camera. Do not pull markers 8 or 9 into the forward cone by relocation, infer unseen opening connections, or collapse the distinct S90_Shot4 and S90_Shot13 states into one frame.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L282B01' physical_space_id='fp_l282_restoration_lab_space_1'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [6, 4]\n  - look_at_unit: 3\n  - look_at_cell: [3, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad coverage from unit 4 toward marker 7 in unit 3. This representative view prioritizes S90_Shot13's supporting surface and surrounding space. Its high-oblique elevation is a staging requirement not encoded by the two-dimensional grid. S90_Shot4's medium over-shoulder framing is a separate consuming-shot requirement, not an identical camera view.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 4, show unit 3 around marker 7 and marker 10 beyond, within unit 1. Keep marker 7 at [3,4], marker 10 at [0,4], and marker 11 at [3,2], preserving their positions and fixed appearance from L282B01. Preserve markers 8 and 9 at their established positions even where outside this forward view. Do not force unit 5 or opening 6 into the frame merely because they occur in visibility supersets.\n  - camera_framing_directive: Use camera unit 4 at [6,4], looking toward unit 3 at [3,4], with wide 90-degree coverage. For the representative S90_Shot13 composition, retain the staged high-oblique view of marker 7, with its supporting surface occupying roughly one-third of the composition and surrounding interior visible. The grid does not specify elevation. Keep S90_Shot4's medium diagonal over-shoulder requirement separate; do not portray it as the same framing as S90_Shot13.\n  - subject_position_directive: Keep the two consuming-shot arrangements separate. S90_Shot4 places the seated subject's near shoulder before the standing subject's three-quarter upper body at center-right, with shoulder contact and marker 14 offered at lower center. S90_Shot13 instead places the complete supine subject on marker 7, feet lower left and head upper right, with closed eyes. Do not merge these temporally separated arrangements into a single subject tableau.\n  - state_cue_directive: Use only the authorized transient set 12, 13, 14, and 16, with visibility and temporal state governed by the consuming shot. S90_Shot4 commits marker 14 held out before transfer, at natural finger-relative scale and without invented readable markings. S90_Shot13 commits the fully fitted physical body supported by marker 7, not ongoing assembly. Retain subdued illumination without an activation flash or an unsupported source. Do not treat every authorized transient marker as simultaneously required in frame.\n  - negative_continuity_directive: Exclude markers 15 and 17, including their transient appearance inherited from L282B01. Avoid moving or redesigning base markers 7 through 11 when changing the camera. Do not pull markers 8 or 9 into the forward cone by relocation, infer unseen opening connections, or collapse the distinct S90_Shot4 and S90_Shot13 states into one frame.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L282B01' physical_space_id='fp_l282_restoration_lab_space_1'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [6, 4]\n  - look_at_unit: 3\n  - look_at_cell: [3, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad coverage from unit 4 toward marker 7 in unit 3. This representative view prioritizes S90_Shot13's supporting surface and surrounding space. Its high-oblique elevation is a staging requirement not encoded by the two-dimensional grid. S90_Shot4's medium over-shoulder framing is a separate consuming-shot requirement, not an identical camera view.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 4, show unit 3 around marker 7 and marker 10 beyond, within unit 1. Keep marker 7 at [3,4], marker 10 at [0,4], and marker 11 at [3,2], preserving their positions and fixed appearance from L282B01. Preserve markers 8 and 9 at their established positions even where outside this forward view. Do not force unit 5 or opening 6 into the frame merely because they occur in visibility supersets.\n  - camera_framing_directive: Use camera unit 4 at [6,4], looking toward unit 3 at [3,4], with wide 90-degree coverage. For the representative S90_Shot13 composition, retain the staged high-oblique view of marker 7, with its supporting surface occupying roughly one-third of the composition and surrounding interior visible. The grid does not specify elevation. Keep S90_Shot4's medium diagonal over-shoulder requirement separate; do not portray it as the same framing as S90_Shot13.\n  - subject_position_directive: Keep the two consuming-shot arrangements separate. S90_Shot4 places the seated subject's near shoulder before the standing subject's three-quarter upper body at center-right, with shoulder contact and marker 14 offered at lower center. S90_Shot13 instead places the complete supine subject on marker 7, feet lower left and head upper right, with closed eyes. Do not merge these temporally separated arrangements into a single subject tableau.\n  - state_cue_directive: Use only the authorized transient set 12, 13, 14, and 16, with visibility and temporal state governed by the consuming shot. S90_Shot4 commits marker 14 held out before transfer, at natural finger-relative scale and without invented readable markings. S90_Shot13 commits the fully fitted physical body supported by marker 7, not ongoing assembly. Retain subdued illumination without an activation flash or an unsupported source. Do not treat every authorized transient marker as simultaneously required in frame.\n  - negative_continuity_directive: Exclude markers 15 and 17, including their transient appearance inherited from L282B01. Avoid moving or redesigning base markers 7 through 11 when changing the camera. Do not pull markers 8 or 9 into the forward cone by relocation, infer unseen opening connections, or collapse the distinct S90_Shot4 and S90_Shot13 states into one frame.\n\n실제 카메라로 촬영한 다큐멘터리 풍 사진. 기후 재난 이후인 2069년 대한민국의 유지·관리되는 부품 보관 및 복원 연구실 내부를 밤에 촬영한다. 넓고 어두운 직사각형 실내이며, 미래 시설이지만 실제 산업용 연구실의 실용적인 마감과 오래 사용한 장비의 물성을 갖춘다. 차가운 회색 콘크리트 표면과 금속 작업대에 미세한 긁힘, 손때, 일상적인 사용 흔적이 보이되 폐허처럼 과장하지 않는다.\n\n배치 참고 이미지에서는 공간과 고정 설비의 위치만 읽는다. 카메라는 실내 남서쪽에 두고 북동쪽을 비스듬히 바라본다. 높이 약 1.6미터의 서 있는 사람 눈높이, 실제 디지털 카메라의 35밀리미터 렌즈로 촬영한 원근감이다. 남쪽 중앙의 북향 의자 두 개를 전경에 두고, 그 너머 북쪽 중앙의 동서로 긴 복원 작업대와 북쪽 벽의 대형 상태 모니터가 함께 보인다. 작업대 주변의 작업 공간, 서쪽 이동 통로, 동쪽의 열린 설명 공간이 자연스럽게 구분된다. 의자 쪽에서 닿을 수 있는 작업대 남서쪽 가장자리에 일체형 제어 버튼이 있다. 작업대의 단정하고 무게감 있는 배치가 제단을 연상시키지만 실제 용도와 재질은 복원용 금속 작업대 그대로다.\n\n칩 전달 시점에는 작업대 위에 분해된 로봇의 기계 부품이 놓여 있다. 금속 외장 조각과 연결 부품은 개별 물체로 읽히게 하고 얼굴이나 신체 윤곽을 이루지 않는다. 기억 칩은 뒤편 두 의자 곁에서 전달되는 순간에만 속하는 작은 물체이므로, 이 빈 배경 사진의 작업대나 의자 위에 고정 소품으로 배치하지 않는다. 마지막 복원 시점으로 사용할 때에는 흩어진 부품 배치 대신 같은 작업대 위에 재조립된 실물 로봇이 놓이는 장면을 위한 바탕을 준비한다. 다만 이 배경 사진에는 재조립된 로봇의 몸체를 그리지 않고, 해당 대상이 들어갈 작업대 면을 확보한다. 두 시점의 부품 상태를 한 사진에 중복하지 않는다.\n\n대형 모니터의 화면 안에만 세계 지도와 지역별 공급 상태를 나타내는 절제된 도표로 전 세계 에너지원 공급 현황을 표시한다. 화면의 정보가 벽이나 공중으로 확장되지 않게 한다. 밤의 낮은 실내 주변광과 모니터에서 실제로 반사되는 약한 빛으로 작업대 가장자리와 의자 표면을 읽을 수 있게 하며, 어두운 부분에도 자연스러운 재질과 거리 차이를 남긴다. 조용한 실내의 현실적인 노출, 실제 금속의 반사와 표면 마모, 자연스러운 피사계 심도와 광원에 맞는 색을 유지한다. 과도한 보정 없는 실제 장소 기록 사진이며, 광고용으로 지나치게 깨끗하게 꾸민 사진이나 컴퓨터 생성 이미지가 아니다. 사람, 얼굴, 신체 형태의 형상은 화면과 반사를 포함해 어디에도 묘사하지 않는다. 위에서 내려다본 구도나 평면도, 건축 도식이 아닌 실내 눈높이 사진. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 4,
          "camera_cell": [
            6,
            4
          ],
          "look_at_unit": 3,
          "look_at_cell": [
            3,
            4
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad coverage from unit 4 toward marker 7 in unit 3. This representative view prioritizes S90_Shot13's supporting surface and surrounding space. Its high-oblique elevation is a staging requirement not encoded by the two-dimensional grid. S90_Shot4's medium over-shoulder framing is a separate consuming-shot requirement, not an identical camera view."
        },
        "shot_aware_plan_node_index": 1,
        "shot_aware_plan_mode": "same_physical_space_view",
        "render_guidance": {
          "visible_space_directive": "From unit 4, show unit 3 around marker 7 and marker 10 beyond, within unit 1. Keep marker 7 at [3,4], marker 10 at [0,4], and marker 11 at [3,2], preserving their positions and fixed appearance from L282B01. Preserve markers 8 and 9 at their established positions even where outside this forward view. Do not force unit 5 or opening 6 into the frame merely because they occur in visibility supersets.",
          "camera_framing_directive": "Use camera unit 4 at [6,4], looking toward unit 3 at [3,4], with wide 90-degree coverage. For the representative S90_Shot13 composition, retain the staged high-oblique view of marker 7, with its supporting surface occupying roughly one-third of the composition and surrounding interior visible. The grid does not specify elevation. Keep S90_Shot4's medium diagonal over-shoulder requirement separate; do not portray it as the same framing as S90_Shot13.",
          "subject_position_directive": "Keep the two consuming-shot arrangements separate. S90_Shot4 places the seated subject's near shoulder before the standing subject's three-quarter upper body at center-right, with shoulder contact and marker 14 offered at lower center. S90_Shot13 instead places the complete supine subject on marker 7, feet lower left and head upper right, with closed eyes. Do not merge these temporally separated arrangements into a single subject tableau.",
          "state_cue_directive": "Use only the authorized transient set 12, 13, 14, and 16, with visibility and temporal state governed by the consuming shot. S90_Shot4 commits marker 14 held out before transfer, at natural finger-relative scale and without invented readable markings. S90_Shot13 commits the fully fitted physical body supported by marker 7, not ongoing assembly. Retain subdued illumination without an activation flash or an unsupported source. Do not treat every authorized transient marker as simultaneously required in frame.",
          "negative_continuity_directive": "Exclude markers 15 and 17, including their transient appearance inherited from L282B01. Avoid moving or redesigning base markers 7 through 11 when changing the camera. Do not pull markers 8 or 9 into the forward cone by relocation, infer unseen opening connections, or collapse the distinct S90_Shot4 and S90_Shot13 states into one frame."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_l282_restoration_lab",
          "prior_bg_ids": [
            "L282B01"
          ],
          "attached_ref_labels": [
            "bg:L282B01"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L282B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L282",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/background_chain/L282B01.png",
        "t2i_prompt": "2069년 무렵 재난 이후 한국에서 유지·관리되는 복원 연구실을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실제 장소 답사 사진과 구별되지 않는 물성과 노출로 표현한다. 직사각형 연구실 남서쪽 통로에 서서 북동쪽을 바라보는 시점이며, 카메라 높이는 약 1.6미터, 풀프레임 디지털 카메라의 28밀리미터 광각 렌즈를 사용한다. 내려다보는 시점이 아니라 사람이 서서 보는 수평 시선이다. 중앙의 작업대와 오른쪽 발표 공간 사이를 향해 촬영하여 실제 실내의 깊이가 드러나게 한다.\n\n평면도는 구조와 고정 가구의 위치를 파악하는 데만 사용한다. 북쪽 중앙 작업 구역에 동서로 긴 복원 작업대가 있고, 그 뒤 북쪽 벽 중앙에 대형 상태 모니터가 있다. 작업대 남쪽에는 북쪽을 향한 빈 의자 두 개가 나란히 놓여 있다. 작업대 남서쪽 가장자리에는 좌석 쪽에서 조작할 수 있는 발표 제어 버튼이 일체형으로 붙어 있다. 작업대 동쪽이자 좌석 북동쪽의 열린 바닥은 발표 공간으로 남긴다. 기존 가구를 옮기거나 새로운 설비를 덧붙이지 않는다.\n\n연구실은 어두운 실제 실내로 유지한다. 절제된 차가운 회색 벽과 바닥, 오래 사용한 금속 작업대의 미세한 긁힘과 접촉 자국, 의자와 모니터 테두리의 일상적인 마모를 선명하되 과장 없이 보여준다. 첨단 영상 기술과 사용감 있는 연구 장비가 공존하는 기능적인 한국의 연구 시설이며, 방 전체를 폐허나 번쩍이는 새 시설로 만들지 않는다. 약한 실내 주변광과 화면 및 투사 영상에서 발생한 빛이 실제 표면에 제한적으로 반사되고, 그림자와 광량 감소는 물리적으로 자연스럽다.\n\n작업대 상판에는 분해된 로봇의 금속 외장과 기계 부품이 놓여 있다. 부품은 분리된 무생물 기계 요소로 보이며, 몸통이나 팔다리를 조립한 전신 형태로 배열하지 않는다. 오른쪽 발표 공간 위 허공에는 한국 남부 화산섬의 푸른 바다와 짙은 녹색 식생, 어두운 화산암 해안으로 이루어진 밝은 낮 풍경이 실내 투영층으로 펼쳐진다. 평온하고 풍요로운 섬의 영상이지만 실내 벽과 바닥을 실제 해안으로 대체하지 않는다. 같은 투영층의 거대한 로봇 영상은 비인체형 기계 외장의 확대된 일부만 보이는 구도로 제한하여 거대한 크기를 암시한다. 얼굴이나 머리, 몸 모양의 실루엣과 완전한 형상은 묘사하지 않는다. 이 영상은 작업대 위 실물 부품과 공간적으로 분리된 재생 영상이며 실체가 있는 조립체가 아니다. 투사층 너머의 연구실 구조가 읽히고 영상의 푸른 빛이 가까운 표면에 은은하게 닿는다. 북쪽 벽의 대형 모니터에도 섬의 풍경이 표시되지만, 그 영상은 모니터 화면 테두리 안에만 머문다. 투사된 낮 풍경 때문에 연구실 자체를 낮의 자연광으로 밝히지 않는다.\n\n사람, 얼굴, 신체 형태의 형상 없이 빈 공간과 환경 요소만 촬영한다. 자연스러운 피사계 심도, 실제 금속 표면과 벽·바닥의 미세한 질감, 어두운 실내와 발광 화면을 함께 담을 수 있는 현실적인 노출을 유지한다. 과도한 보정이나 광고 사진처럼 매끈한 마감 없이, 삽화·컴퓨터 생성 영상·건축 시각화가 아닌 실제 사진으로 표현한다. 평면도나 건축 도해 구도는 사용하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S90_Shot9",
            "guide_text": "남서쪽 통로의 약 1.6미터 눈높이에서 북동쪽을 향한 광각 구도를 사용한다. 가까운 쪽의 빈 의자 두 개, 중앙 작업대와 분해 부품, 먼 북쪽 벽의 모니터, 오른쪽 발표 공간의 투영층이 서로 가리지 않도록 깊이를 확보한다. 푸른 섬 풍경은 허공의 영상으로 읽혀야 하며, 어두운 연구실의 실제 벽과 바닥은 계속 보여야 한다. 거대한 로봇 영상은 얼굴과 몸 윤곽이 없는 기계 외장의 부분 확대만 담고, 작업대 위 부품과 연결하거나 복구된 실물로 표현하지 않는다. 모니터의 섬 영상은 화면 내부에 한정한다."
          }
        ],
        "shot_ids": [
          "S90_Shot9"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "In the southwest portion of number 1, near number 2, facing northeast between number 7 and number 5, with number 10 on the far wall.",
          "camera_height": "eye-level standing, approximately 1.6 m",
          "lens_hint": "28mm wide angle",
          "framing_notes": "Include number 5 prominently for the blue landscape and giant robot projection while retaining number 7, number 10, and rear seating as physical spatial anchors. Keep number 12 on the physical table, visually distinct from number 15. Number 17 replaces number 16 on the monitor. Projected daytime scenery must not turn the room into an outdoor location or change the physical laboratory from night to day. Do not depict a completed physical robot on the table during this presentation or duplicate projected figures as physical occupants."
        },
        "reference_decision": {
          "bg_id": "L282B01",
          "fp_id": "fp_l282_restoration_lab",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L282B01 is the sole authorized anchor candidate and is staged for S90_Shot9. The supplied fallback admits this BG despite clean_background_expected=false; its transient markers must remain distinct from the fixed identity. Camera unit 2 looking toward unit 3 provides a diagonal approach past unit 4 toward markers 7 and 10, supporting the staged wide, off-axis view. Establish the fixed layout directly from the floor plan.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/8f8a58f6-cc7d-4143-940a-1c9c6ab707f7/episodes/a28fb896-b811-463c-8bcc-ba732968bd7c/images/floor_plan/fp_l282_restoration_lab.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The first node establishes identity from the floor plan; no previously rendered reference is available.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 2,
            "camera_cell": [
              8,
              1
            ],
            "look_at_unit": 3,
            "look_at_cell": [
              3,
              4
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad diagonal coverage from unit 2 toward marker 7 in unit 3, with unit 4 along the approach and marker 10 beyond. S90_Shot9 supplies the below-shoulder, upward-looking staging; the grid records only the horizontal placement."
          },
          "render_guidance": {
            "visible_space_directive": "Show the interior of unit 1 along the diagonal from unit 2 toward unit 3, including the visible portion of unit 4 and the in-cone portion of unit 5. Establish marker 7 at [3,4], markers 8 and 9 at [7,3] and [7,5], marker 10 at [0,4], and marker 11 at [3,2], showing only their in-frame portions. Visibility supersets do not establish additional openings or adjoining spaces; marker 6 is not a required visible feature.",
            "camera_framing_directive": "Use camera unit 2 at [8,1], looking toward unit 3 at [3,4], with wide 90-degree coverage. Preserve the staged diagonal over-shoulder relationship and the oblique, bounded view of marker 10. Keep that image-bearing surface below two-fifths of the composition, as committed by S90_Shot9.",
            "subject_position_directive": "For S90_Shot9, retain the small seated shoulder fragment at lower left and a small rear portion of the occupied seat at the lower edge. Place the full-height projected subject near center before marker 10, with a slight turn toward the off-frame subject. The seated subject looks upward and has not begun the later reach; do not invent additional subjects.",
            "state_cue_directive": "This is not a clean-background BG. Apply only committed transient markers 12, 15, and 17 where visible and supported by S90_Shot9. Keep the displayed landscape bounded by marker 10 and the projected appearance distinct from the generally dark physical interior. Preserve the occupied-seat state before the subject rises; do not infer an additional blue light source elsewhere.",
            "negative_continuity_directive": "Exclude markers 13, 14, and 16. Do not turn markers 15 or 17 into permanent architecture or an exterior location. Avoid moving base markers 7 through 11 to improve framing, inventing opening adjacency from the visibility supersets, or revealing spaces outside the selected view."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [8, 1]\n  - look_at_unit: 3\n  - look_at_cell: [3, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad diagonal coverage from unit 2 toward marker 7 in unit 3, with unit 4 along the approach and marker 10 beyond. S90_Shot9 supplies the below-shoulder, upward-looking staging; the grid records only the horizontal placement.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the interior of unit 1 along the diagonal from unit 2 toward unit 3, including the visible portion of unit 4 and the in-cone portion of unit 5. Establish marker 7 at [3,4], markers 8 and 9 at [7,3] and [7,5], marker 10 at [0,4], and marker 11 at [3,2], showing only their in-frame portions. Visibility supersets do not establish additional openings or adjoining spaces; marker 6 is not a required visible feature.\n  - camera_framing_directive: Use camera unit 2 at [8,1], looking toward unit 3 at [3,4], with wide 90-degree coverage. Preserve the staged diagonal over-shoulder relationship and the oblique, bounded view of marker 10. Keep that image-bearing surface below two-fifths of the composition, as committed by S90_Shot9.\n  - subject_position_directive: For S90_Shot9, retain the small seated shoulder fragment at lower left and a small rear portion of the occupied seat at the lower edge. Place the full-height projected subject near center before marker 10, with a slight turn toward the off-frame subject. The seated subject looks upward and has not begun the later reach; do not invent additional subjects.\n  - state_cue_directive: This is not a clean-background BG. Apply only committed transient markers 12, 15, and 17 where visible and supported by S90_Shot9. Keep the displayed landscape bounded by marker 10 and the projected appearance distinct from the generally dark physical interior. Preserve the occupied-seat state before the subject rises; do not infer an additional blue light source elsewhere.\n  - negative_continuity_directive: Exclude markers 13, 14, and 16. Do not turn markers 15 or 17 into permanent architecture or an exterior location. Avoid moving base markers 7 through 11 to improve framing, inventing opening adjacency from the visibility supersets, or revealing spaces outside the selected view.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [8, 1]\n  - look_at_unit: 3\n  - look_at_cell: [3, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad diagonal coverage from unit 2 toward marker 7 in unit 3, with unit 4 along the approach and marker 10 beyond. S90_Shot9 supplies the below-shoulder, upward-looking staging; the grid records only the horizontal placement.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the interior of unit 1 along the diagonal from unit 2 toward unit 3, including the visible portion of unit 4 and the in-cone portion of unit 5. Establish marker 7 at [3,4], markers 8 and 9 at [7,3] and [7,5], marker 10 at [0,4], and marker 11 at [3,2], showing only their in-frame portions. Visibility supersets do not establish additional openings or adjoining spaces; marker 6 is not a required visible feature.\n  - camera_framing_directive: Use camera unit 2 at [8,1], looking toward unit 3 at [3,4], with wide 90-degree coverage. Preserve the staged diagonal over-shoulder relationship and the oblique, bounded view of marker 10. Keep that image-bearing surface below two-fifths of the composition, as committed by S90_Shot9.\n  - subject_position_directive: For S90_Shot9, retain the small seated shoulder fragment at lower left and a small rear portion of the occupied seat at the lower edge. Place the full-height projected subject near center before marker 10, with a slight turn toward the off-frame subject. The seated subject looks upward and has not begun the later reach; do not invent additional subjects.\n  - state_cue_directive: This is not a clean-background BG. Apply only committed transient markers 12, 15, and 17 where visible and supported by S90_Shot9. Keep the displayed landscape bounded by marker 10 and the projected appearance distinct from the generally dark physical interior. Preserve the occupied-seat state before the subject rises; do not infer an additional blue light source elsewhere.\n  - negative_continuity_directive: Exclude markers 13, 14, and 16. Do not turn markers 15 or 17 into permanent architecture or an exterior location. Avoid moving base markers 7 through 11 to improve framing, inventing opening adjacency from the visibility supersets, or revealing spaces outside the selected view.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [8, 1]\n  - look_at_unit: 3\n  - look_at_cell: [3, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad diagonal coverage from unit 2 toward marker 7 in unit 3, with unit 4 along the approach and marker 10 beyond. S90_Shot9 supplies the below-shoulder, upward-looking staging; the grid records only the horizontal placement.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the interior of unit 1 along the diagonal from unit 2 toward unit 3, including the visible portion of unit 4 and the in-cone portion of unit 5. Establish marker 7 at [3,4], markers 8 and 9 at [7,3] and [7,5], marker 10 at [0,4], and marker 11 at [3,2], showing only their in-frame portions. Visibility supersets do not establish additional openings or adjoining spaces; marker 6 is not a required visible feature.\n  - camera_framing_directive: Use camera unit 2 at [8,1], looking toward unit 3 at [3,4], with wide 90-degree coverage. Preserve the staged diagonal over-shoulder relationship and the oblique, bounded view of marker 10. Keep that image-bearing surface below two-fifths of the composition, as committed by S90_Shot9.\n  - subject_position_directive: For S90_Shot9, retain the small seated shoulder fragment at lower left and a small rear portion of the occupied seat at the lower edge. Place the full-height projected subject near center before marker 10, with a slight turn toward the off-frame subject. The seated subject looks upward and has not begun the later reach; do not invent additional subjects.\n  - state_cue_directive: This is not a clean-background BG. Apply only committed transient markers 12, 15, and 17 where visible and supported by S90_Shot9. Keep the displayed landscape bounded by marker 10 and the projected appearance distinct from the generally dark physical interior. Preserve the occupied-seat state before the subject rises; do not infer an additional blue light source elsewhere.\n  - negative_continuity_directive: Exclude markers 13, 14, and 16. Do not turn markers 15 or 17 into permanent architecture or an exterior location. Avoid moving base markers 7 through 11 to improve framing, inventing opening adjacency from the visibility supersets, or revealing spaces outside the selected view.\n\n2069년 무렵 재난 이후 한국에서 유지·관리되는 복원 연구실을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실제 장소 답사 사진과 구별되지 않는 물성과 노출로 표현한다. 직사각형 연구실 남서쪽 통로에 서서 북동쪽을 바라보는 시점이며, 카메라 높이는 약 1.6미터, 풀프레임 디지털 카메라의 28밀리미터 광각 렌즈를 사용한다. 내려다보는 시점이 아니라 사람이 서서 보는 수평 시선이다. 중앙의 작업대와 오른쪽 발표 공간 사이를 향해 촬영하여 실제 실내의 깊이가 드러나게 한다.\n\n평면도는 구조와 고정 가구의 위치를 파악하는 데만 사용한다. 북쪽 중앙 작업 구역에 동서로 긴 복원 작업대가 있고, 그 뒤 북쪽 벽 중앙에 대형 상태 모니터가 있다. 작업대 남쪽에는 북쪽을 향한 빈 의자 두 개가 나란히 놓여 있다. 작업대 남서쪽 가장자리에는 좌석 쪽에서 조작할 수 있는 발표 제어 버튼이 일체형으로 붙어 있다. 작업대 동쪽이자 좌석 북동쪽의 열린 바닥은 발표 공간으로 남긴다. 기존 가구를 옮기거나 새로운 설비를 덧붙이지 않는다.\n\n연구실은 어두운 실제 실내로 유지한다. 절제된 차가운 회색 벽과 바닥, 오래 사용한 금속 작업대의 미세한 긁힘과 접촉 자국, 의자와 모니터 테두리의 일상적인 마모를 선명하되 과장 없이 보여준다. 첨단 영상 기술과 사용감 있는 연구 장비가 공존하는 기능적인 한국의 연구 시설이며, 방 전체를 폐허나 번쩍이는 새 시설로 만들지 않는다. 약한 실내 주변광과 화면 및 투사 영상에서 발생한 빛이 실제 표면에 제한적으로 반사되고, 그림자와 광량 감소는 물리적으로 자연스럽다.\n\n작업대 상판에는 분해된 로봇의 금속 외장과 기계 부품이 놓여 있다. 부품은 분리된 무생물 기계 요소로 보이며, 몸통이나 팔다리를 조립한 전신 형태로 배열하지 않는다. 오른쪽 발표 공간 위 허공에는 한국 남부 화산섬의 푸른 바다와 짙은 녹색 식생, 어두운 화산암 해안으로 이루어진 밝은 낮 풍경이 실내 투영층으로 펼쳐진다. 평온하고 풍요로운 섬의 영상이지만 실내 벽과 바닥을 실제 해안으로 대체하지 않는다. 같은 투영층의 거대한 로봇 영상은 비인체형 기계 외장의 확대된 일부만 보이는 구도로 제한하여 거대한 크기를 암시한다. 얼굴이나 머리, 몸 모양의 실루엣과 완전한 형상은 묘사하지 않는다. 이 영상은 작업대 위 실물 부품과 공간적으로 분리된 재생 영상이며 실체가 있는 조립체가 아니다. 투사층 너머의 연구실 구조가 읽히고 영상의 푸른 빛이 가까운 표면에 은은하게 닿는다. 북쪽 벽의 대형 모니터에도 섬의 풍경이 표시되지만, 그 영상은 모니터 화면 테두리 안에만 머문다. 투사된 낮 풍경 때문에 연구실 자체를 낮의 자연광으로 밝히지 않는다.\n\n사람, 얼굴, 신체 형태의 형상 없이 빈 공간과 환경 요소만 촬영한다. 자연스러운 피사계 심도, 실제 금속 표면과 벽·바닥의 미세한 질감, 어두운 실내와 발광 화면을 함께 담을 수 있는 현실적인 노출을 유지한다. 과도한 보정이나 광고 사진처럼 매끈한 마감 없이, 삽화·컴퓨터 생성 영상·건축 시각화가 아닌 실제 사진으로 표현한다. 평면도나 건축 도해 구도는 사용하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 2,
          "camera_cell": [
            8,
            1
          ],
          "look_at_unit": 3,
          "look_at_cell": [
            3,
            4
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad diagonal coverage from unit 2 toward marker 7 in unit 3, with unit 4 along the approach and marker 10 beyond. S90_Shot9 supplies the below-shoulder, upward-looking staging; the grid records only the horizontal placement."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Show the interior of unit 1 along the diagonal from unit 2 toward unit 3, including the visible portion of unit 4 and the in-cone portion of unit 5. Establish marker 7 at [3,4], markers 8 and 9 at [7,3] and [7,5], marker 10 at [0,4], and marker 11 at [3,2], showing only their in-frame portions. Visibility supersets do not establish additional openings or adjoining spaces; marker 6 is not a required visible feature.",
          "camera_framing_directive": "Use camera unit 2 at [8,1], looking toward unit 3 at [3,4], with wide 90-degree coverage. Preserve the staged diagonal over-shoulder relationship and the oblique, bounded view of marker 10. Keep that image-bearing surface below two-fifths of the composition, as committed by S90_Shot9.",
          "subject_position_directive": "For S90_Shot9, retain the small seated shoulder fragment at lower left and a small rear portion of the occupied seat at the lower edge. Place the full-height projected subject near center before marker 10, with a slight turn toward the off-frame subject. The seated subject looks upward and has not begun the later reach; do not invent additional subjects.",
          "state_cue_directive": "This is not a clean-background BG. Apply only committed transient markers 12, 15, and 17 where visible and supported by S90_Shot9. Keep the displayed landscape bounded by marker 10 and the projected appearance distinct from the generally dark physical interior. Preserve the occupied-seat state before the subject rises; do not infer an additional blue light source elsewhere.",
          "negative_continuity_directive": "Exclude markers 13, 14, and 16. Do not turn markers 15 or 17 into permanent architecture or an exterior location. Avoid moving base markers 7 through 11 to improve framing, inventing opening adjacency from the visibility supersets, or revealing spaces outside the selected view."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_l282_restoration_lab",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_l282_restoration_lab"
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          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
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    },
    "consumed_bg_catalog_hash": "c2c23f887261bc5b",
    "consumed_shot_binding_hash": "4957851da6e5119b",
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        "mode": "camera_geometry_direct_plate",
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      {
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