{ "status": "completed", "applicable_count": 112, "completed_count": 112, "failed_count": 0, "schema_version": 4, "config_hash": "14c05253a60f4573", "data": { "contis": { "S1sh5": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S1sh5.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At the exposed edge of a submerged rubbish heap on the coastal seabed, in open blue seawater.\n\nSHOT TEXT (authoritative, Korean): 쓰레기 더미 밖 찰리의 로봇 손가락에 물고기의 주둥이가 닿은 극근접 구도.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Charlie is motionless, buried in the rubbish on the seabed, with a robot finger protruding beyond the debris. His head, torso, and remaining limbs are concealed; their arrangement and his body's orientation are not specified.\n\nCARRIED STATE (persist exactly): In the blue underwater daylight, Charlie remains buried in seabed rubbish with a robot finger protruding from the heap. The old scrap-metal body is entangled in netting, and its chest bears a worn UBIC logo, even though these details remain buried.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From beside the fish's approach axis, observe the contact directly just above 찰리's exposed fingertip, looking slightly downward as the forward dolly settles. Center the touching snout and fingertip, with the fish entering from the right and the finger rising from refuse at lower left; retain surrounding water and refuse rather than isolating either object against an empty field. The fish attends to the fingertip while 찰리's face remains outside the frame, and the final reduction in camera distance is the only emphasized change.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Submerged refuse pile (Resting on the seabed with a robot finger protruding); used as A narrow lower-frame context establishes where the finger emerges without obscuring the contact.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/e3c6cd6a-e750-4810-94ac-194cac2eb856.png" ] ], "asset_id": "0b08acd4-b6fa-4198-8a71-d164e9940104" }, "S1sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S2sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S2sh6": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S2sh6.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: On the exposed working deck of a rubbish-collection ship, among freshly deposited waste and tangled netting.\n\nSHOT TEXT (authoritative, Korean): 갑판 위 쓰레기 사이에 낡은 고철 로봇 찰리의 몸이 그물에 감긴 구도.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Charlie is motionless among the rubbish deposited on the collection ship's deck, with a net wrapped around his body. The positions of his torso, head, arms, and legs within the net, and his body's orientation against the deck, are not specified.\n\nCARRIED STATE (persist exactly): Rubbish lies on the collection ship's deck, with Charlie's old scrap-metal body still wrapped in netting among it. The chest retains its worn UBIC logo.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Continue the deck-level approach from an elevated oblique position beside 찰리's torso, looking downward rather than along his facial axis in a direct observational view. Place his net-wrapped body diagonally across the central third, retaining his full bodily outline and adjacent refuse, with a few small foreground fragments creating depth without hiding him. His head lies turned away toward the surrounding refuse with no readable eye line; the narrowing camera distance is the emphasized change as the movement settles into the reveal.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: Net around 찰리 (Wrapped around the robot's body) — The strands cross the visible torso and limbs without completely concealing their shapes; used as Makes the robot's entanglement legible within the wider deck context; Deck refuse (Accumulated around 찰리 after being dropped aboard); used as Uneven foreground and background groupings reveal a body among discarded objects; Collection vessel deck (Supporting the refuse and net-wrapped robot) — The deck plane recedes diagonally beneath the body; used as Visible gaps between the refuse establish a shared supporting plane.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/e3c6cd6a-e750-4810-94ac-194cac2eb856.png" ] ], "asset_id": "f8f2b853-c659-47d9-b6de-06b7d2d04916" }, "S3sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S3sh2.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Inside the open-topped load bed of a moving dump truck, tightly packed with scrap metal.\n\nSHOT TEXT (authoritative, Korean): 덤프트럭 적재함의 빽빽한 고철 사이에 찰리의 몸체가 끼어 있는 내려다보기 구도.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Charlie is motionless amid the scrap metal loaded in the dump truck's cargo bed. The scrap surrounds his body, but the arrangement of his torso, head, arms, and legs and his facing direction are not specified.\n\nCARRIED STATE (persist exactly): The moving dump truck's bed is packed with scrap metal, including Charlie's old, net-entangled body with its worn UBIC chest logo. The truck is operating autonomously in daylight.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At the end of the rise, maintain the truck's longitudinal pace above the cargo-bed side edge and look steeply downward in a direct observational view. Position 찰리's wedged body slightly right of center, partially interrupted by densely packed scrap, while a strip of the cargo-bed edge at left establishes containment and scale. His face angles into the load without a readable gaze; hold the composition before the explicit cut into the cab rather than suggesting passage through the truck's structure.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: Densely packed scrap (Filling the moving dump truck's cargo bed and trapping 찰리 among it); used as Irregular overlaps reveal the robot in fragments without enlarging individual scrap pieces; Dump truck cargo bed (Loaded with scrap while the truck travels) — The top of the side edge and the inward-facing cargo space are visible from above; used as The side edge fixes the camera's position relative to the moving load.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/e3c6cd6a-e750-4810-94ac-194cac2eb856.png" ] ], "asset_id": "dee5c945-81f8-4b25-8542-09104728252c" }, "S3sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S3sh3.png", "plate_path": null, "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Inside the dump truck's driving cab, at the driver's seat behind the steering wheel. Daylight enters through the windshield overlooking the road.\n\nSHOT TEXT (authoritative, Korean): 운전대와 앞유리 너머 도로를 포함한 운전석 구도 속 덤프트럭 운전사가 졸음으로 눈꺼풀을 늘어뜨린 모습.\n\nCARRIED STATE (persist exactly): The dump truck continues autonomously along the daytime road with its bed full of scrap. Charlie remains in the load, an old net-entangled robot with a worn UBIC chest logo.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Make the explicit cut into the cab and hold a direct observational view from the passenger side, slightly behind the driver's shoulder at seated eye height. Keep 덤프트럭 운전사's profile and upper body at left, the steering wheel below center, and the road visible through the windshield at right. Catch his head beginning to nod and his eyelids hanging low, with his unfocused gaze dropping toward the wheel rather than toward the camera.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Steering wheel (In front of the drowsing driver during autonomous travel) — Seen obliquely from the passenger side, below the driver's profile; used as Links the driver's nodding posture to the vehicle controls without implying active steering; Windshield (The road ahead is visible through it) — Viewed diagonally from inside the cab, with the forward road beyond; used as Maintains the travelling context beside the driver's face.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [], "asset_id": "8872e719-a4cf-40fd-8979-b7c1deb4b994" }, "S4sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S4sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L08B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the front cabin of a car parked in an affluent residential street, between the driver's position and the adjacent passenger seat. Daylight enters through the car windows.\n\nSHOT TEXT (authoritative, Korean): 운전대 앞의 페드로와 조수석의 이현우 사이에 구겨진 도면이 펼쳐진 차 안 구도.\n\nCARRIED STATE (persist exactly): The car is parked in an affluent residential district in daylight. The house plan is crumpled and badly drawn. 페드로: Sits behind the steering wheel with an earphone fitted in his ear. 이현우: Sits in the passenger seat, holding and examining the crumpled plan.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Observe directly from behind the front seats, slightly toward the passenger side and above seated eye level, tilting gently down toward the space between the two teenagers. Place 페드로 in rear three-quarter view at left with a hand on the wheel and 이현우 at right leaning over the crumpled drawing, which occupies a small area below center with its marked face visible. 이현우 studies the drawing while 페드로 remains oriented toward the street ahead, establishing a held entry composition before the pan toward his gesture.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Crumpled drawing (Open between the occupants, with a poorly drawn, difficult-to-read plan) — The marked face tilts upward toward the elevated camera, exposing the confused drawing rather than the blank reverse; used as A small central narrative anchor connects the two different seated postures; Steering wheel (Held by 페드로 in the parked car) — Seen obliquely beyond his arm on the left side of the composition; used as Identifies his position as the driver without competing with the drawing; Front seats (Occupied by 페드로 and 이현우) — Their rear edges frame the view into the space between the occupants; used as Provide restrained foreground framing and preserve the rear-seat camera position.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L08B01.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ], [ "char:페드로", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/bf510a5f-30d9-47b3-a402-42e987ae67f7.png" ] ], "asset_id": "c8997b57-96ff-4966-88eb-b5a002a49b81" }, "S4sh5": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S4sh5.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L08B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At the driver's position inside a parked car in an affluent residential neighborhood. Daylight and the house across the street are visible through the side window.\n\nSHOT TEXT (authoritative, Korean): 운전석의 페드로가 차창 너머 길 건너 고급주택을 손으로 가리키는 구도.\n\nCARRIED STATE (persist exactly): The car remains parked opposite the targeted luxury house. The crumpled, poorly drawn house plan remains part of the car-interior setup. 페드로: Remains in the driver's seat with his earphone in place and one hand raised to point through the window.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Keep the same elevated rear-seat position and pan obliquely past 페드로's shoulder, directly observing his pointing hand and the house through the side window without changing camera distance. Let his turned three-quarter face remain at the left edge, his extended hand cross the lower middle, and the house sit in the upper-right background along the gesture; 이현우 stays outside this reframing. 페드로 looks toward the indicated house across the street, and the redirected viewing axis is the sole emphasized change.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: House indicated by 페드로's pointing hand in the upper-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: Car side window (Providing a view of the house across the street) — Viewed obliquely from behind the front seats, with the indicated house visible beyond; used as Frames the destination without making reflections the subject; Upscale house across the street (The house 페드로 is indicating) — Its street-facing exterior is seen obliquely beyond his pointing hand; used as Provides the background endpoint of the gesture in the upper-right portion of the image.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L08B01.png" ], [ "char:페드로", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/bf510a5f-30d9-47b3-a402-42e987ae67f7.png" ] ], "asset_id": "b20870e4-caa4-4ded-bff1-e1959726f2ac" }, "S4sh11": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S4sh11.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L08B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On the street immediately outside an upscale house, across from the parked getaway car.\n\nSHOT TEXT (authoritative, Korean): 고급주택 앞길의 이현우가 통신 확인을 위해 귀에 손가락을 댄 근접 구도.\n\nCARRIED STATE (persist exactly): The car remains parked across the road from the luxury house in daylight. 이현우: Is outside the car, approaching the luxury house across the road with a hand at his ear.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Finish the lateral approach beside 이현우 at shoulder height, looking slightly upward into a side three-quarter close view rather than moving onto his forward-facing axis. Place his face left of center with the fingers touching his ear beside his cheek, leaving open space to the right toward the house and only a soft fragment of its exterior behind him. He keeps his attention on the house beyond the right edge while checking communication; emphasize only the reduced camera distance at this stage's end.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Upscale house exterior (Beside the road along 이현우's approach) — Only an oblique fragment is visible behind him; the part receiving his attention remains beyond the right edge; used as A subdued background fragment preserves location while leaving directional space ahead of his face.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L08B02.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ] ], "asset_id": "caa1cead-b028-4463-8487-148f516c6fce" }, "S5sh42": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S5sh42.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: On the ground outside the open living-room window of an upscale house, within its boundary wall.\n\nSHOT TEXT (authoritative, Korean): 셰퍼드의 입 쪽으로 당겨진 로봇 머리의 인공 외피 아래 금속 내부가 드러난 소품 근접 구도.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): The female-presenting robot is collapsed on the floor after being dropped by Hyunwoo, with the German shepherd biting her head and peeling back its artificial skin to expose metal underneath. Her torso's orientation and the placement of her arms and legs are not specified.\n\nCARRIED STATE (persist exactly): The living-room glass window is open, while the entrance has an old key-operated lock. The female-presenting robot lies on the floor with torn artificial skin exposing the metal inside its head, and the shepherd is biting at that head.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: End the low dolly beside the fallen robot's head near the living-room window, directly observing from just above floor level with a slight downward angle across the head toward 셰퍼드's mouth. Place the head of 젊은 여자 모습의 로봇 at lower left, occupying less than two-fifths of the image, and 셰퍼드's muzzle at right as the dog pulls the torn artificial covering toward itself, exposing the metal beneath without implying decapitation. The dog concentrates downward on its bite while the collapsed robot's rolled eyes remain unresponsive; retain part of her shoulder and the floor as scale references before the explicit cut back to the pursuit.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Floor beside the living-room window (Supporting the fallen robot after impact); used as Visible around the head and shoulder to establish the low camera position and realistic scale; Living-room window opening (Opened earlier by the robot) — Only a small oblique edge of the open window area is retained behind the floor-level action; used as Maintains the location of the attack without distracting from the exposed robot interior.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:젊은 여자 모습의 로봇", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/2355eee0-ba94-4652-a072-d04cfea42635.png" ], [ "char:셰퍼드", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/74fbbf77-126b-4f88-b0f4-46a5621e630b.png" ] ], "asset_id": "df9f06fa-18a1-452d-b4d4-a99db9c4bc48" }, "S5sh62": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S5sh68": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S6sh15": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S6sh15.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At the surface of a towering rubbish heap in an open-air refugee-settlement dump.\n\nSHOT TEXT (authoritative, Korean): 쓰레기 더미 밖으로 육중한 고릴라 형태의 상체를 완전히 드러낸 찰리 주위로 흩뿌려진 파편들이 공중에 떠 있는 정면 구도.\n\nCARRIED STATE (persist exactly): The rubbish dump contains a blanket with jukebox parts, tools, and LP records, and the reassembled jukebox has its horn-shaped speaker attached. Charlie's dirty, old gorilla-shaped body is emerging from the rubbish, retaining its netting and worn UBIC chest logo.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Observe directly from close to ground level beside the fallen children, looking upward along the inherited diagonal rather than Charlie's frontal axis as the dolly retreat briefly steadies. Place 찰리's fully exposed gorilla-shaped upper body in the upper middle, occupying less than half the image, with masked 앰버 and 라울 partially visible at the lower corners, leaning back on the rubbish and looking up while 찰리 looks down toward them. Preserve 앰버 as a ten-year-old Korean–white mixed-heritage girl and 라울 as a ten-year-old Latino–Black mixed-heritage boy, emphasizing 찰리's rising position without suspended debris or an added particle effect.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Rubbish heap (Parted around 찰리's emerging body); used as Frames the exposed torso from below and supports the children's lower-edge placement.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/e3c6cd6a-e750-4810-94ac-194cac2eb856.png" ] ], "asset_id": "70df02ad-c681-4737-b149-35ce29562987" }, "S6sh20": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S6sh34": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S6sh34.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: On the road just outside the refugee-settlement dump, leading toward the container homes.\n\nSHOT TEXT (authoritative, Korean): 쓰레기장 밖 도로에서 장난스럽게 웃으며 나란히 걷는 도중, 각자 한쪽 다리를 내디딘 앰버, 라울, 위장한 찰리의 전신 구도.\n\nCARRIED STATE (persist exactly): Charlie now wears an old coat and a hat, disguising the bulky gorilla-shaped robot as a short, stout man. The dirty metal body, worn UBIC logo, and unreleased netting remain beneath the disguise. 앰버: Walks away from the dump, smiling, with her mask and waist tool pouch still in place. 라울: Walks away from the dump, smiling.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Track directly alongside the trio at the children's chest height in the inherited lateral three-quarter view, remaining slightly behind their forward axes and framing all three bodies with space below their feet. Arrange 라울 at left, 앰버 near center and 찰리 at right as they advance toward the right side of the image, the children laughing toward their route and 찰리 walking in his worn coat and hat. Emphasize the wider camera distance, capturing different stride phases and shoulder angles rather than synchronized marching, and retain headroom for the following upward tilt without beginning it in this keyframe.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: Road continuing ahead of the trio in the middle-right of the frame, midground.\n- KEY BACKGROUND ELEMENTS: Road outside the rubbish dump (The trio is walking away along it) — The visible route continues toward screen right; used as Provides foot clearance and directional space ahead of the walkers; 찰리's worn coat and hat (Worn as a disguise) — Seen mainly from the side, concealing his recognizable robot body; used as Makes the successful disguise readable at full-body scale.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/e3c6cd6a-e750-4810-94ac-194cac2eb856.png" ], [ "char:앰버", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/ab744da1-7780-4cb5-aba8-87e0188dd443.png" ] ], "asset_id": "cb051d37-bff5-44e7-940f-2024f8d465b7" }, "S7sh25": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S7sh25.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: On the outdoor repair site at the foot of a cracked artificial seawall, beside its visibly leaking wall.\n\nSHOT TEXT (authoritative, Korean): 균열이 가고 물이 새는 방벽 쪽을 향해 한 손을 거세게 뻗은 미연의 모습.\n\nCARRIED STATE (persist exactly): The seawall has severe cracks and visible water leakage, with unfinished repair materials and equipment still at the site. The military truck remains stopped near the forklift, and puddles remain on the ground. 미연: Has left the forklift and stands on the ground, urgently gesturing toward the leaking wall.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Track along the crowd's outer edge at shoulder height, observing directly from slightly behind 미연's shoulder line and diagonally across her toward 관리소장 beside the truck. Frame 미연 from the waist up at center-right, her arm thrust toward the cracked, leaking embankment at left while her head turns toward the administrator beyond the right edge; retain his retreating torso at the boundary as he directs his attention down toward the truck entrance. Emphasize her redirected arm and body position, using the extended forearm to connect the appeal with the damaged wall without forcing her to address the lens.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: Cracked and leaking embankment indicated by 미연 in the middle-left of the frame, background.\n- KEY BACKGROUND ELEMENTS: Artificial embankment wall (Severely cracked and leaking water) — The damaged face remains visible obliquely along the left side; used as Provides visible evidence at the end of 미연's pointing gesture; Military truck (Stopped beside the administrator) — A limited portion of its entrance side appears at the right boundary; used as Marks the administrator's intended withdrawal without occupying the center.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:미연", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/7cec27ea-d04d-432a-a8a8-598ad6f08c94.png" ] ], "asset_id": "d8b361a8-535d-42d4-ad94-db9f45c0871a" }, "S7sh28": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S7sh30": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S8sh12": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S8sh12.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L19B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On the floor beside the magistrate's shabby table and fallen chair inside a makeshift refugee tribunal. The room is lit for the daytime hearing.\n\nSHOT TEXT (authoritative, Korean): 바닥에 넘어진 재판관의 위로 올라탄 채 양손으로 멱살을 꽉 움켜쥔 이현우의 피 끓는 표정.\n\nCARRIED STATE (persist exactly): The shabby tribunal table holds a backlog of documents, with the judge's chair beside it. 이현우: Still has the untreated dog-bite injury to his leg and is feverish and physically weak. He is now down at floor level with both hands clenched forward.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Briefly settle the handheld camera beside the fallen judge's shoulder, close to floor level and looking upward at 이현우 from the inherited three-quarter side angle rather than his frontal axis. Observe the action directly, placing 이현우's feverish, pleading face in the upper middle and both collar-gripping hands in the lower middle, with the judge's shoulder and frightened partial profile along the lower edge establishing whom he is addressing. 이현우 pitches down toward the judge while the judge looks up at him, and the close camera distance—not a new lighting effect—makes the desperation legible before the baton strike.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Courtroom floor (The judge has fallen onto it); used as A narrow visible strip anchors the struggle at floor level; Shabby courtroom table (Remaining beside the struggle) — Only a peripheral side portion is visible behind the bodies; used as Maintains courtroom geography without obstructing either gripping hand.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L19B01.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ] ], "asset_id": "069597c7-28c2-4114-b511-412526581ad0" }, "S8sh18": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S8sh18.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L19B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On a city street at night during a violent roundup, rendered as a monochrome memory.\n\nSHOT TEXT (authoritative, Korean): 흑백 화면 속, 무릎 꿇은 어린 이현우와 앰버의 머리를 양팔로 감싸 안은 채 공포에 질린 젊은 미연의 얼굴.\n\nCARRIED STATE (persist exactly): This is a black-and-white nighttime memory in an American city street, with intermittent gunfire flashes and a large American flag among the attackers. 미연: Appears younger, kneeling in terror with both arms held protectively around her sides. 이현우: Appears as a young child, kneeling in fear. 앰버: Appears as a younger child, kneeling in fear.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Within 이현우's explicitly black-and-white dream of the past, continue the gentle push from kneeling face height, remaining oblique to 미연 and just outside the family–attacker axis rather than adopting the attacker's eyes. Place the younger 미연's frightened face in the upper center and the younger 이현우 and 앰버 tucked beneath her arms at the lower left and right, preserving both protective forearms and the children's heads within the close frame. 미연 looks upward toward the attacker outside the frame while the children lower their faces into her shelter; emphasize the closing camera distance and retain the dream's discontinuous frame cadence without adding visual hallucinations.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: American city street (The family is kneeling during the attack); used as A limited, unfocused strip grounds the enclosed family within the remembered street.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L19B02.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ], [ "char:앰버", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/ab744da1-7780-4cb5-aba8-87e0188dd443.png" ] ], "asset_id": "a46259a7-1888-4810-a974-90bac21a6e29" }, "S8sh22": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S9sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S9sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L21B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On a desolate rubbish heap immediately outside the refugee tribunal at night.\n\nSHOT TEXT (authoritative, Korean): 쓰레기 더미 위에 쓰러져 있던 이현우가 입을 크게 벌리고 비명을 지르며 상체를 튕기듯 일으키는 찰나.\n\nCARRIED STATE (persist exactly): It is night outside the shabby refugee tribunal, surrounded by desolate heaps of rubbish. 이현우: Wakes from unconsciousness with his dog-bitten leg and baton-struck head still injured. The judge's wallet is already in his pocket.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Begin low and diagonally beside 이현우's reclining body, looking slightly downward from outside his frontal axis before the crane begins to rise. His abruptly lifting torso occupies the central half of the frame, his mouth open and shoulders contracting, while rubbish remains visible beneath him and along both lower corners; his unfocused gaze passes beyond the frame toward his surroundings. Hold the entry camera position for this instant, letting his bodily displacement supply the change from the nightmare rather than anticipating his later rise to his feet.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Rubbish heaps (Surrounding and beneath 이현우 outside the refugee court); used as Frame the lower torso and establish where he has awakened without introducing individual invented objects.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L21B01.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ] ], "asset_id": "d049d6dd-fa75-48bc-b6ad-3d345925157e" }, "S9sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S9sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S10sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S10sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L22B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At a secluded dining table inside a shabby alley restaurant at night, under modest restaurant lighting.\n\nSHOT TEXT (authoritative, Korean): 식탁 위 돈 봉투를 가운데 두고 마주 앉은 이현우와 40대 남성의 측면.\n\nCARRIED STATE (persist exactly): A money-filled envelope lies on the table in a secluded part of the shabby restaurant at night. 이현우: Sits at the table with his dog-bite leg wound and injuries from the tribunal still unresolved. 40대 남성: Sits at the secluded restaurant table.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Finish the approach beside the table at seated eye height, perpendicular to the line between the men, and settle into a broadside two-shot. Place 이현우 at left in right-facing profile, his forearm extended after sliding the envelope forward, and 40대 남성 at right in left-facing profile with his torso angled toward the exchange; both attend downward to the envelope between them. Keep the tabletop across the lower third and the envelope small at its center, making the completed seating position the endpoint of the approach.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Dining table (Between the two seated men in a secluded part of the restaurant) — The near edge runs across the lower frame, with the men seated at opposite sides; used as Establish the negotiation axis and the distance separating the men; Money envelope (Just pushed across the table by 이현우) — Lying on the tabletop between the men, viewed at a shallow oblique angle; used as Anchor the exchange at the center without exaggerating the envelope's size.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L22B01.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ], [ "char:40대 남성", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/9b230648-c0d0-4c1c-9dd4-6677a0ed1cd6.png" ] ], "asset_id": "2c931ded-5806-4190-b2ad-631d44d09a46" }, "S10sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S10sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S11sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S11sh2.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At the narrowing opening of the refugee camp's outdoor entrance gate during nighttime curfew.\n\nSHOT TEXT (authoritative, Korean): 닫히는 중인 수용소 철제 출입문 틈으로 이현우와 사람들이 몸을 반쯤 들이민 다급한 자세.\n\nCARRIED STATE (persist exactly): Curfew shutdown is darkening the camp: shops are closing, container-home lights and streetlights are going out, and the entrance gate is closing. 이현우: Is hurrying through the camp entrance, still carrying the facial injuries and painful dog-bite wound in his leg.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Begin inside the entrance at a low torso-height position, offset from the incoming path, looking obliquely through the narrowing gate before starting the retreat. Frame the gate opening near center and 이현우 slightly right of it, his body halfway through with a shoulder turned to fit, while the other refugees enter at different stride phases and torso angles rather than in a uniform row. Their attention is on the route into the camp past the camera, not the lens, and their advance through the opening supplies the dominant positional change.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: Narrowing camp gate opening in the middle-center of the frame, midground; Interior arrival path toward the camera in the lower-center of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: Camp entrance gate (Closing while refugees squeeze through) — Seen from inside the camp at an oblique angle, with the narrowing opening visible between its edges; used as Bracket the incoming bodies without allowing a gate panel to obscure the decisive passage; Entrance passage (Occupied by refugees arriving before closure) — Extends from the opening toward the camera's offset position; used as Keep a readable path into the foreground, with irregular spacing and different footfall phases among the arrivals.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ] ], "asset_id": "8908b3ff-e0a4-41a9-9d9b-917a87166eb9" }, "S11sh5": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S11sh5.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: In the dark alley directly outside a container home's closed front door in the refugee settlement.\n\nSHOT TEXT (authoritative, Korean): 닫힌 컨테이너 문 앞에서 고개를 약간 숙인 채 망설이는 표정을 지은 이현우의 측면.\n\nCARRIED STATE (persist exactly): The camp streets remain dark after curfew shutdown. The home container is marked “7-31,” and its entrance door is still closed. 이현우: Stands hesitantly at the container entrance with a hand on the door handle. His facial injuries and dog-bitten leg remain unchanged.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Continue the side approach beside 이현우 at approximately face height, with the viewing axis nearly perpendicular to his direction toward the door. Hold his lowered profile in the left-center, his bent arm leading to the handle at lower right, and a narrow section of the still-closed door along the right edge; his gaze drops toward his hand as he hesitates before turning it. Let the reduced camera distance isolate this pause, preserving the established darkness and avoiding an anticipatory view into the home.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Container home's entrance door (Still closed before 이현우 turns the handle) — A narrow oblique section of the exterior face appears at the right edge; used as Create a firm boundary in front of his hesitant profile without revealing the interior; Door handle (Held but not yet turned) — Seen from the side beneath his hand; used as Link his lowered gaze and paused body to the interrupted action.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ] ], "asset_id": "eef6d95f-a24d-47a6-9e1e-d74ccd586566" }, "S12sh7": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S12sh7.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At the dining area inside a refugee family's container home. A candle on the table supplies the nighttime light.\n\nSHOT TEXT (authoritative, Korean): 앰버를 향해 미간을 좁히고 날카로운 표정으로 소리치는 이현우의 얼굴 클로즈업.\n\nCARRIED STATE (persist exactly): A candle lights the dining table, where the prepared meal and old clothing being mended are set out. The container remains lit by candlelight during the nighttime electricity curfew. 이현우: Has removed his upper garment and is at the meal table. His face remains injured, and the dog-bite wound on his leg is visibly bleeding.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Complete the approach from beside and slightly behind 앰버, with the lens just below 이현우's seated eye line and offset from his gaze toward her. Keep 앰버's shoulder entirely outside the frame, placing 이현우's face left of center with looking room to the right as he draws his brows together and opens his mouth sharply at her. Retain his face, neck, and a small portion of his shoulders rather than an extreme facial crop, emphasizing only the final decrease in camera distance while his attention stays on 앰버 immediately offscreen.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Container interior (Occupied during the family meal); used as Keep the room softly unresolved behind his face without introducing other people or furnishings into the tight crop.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ] ], "asset_id": "c185612b-825f-4f86-98d0-32b6fb443854" }, "S12sh13": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S12sh16": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S13sh15": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S13sh15.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At an open-air gang gathering spot on the roadside beside the artificial seawall, near a burning barrel and barbecue grill.\n\nSHOT TEXT (authoritative, Korean): 이현우가 빼앗은 총구를 쿠마의 얼굴 정면으로 흔들림 없이 겨누고 있는 찰나.\n\nCARRIED STATE (persist exactly): The outdoor hideout stands beside the artificial seawall, with fires burning in metal drums and chicken skewers on a barbecue grill. The seawall already has cracks and water seepage, including water running over its supports. 이현우: He wears his upper garment and holds the seized gun raised in an aiming position. His facial injuries and untreated leg bite remain. 쿠마: He remains at the barbecue with beer and a chicken skewer, not yet having discarded the skewer or stood up.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Briefly arrest the track behind and outside 이현우's left shoulder, near shoulder height, looking obliquely along rather than directly down the weapon's axis. His shoulder and extended arm occupy the lower-left foreground, while 쿠마's seated upper body appears at center-right beyond the gun; 이현우 fixes on 쿠마's face, and 쿠마 looks back toward him without facing the lens. Keep the weapon modest in scale and its muzzle-to-face alignment legible, with a narrow strip of the grilling area establishing their shared space.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 이현우 in the lower-left of the frame, foreground; 쿠마 in the middle-right of the frame, midground; Barbecue grill beside 쿠마 in the lower-right of the frame, midground.\n- KEY BACKGROUND ELEMENTS: Seized gun (Held steadily and aimed at 쿠마's face) — Seen from the side behind 이현우's hand, pointing diagonally across the frame rather than toward the lens; used as Links the foreground aggressor to the seated target without exaggerated foreshortening; Barbecue grill (Used for cooking chicken skewers) — A partial side and cooking area remain visible near 쿠마; used as Anchors the threat in the interrupted meal and supplies scale behind the gun.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ], [ "char:쿠마", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f2f2b6c9-1039-4e19-9e81-a215b76ee4f5.png" ] ], "asset_id": "bcb2cb6f-36f1-4be4-9112-e02d4fa88374" }, "S13sh18": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S13sh18.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Immediately in front of the cracked artificial-seawall wall at night, where seawater seeps through the fissures.\n\nSHOT TEXT (authoritative, Korean): 갈라진 틈새로 물이 흐르는 어두운 인공제방 벽면 앞에 나란히 선 쿠마와 이현우.\n\nCARRIED STATE (persist exactly): The seawall is cracked in multiple places, with seawater seeping through and running over its supports in the darkness. The metal-drum fires and barbecue remain at the nearby hideout. 이현우: He stands by the seawall in his upper garment, retaining the seized gun. His facial injuries and untreated leg bite remain. 쿠마: He has left the barbecue and stands beside the seawall without the discarded chicken skewer.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Use the arrival position on the embankment's open side, elevated above both men and angled gently down along the wall, before 쿠마 reaches toward it. Place 쿠마 left of 이현우 across the lower-middle frame, their full figures side by side but caught at different stopping phases; both lower their attention toward the water emerging from cracks near them. Make the expanded camera distance the principal change, distributing the wall, supports and open ground around the figures rather than treating the wall as a flat backdrop.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: Artificial embankment wall (Cracked, with water flowing through gaps) — Its exposed face recedes diagonally behind the two men; used as Turns the visible structural failure into the subject of their shared attention; Embankment supports (Water is running over them) — Visible obliquely beneath and beside the wall; used as Provides depth and a second visible indication of the leakage; Ground beside the embankment (The two men have arrived on its open side); used as Leaves negative space around their feet and prevents the wall from flattening their positions.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ], [ "char:쿠마", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f2f2b6c9-1039-4e19-9e81-a215b76ee4f5.png" ] ], "asset_id": "5b319b3b-c9ce-48f5-9050-3a1690e77aed" }, "S13sh25": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S14sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S14sh3.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: On the floor of the container home's shared living area, where a vase has shattered. Daylight provides the daytime interior illumination.\n\nSHOT TEXT (authoritative, Korean): 찰리의 발밑에 떨어진 화병이 산산조각 나며 파편이 튀어 오르는 근접 찰나.\n\nCARRIED STATE (persist exactly): The vase has broken, leaving fragments at Charlie's feet inside the container. Charlie remains a worn gorilla-shaped robot with blue-lit eyes, an old coat and hat, and an already worn UBIK chest logo.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Cut to the flow's static floor-level position, offset beside 찰리's toes and tilted slightly down toward the impact. Keep his feet and lower legs in the upper half, with the broken vase's impact area below center and clear space above it for the jumping fragments; the fragments collectively occupy less than a third of the frame. Hold the instant of his startled halt before any sweeping foot movement, with his head and attention toward the accident remaining outside the crop.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Broken vase (Shattering beside 찰리's feet, with fragments jumping upward); used as Places the impact low in the composition while leaving room to read the fragments' upward motion; Container interior floor (Receiving the fallen vase and scattered fragments); used as Provides an uninterrupted scale reference around the feet and impact.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/e3c6cd6a-e750-4810-94ac-194cac2eb856.png" ] ], "asset_id": "d1ec31a3-bd5b-4bcc-bd3f-d8dbd19cc1e0" }, "S14sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S14sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S15sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S15sh15": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S15sh18": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S16sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S16sh4.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L28B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: In the outdoor washing area in front of a container home, on ground sprayed by a hose.\n\nSHOT TEXT (authoritative, Korean): 깨끗해진 자신의 몸을 내려다보며 양팔을 활짝 벌린 채 즐거운 표정을 짓는 찰리의 전신 구도.\n\nCARRIED STATE (persist exactly): A hose is spraying water outside Raul's container, and Charlie's accumulated dirt has been washed away. His old coat and hat, blue-lit eyes and worn UBIK chest logo remain established; washing does not restore the worn metal or logo.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Complete the diagonal retreat at 찰리's waist height with a slight upward tilt, retaining an oblique front view that shows his entire body and clear space beyond both extended hands and below his feet. Center him loosely as he tips his head down toward his newly cleaned torso, his open arms and delighted expression readable together; the water enters from the hose side, with 라울 and 앰버 outside the crop. Let increased camera distance be the sole emphasized change, without repositioning Charlie or changing the lighting.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: Raul's container home (The washing takes place outside the home) — An oblique portion of its exterior remains behind Charlie; used as Establishes the domestic setting and a stable scale reference; Hose water (Spraying Charlie and washing dirt from his body); used as A peripheral stream connects the off-screen hose side to Charlie's torso without obscuring his face.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L28B01.png" ], [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/e3c6cd6a-e750-4810-94ac-194cac2eb856.png" ] ], "asset_id": "42e2691a-83b8-4772-b28b-520706f1436c" }, "S16sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S17sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S17sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S17sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S18sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S18sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L30B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At the speakerphone conversation area inside a militia commander's office. The office is illuminated for daytime use.\n\nSHOT TEXT (authoritative, Korean): 스피커폰 맞은편에 서서 하얀 손수건을 코끝에 댄 윤성찬의 근접 구도.\n\nCARRIED STATE (persist exactly): The office speakerphone is in use. 윤성찬: He stands in the office holding a handkerchief to his nose and repeatedly wiping it.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Finish the approach at 윤성찬's eye height on the established side of his axis with 박철진, retaining a three-quarter close view rather than moving onto his frontal line. Place his face just right of center and the white handkerchief beneath his nose in the lower middle, leaving look room left toward the off-screen 박철진 as he listens to the speakerphone conversation. Emphasize only the narrowing distance, preserving his listening posture and the existing illumination.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: White handkerchief (Held against Yoon's nose as he listens); used as A small action detail below his eyes, leaving his expression readable; Office wall behind Yoon (The knife has not yet been thrown into it) — A limited oblique section appears behind his shoulder; used as Establishes the background plane that will carry the subsequent threat.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L30B01.png" ], [ "char:윤성찬", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/769ba089-6e18-4009-8e3b-ba4eda7e9805.png" ] ], "asset_id": "b77b5c1d-f086-4988-a584-51f3d06b92a2" }, "S18sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S18sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S19sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S19sh3.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Inside the rear passenger compartment of a luxury sedan, facing the chauffeur's front seat. Daylight enters through the side windows.\n\nSHOT TEXT (authoritative, Korean): 앞좌석의 '윤성찬의 비서'를 향해 손가락을 뻗은 채 입을 열고 매섭게 지시하는 윤성찬의 측면.\n\nCARRIED STATE (persist exactly): 윤성찬: He is seated inside the car after leaving the office and still carries his handkerchief.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Complete the approach from the opposite rear-seat position at 윤성찬's seated upper-chest height, looking across his profile with a slight upward angle. Keep him left of center, leaning forward with his mouth open and pointing toward the front seat at screen right, where only 윤성찬의 비서's rear shoulder and head edge are visible; Yoon addresses the secretary's face beyond the crop while the secretary remains oriented toward the car's front. Emphasize the forward placement of Yoon's pointing hand without enlarging it through exaggerated perspective, and hold here before the camera slides between the seats.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Front seat (Occupied by the secretary) — Its rear-facing portion appears at the right edge from the opposite rear-seat camera position; used as Establishes the destination of Yoon's pointing gesture without blocking his hand; Rear seating area (Occupied by Yoon) — Seen laterally beneath and behind his seated body; used as Grounds his forward lean and makes the rear-to-front relationship legible.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:윤성찬", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/769ba089-6e18-4009-8e3b-ba4eda7e9805.png" ] ], "asset_id": "92af7125-a56f-444c-a3ee-89665661a68a" }, "S19sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S19sh4.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At the chauffeur's position inside the luxury sedan, directly ahead of the rear passenger compartment. Daylight enters through the windshield and side windows.\n\nSHOT TEXT (authoritative, Korean): 윤성찬의 지시에 깜짝 놀라 고개를 뒤로 돌린 채 굳어 있는 '윤성찬의 비서'의 당혹스러운 얼굴.\n\nCARRIED STATE (persist exactly): 윤성찬의 비서: He remains seated in the front of the car as its driver.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Hold a direct observational close view from near the center of the rear seating area, diagonally behind the secretary and slightly above seated eye level, looking gently downward. 윤성찬의 비서's turned face occupies the right half in three-quarter view, with a narrow seat edge establishing the forward-facing body beneath the backward turn; their startled gaze stays on 윤성찬 outside the left edge. Keep the camera motionless at this reaction-stage midpoint, allowing the arrested neck turn and parted expression to carry the shock.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Front seat (Occupied by the secretary) — A narrow portion of the rear-facing seat edge appears beneath the turned face; used as Establishes the mismatch between the forward-facing seated body and the backward reaction.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:윤성찬의 비서", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/e8c2eb84-0292-4df0-828f-134bde46d05a.png" ] ], "asset_id": "2f88a08c-a2b0-4ed4-bc7b-cff3d09f240f" }, "S20sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S20sh2.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: In the settlement alley outside the family's container home, with a view into the dwelling being searched.\n\nSHOT TEXT (authoritative, Korean): 자신의 컨테이너 안을 난장판으로 뒤지고 있는 민병대원들을 향해 입을 벌린 채 굳어있는 이현우의 상체.\n\nCARRIED STATE (persist exactly): Container 7-31 is being searched, leaving its interior disturbed. 이현우: He is hiding near the container, still bearing his earlier facial injuries and untreated leg bite.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Finish the approach-stage dolly on 이현우's front three-quarter side at approximately his eye level, keeping his open-mouthed upper body in the left-center and 페드로 partially visible beside him. Both look beyond the right edge toward the container interior, their interrupted forward movement held in unequal weight shifts rather than matching poses. Keep the directly observed militia activity as a narrow contextual layer at the right edge: one searcher bends farther into the container while another turns within it, preserving the searching action without duplicating their silhouettes.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 이현우's container interior (Being searched and disrupted by militia members) — Only an oblique slice of the accessible interior appears at the right edge; used as Provides immediate evidence for the reaction without competing with the upper-body framing; Militia uniforms and armbands (Worn by the searchers) — Partial sleeve and torso views reveal the armbands on differently angled bodies; used as Identifies the searching group while staggered bends and shoulder turns prevent a cloned formation.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ] ], "asset_id": "9be84bf2-5f5f-453b-860d-e8e8fda8712e" }, "S20sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S20sh13": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S20sh13.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At the mouth of a particularly narrow alley branching off the refugee settlement's market lanes.\n\nSHOT TEXT (authoritative, Korean): 사복 경찰이 휘두른 소총 개머리판이 이현우의 머리를 향해 강하게 뻗어져 닿기 직전인 결정적 찰나.\n\nCARRIED STATE (persist exactly): Boxes knocked over during the escape remain scattered in the market alley. The earlier search has left container 7-31 disturbed. 이현우: He has reached the entrance to a narrower alley while fleeing. His earlier facial injuries and untreated leg bite remain; the impending rifle-butt strike has not yet landed.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At the narrow alley entrance, hold the handheld camera beside 이현우's flank at upper-torso height, looking slightly upward and obliquely across his route while remaining outside the rifle butt's trajectory. Frame 이현우 on the right with his running torso pitched forward and his attention still directed into the alley beyond the right edge; the 사복 경찰 enters from the left, looking downward along the swing toward the lowered head. Keep both upper bodies visible and preserve an unmistakable open interval between the butt and 이현우's head, with the weapon occupying only a small central portion of this directly observed pre-contact frame.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Narrow alley entrance (이현우 is about to enter when intercepted) — The opening recedes behind and to the right of 이현우; used as Establishes the interrupted escape route and supplies negative space behind the pre-contact gap; Rifle and butt (Being swung, not yet touching 이현우) — The butt approaches the side of the head across the image plane rather than pointing into the lens; used as Makes the imminent impact readable without foreshortening or concealing the separation.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ] ], "asset_id": "3574d533-8ad5-4acf-b7f4-1cb64f757d44" }, "S21sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S21sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L29B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Just inside the open front threshold of a container home, with daylight entering through the doorway.\n\nSHOT TEXT (authoritative, Korean): 열린 컨테이너 철문 사이로 땀범벅이 된 라울이 뒷발로 문턱을 차고 상체를 앞으로 크게 기울인 mid-stride 자세.\n\nCARRIED STATE (persist exactly): The container entrance door has been thrown open. 라울: He is entering through the newly opened doorway.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From the low, offset position inside the container, pan with 라울's entry and look upward toward his three-quarter profile without moving into his path. Show his full forward-driving figure across the center, keeping the trailing foot against the threshold in the lower-left portion and the leaning torso advancing toward the right; his gaze reaches toward 앰버 outside that edge. The direct observational frame catches the urgent crossing rather than a completed entrance, with the open doorway providing a stable reference for his momentum.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: Doorway threshold beneath the trailing foot in the lower-left of the frame, midground.\n- KEY BACKGROUND ELEMENTS: Container iron door (Thrown open for 라울's entrance) — Seen obliquely from inside, with the open leaf remaining near the frame edge; used as Frames the entrance without obscuring the forward-leaning torso; Doorway threshold (라울's trailing foot is pushing away from it) — Runs diagonally through the lower-left part of the frame; used as Anchors the physical instant of departure into the room.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L29B01.png" ], [ "char:라울", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/59b55ca2-2604-4efd-a39b-e3e8fbf177a3.png" ] ], "asset_id": "9779949b-627e-4745-9cf6-6ea75a73ca87" }, "S21sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S22sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S22sh2.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Immediately in front of a banana stall on the refugee settlement's open-air market street.\n\nSHOT TEXT (authoritative, Korean): 노란 바나나가 가득 쌓인 가판대 앞으로 찰리의 두꺼운 기계 손이 반쯤 뻗은 채 허공에 머물러 있는 근접 구도.\n\nCARRIED STATE (persist exactly): Bananas are displayed at a stall on the busy market street. Charlie retains the old coat and hat, washed body, blue-lit eyes and worn UBIK chest logo.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Ease the rear-three-quarter approach almost to a stop beside 찰리's reaching hand, with the lens just above hand height and angled gently downward toward the bananas. His thick mechanical hand hangs across the lower center, occupying less than a third of the frame, while yellow bananas sit to the right and a partial forearm and torso at the left preserve scale and bodily context. Show the suspended reach directly, with his head outside the crop and his downward attention continuing along the arm toward the fruit; keep a visible interval between fingertips and bananas.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Banana stall (Piled with yellow bananas) — Viewed obliquely across the customer-facing display toward the fruit; used as Places the desired fruit along the hand's reaching direction while keeping the display below forty percent of the frame; Market aisle (Open beside the stall) — A narrow strip extends behind the partial robot torso; used as Preserves environmental context so the hand does not become an isolated, oversized object.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/e3c6cd6a-e750-4810-94ac-194cac2eb856.png" ] ], "asset_id": "d92489e2-d827-4a66-be8b-a86dfc85890d" }, "S22sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S22sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S23sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S23sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L33B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At the central table inside a spacious detention-center visiting room, illuminated for daytime visits.\n\nSHOT TEXT (authoritative, Korean): 차가운 면회실 철제 테이블 앞에 두 손목에 수갑이 채워진 채 고개를 숙인 이현우의 피투성이 상체.\n\nCARRIED STATE (persist exactly): A table stands in the middle of the large visitation room. 이현우: He sits at the central table with handcuffs still on and bruising across his face. His earlier leg bite remains untreated.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Begin at the establishing stage's held entry position beside a long edge of the table, above 이현우's seated eye level and looking diagonally downward at his front three-quarter view before the crane descends. Place his bowed head and bloodied, bruised upper body just right of center, with both cuffed wrists visible low in the composition and his gaze lowered toward his hands. Observe him directly, using the table's diagonal edge and a restrained area of the spacious room behind him to express isolation without enlarging the table beyond the human scale.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Metal visitation table (Positioned in the middle of the room with 이현우 seated at it) — Its top and one long edge are seen obliquely from above; used as The diagonal edge leads toward the wrists while the tabletop occupies less than forty percent of the image; Handcuffs (Fastened around both wrists) — Seen from above at the lower center beside the table edge; used as Makes his confinement readable within the upper-body composition; Spacious visitation-room interior (Visible beyond the centrally placed table) — A limited expanse of the room recedes behind 이현우; used as Provides negative space around the isolated seated figure without introducing unspecified furnishings.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L33B01.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ] ], "asset_id": "14df2182-3f90-4ddb-ad5f-5cf99e0be15d" }, "S23sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S23sh11": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S24sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S24sh4.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Inside the shared living area of the searched container home, just beyond its entrance. Daylight comes through the doorway.\n\nSHOT TEXT (authoritative, Korean): 붉게 충혈된 눈으로 페드로의 멱살을 향해 한 손을 뻗은 채 거친 얼굴을 바짝 들이민 이현우.\n\nCARRIED STATE (persist exactly): The home is container 7-31, with the disturbance from the militia's search still unresolved. 이현우: He is inside the container, still wearing his outer top. His facial bruises and injured leg remain, and his wrists are no longer cuffed. 페드로: He has hurried into the container and is out of breath.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Finish the approach just outside 페드로's shoulder at his upper-chest height, looking slightly upward toward 이현우 while retaining the established confrontation axis. Place 페드로's shoulder and collar narrowly along the right foreground, with 이현우's upper body at left-center and his reaching hand fully visible in the lower frame. 이현우 leans into the gap, bloodshot eyes fixed on 페드로's face immediately beyond the right crop, while 페드로's cropped head remains turned toward him.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 컨테이너 집 내부 (두 사람이 들어와 대치하고 있는 실내) — Only a narrow, unresolved portion of the interior remains beyond Hyunwoo; used as Provides spatial enclosure without introducing unsupported furnishings.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ], [ "char:페드로", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/bf510a5f-30d9-47b3-a402-42e987ae67f7.png" ] ], "asset_id": "835ca9be-da8c-48a5-bf21-995533ce4a6b" }, "S24sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S24sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S25sh11": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S25sh11.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: In the central dancing area of an outdoor wedding reception, held under a simple canopy in a refugee-settlement clearing at dusk.\n\nSHOT TEXT (authoritative, Korean): 앰버가 환한 표정으로 찰리와 함께 한쪽 발을 바닥에서 떼고 경쾌한 춤동작을 취한 mid-action 전신 구도.\n\nCARRIED STATE (persist exactly): The reception occupies a tented vacant lot, with the repaired jukebox playing music at dusk. Charlie retains his old coat and hat disguise, blue-lit eyes and worn UBIQ chest logo, with the earlier surface dirt washed away. 앰버: She is dancing, with her previously established mask and waist tool pouch retained; her recurring cough has not been resolved.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Track along the settled lateral section of the dance path at 앰버's waist height, looking slightly upward from the oblique side and leaving clear space above both heads and beneath both feet. 앰버 occupies left-center in three-quarter view, smiling with one foot lifted, while 찰리 turns toward her at right-center; both glance down toward their joined hands as their bodies complete different phases of the turn. Keep the surrounding dancers peripheral, with unequal step phases, varied shoulder angles and irregular gaps rather than a synchronized ring.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 피로연 공터 (사람들이 음악에 맞춰 춤추고 있음); used as Clear ground around the pair preserves footwork; peripheral dancers have staggered steps, varied arm angles and naturally uneven spacing; 피로연 천막 (공터에 설치되어 있음) — A partial side view sits behind the shared dance space; used as Identifies the improvised reception without enclosing the pair in a symmetrical backdrop.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/e3c6cd6a-e750-4810-94ac-194cac2eb856.png" ], [ "char:앰버", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/ab744da1-7780-4cb5-aba8-87e0188dd443.png" ] ], "asset_id": "dfa4f22a-7333-4964-9636-0525b7191ce0" }, "S25sh17": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S25sh28": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S26sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S26sh2.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Inside a narrow underground sewer passage beneath the refugee settlement, with shallow water along the route. Only minimal visibility is specified; no fixed lighting source is established.\n\nSHOT TEXT (authoritative, Korean): 자신의 겉옷으로 앰버의 입과 코를 단단히 감싸 쥔 채 하수도 물살을 가르며 달리는 mid-stride 찰나의 이현우, 좁은 터널 구도.\n\nCARRIED STATE (persist exactly): The rubbish-yard manhole cover has been pushed aside, leaving ladder access to the sewer open. Charlie retains his old coat and hat disguise and blue-lit eyes; at the reception, the restored lights and burst lamps remain. 이현우: He is running through the sewer with his outer garment removed. His facial bruises and leg injury remain. 앰버: Her mouth is covered with a removed outer garment as she runs; her mask and waist tool pouch remain established.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Track beside the pair from 이현우's left-front quarter at lower-chest height, looking slightly upward along the narrow sewer passage. Keep 이현우 at left-center and 앰버 immediately beside him at right-center in a thigh-up moving composition: one hand holds his removed outer garment over her mouth and nose while his other hand keeps hers, with the cloth confined to her lower face. 이현우 watches the route beyond the camera's side and 앰버 lowers her eyes toward her footing, their different running phases and a small strip of disturbed water at the bottom conveying motion without separating them.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 좁은 하수도 통로 (현우와 앰버가 달리고 있는 통로) — The passage recedes behind the pair along their running axis; used as Close lateral boundaries compress the composition without adding unsupported pipes or fixtures; 하수도 물살 (달리는 움직임으로 갈라지고 있음); used as A limited lower-frame strip supplies movement context without making reflected imagery the subject; 현우의 겉옷 (벗어서 앰버의 입과 코를 감싸고 있음) — The folded cloth is seen obliquely against Amber's lower face beneath Hyunwoo's hand; used as Makes his protective action readable at a natural scale.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ], [ "char:앰버", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/ab744da1-7780-4cb5-aba8-87e0188dd443.png" ] ], "asset_id": "7edf71e3-a57e-4e4f-a6d0-b67517785059" }, "S26sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S26sh12": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S26sh12.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At the fork of the underground sewer passage beneath the refugee settlement. The nighttime tunnel has no specified fixed light source.\n\nSHOT TEXT (authoritative, Korean): 이현우가 결연하고 진지한 표정으로 페드로의 양어깨를 두 손으로 꽉 쥔 상반신.\n\nCARRIED STATE (persist exactly): The sewer route reaches a fork. Charlie retains his old coat and hat disguise, worn chest logo and blue-lit eyes. 이현우: He is at the sewer fork without his outer garment, still bearing facial bruises and the leg injury. 페드로: He is at the fork, preparing to take a separate route.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Continue the gentle push from behind and outside 페드로's near shoulder, at 이현우's upper-chest height with a slight upward tilt, keeping the lens offset from their face-to-face axis. 페드로's shoulder occupies the lower-left edge while 이현우's serious three-quarter face sits right of center; both forearms and both hands remain visible gripping 페드로's shoulders. Their attention stays on each other's faces, with the tightening distance—not a lighting or blocking change—carrying the urgency of their parting.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 지하 하수도 갈림길 (The route divides into two passages) — The branching space recedes obliquely behind 이현우; used as A subdued background reminder of the impending separation, subordinate to the shoulder grip.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ], [ "char:페드로", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/bf510a5f-30d9-47b3-a402-42e987ae67f7.png" ] ], "asset_id": "bbca828d-8e8e-429a-af43-6126dd370473" }, "S27sh11": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S27sh11.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: On the refugee-settlement roadway immediately in front of a braking van, within its headlight beams.\n\nSHOT TEXT (authoritative, Korean): 찰리의 다리 바로 앞에서 거친 마찰을 일으키며 멈춰 선 자동차의 앞범퍼 근접 찰나.\n\nCARRIED STATE (persist exactly): The van has stopped immediately before Charlie with its headlights on; streetlights continue switching on and off along his route. Charlie retains his coat and hat disguise and blue-lit eyes, and the small bird has flown away.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Finish the low lateral tracking move outside the vehicle's path, looking diagonally across the narrow gap between 찰리's lower legs at left and the stopped front bumper at right, never along the vehicle's frontal axis. Tighten only the viewing distance at this endpoint: the bumper occupies less than a third of the image, with road visible beneath the gap and 찰리's uneven foot placement retaining the interrupted running action. His head and eyeline remain above the crop as his attention turns toward the vehicle's headlights.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 찰리의 하퇴와 발 in the middle-left of the frame, midground; Stopped front bumper with a visible gap before Charlie's legs in the middle-right of the frame, midground.\n- KEY BACKGROUND ELEMENTS: 자동차 앞범퍼 (The vehicle has stopped immediately before 찰리 without contact) — The front corner and a short portion of the bumper's side are visible obliquely; used as Establishes the near collision through the remaining gap, without exaggerated foreground scale; 도로 (Visible underneath the stationary bumper and 찰리's feet); used as Maintains a continuous ground plane and a credible scale reference.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/e3c6cd6a-e750-4810-94ac-194cac2eb856.png" ] ], "asset_id": "8f5f9ec5-20ce-4a35-9f05-3aa7f9c47f3a" }, "S27sh17": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S27sh19": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S28sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S28sh2.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Inside the van's rear passenger area, in the gaps between sparsely placed cargo boxes. Nighttime light is limited to what reaches the compartment through the vehicle openings.\n\nSHOT TEXT (authoritative, Korean): 밴 차량 뒷좌석의 어지러운 화물 박스들 사이에 웅크리고 숨어 있는 이현우, 앰버, 찰리의 구도.\n\nCARRIED STATE (persist exactly): The van has a crude roof-mounted halogen cross and scattered cargo boxes in its rear compartment. Charlie is concealed among the boxes, retaining his old coat and hat disguise and blue-lit eyes. 이현우: He is concealed among the rear cargo boxes, with facial bruises and the persistent leg injury. His outer garment remains removed. 앰버: She is concealed among the rear cargo boxes, retaining her mask and waist tool pouch and her unresolved coughing condition.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Hold just behind the front seats, offset to the passenger side and above the group's crouched heads, looking diagonally downward through the spaces between the boxes. 이현우 folds forward at left with his gaze lowered into the space around his knees, 앰버 tucks herself into the center and looks toward 찰리, and 찰리 crouches at right with his head inclined toward her. Capture the already-concealed entry pose before the warning or forced downward movement, keeping the scattered boxes below shoulder height in the composition and no single box larger than a quarter of the image.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 물건 박스들 (Scattered through the rear seating area with gaps occupied by the concealed group) — Different top and side faces appear along the diagonal view; used as Create irregular partial occlusions and separate the three crouched silhouettes without forming a solid wall; 앞좌석 등받이 (Between the camera's position and the front cabin) — A cropped rear face borders the near edge of the image; used as Locates the camera inside the van without obstructing the group; 밴 뒷좌석 (Partially visible around the boxes and crouched occupants) — Seen diagonally from above and in front; used as Supplies human-scale spatial context for the hiding positions.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/e3c6cd6a-e750-4810-94ac-194cac2eb856.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ] ], "asset_id": "550b93f5-f7c2-436b-a456-385435066af9" }, "S28sh5": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S28sh5.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At the driver's seat inside the van, beside the lowered side window at a nighttime checkpoint. Exterior checkpoint light reaches the driver's face.\n\nSHOT TEXT (authoritative, Korean): 차창을 내린 채 창밖을 향해 눈웃음을 지으며 여유롭게 미소 짓는 신부의 얼굴.\n\nCARRIED STATE (persist exactly): The van retains its roof-mounted halogen cross and rear cargo boxes; its driver's window is lowered for the checkpoint. Charlie is pushed down into concealment among the boxes, still in his old coat and hat. 신부: He remains at the wheel, wearing his clerical collar and smiling.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Settle inside the front cabin diagonally behind and to the passenger side of 신부, at his seated shoulder height with a slight upward view across his profile. His face occupies the center-left, with the lowered driver's window opening on the left edge and a narrow portion of the seat behind him; he turns toward the militia member outside the frame, smiling with relaxed, narrowed eyes. Hold the established position and let his outward eyeline and easy smile carry the change in emphasis, never redirecting his attention toward our lens.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 운전석 차창 개구부 (The window is lowered) — The open aperture lies beyond the priest's outward-facing profile; no glass intervenes in his sightline; used as Provides look room toward the unseen militia member; 운전석 등받이 (Supports the seated priest) — A narrow oblique section remains behind his shoulder; used as Retains cabin context within the face-centered framing.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:신부", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/0d06c639-6de3-4209-a818-db1d16132f72.png" ] ], "asset_id": "d4eee5de-2ef7-48d7-9f0d-0953ae285de8" }, "S29sh5": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S29sh5.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Inside the church's sparsely furnished basement prayer room, below the stairs to the ground floor. A carried candle lights the room.\n\nSHOT TEXT (authoritative, Korean): 위층의 둔탁한 소리에 일제히 숨을 죽인 채 굳은 얼굴로 천장을 올려다보는 신부, 앰버, 찰리, 이현우.\n\nCARRIED STATE (persist exactly): The basement prayer room contains a cross, small desk, chairs and a small organ, with candle illumination; the church's electric bulbs remain burst. Charlie retains his old coat and hat disguise and blue-lit eyes. 신부: He remains in the basement, wearing his clerical collar and carrying the candle used on the stairs. 이현우: He is in the basement with facial bruises and the injured leg, still without his outer garment. 앰버: She is in the basement, retaining her mask and waist tool pouch and her unresolved coughing condition.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Hold at a low oblique position inside the prayer room, looking slightly upward across the four figures with open space above their heads and a strip of ceiling visible. 신부 at left arrests his movement, 앰버 draws her shoulders inward near center-left, 찰리 pauses with his previously raised hand still suspended at center-right, and 이현우 leans back slightly at right; all direct naturally inclined upward gazes toward the ceiling after the knocking. Keep their spacing and illumination stable, emphasizing the shared upward eyeline while varying head angles and bodily tension so their frightened stillness does not become a synchronized lineup.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 기도소 천장 (Above the group as knocking comes from the floor upstairs) — A narrow underside section is visible above the figures; used as Connects their upward attention to the source direction without requiring extreme neck angles; 작은 책상과 의자 (Sparsely placed in the prayer room) — Oblique sides remain visible behind the group; used as Give the lower background scale and preserve the room's sparse layout; 작은 풍금 (Present in the prayer room and not being played) — A partial side view sits at the background edge; used as Maintains environmental continuity without competing with the collective reaction.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/e3c6cd6a-e750-4810-94ac-194cac2eb856.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ] ], "asset_id": "ab6cbe3a-e4fd-4ee3-8c9d-4b81f3a0cc3c" }, "S29sh11": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S29sh11.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Immediately outside the church's ground-floor entrance, seen through the small window in its closed door.\n\nSHOT TEXT (authoritative, Korean): 작은 유리창 너머로 문 밖에서 마주 선 채 입을 열고 대화 중인 구도환과 신부의 모습.\n\nCARRIED STATE (persist exactly): The church entrance has been opened, and the small viewing hatch in its door is open. The basement retains its cross, small desk, chairs and organ, with Charlie still there in his old coat and hat. 신부: He stands outside the entrance in his clerical collar. 구도환: He stands outside the church entrance, engaged in conversation.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Hold inside the first-floor doorway at the small window's height, just behind and beside 이현우's established position but cropping him entirely out, looking obliquely through the opened aperture. The window's near edges frame 구도환 on the left and 신부 on the right outside, both visible from the upper torso as they speak toward each other's faces rather than toward the opening. Keep the camera still and the opening in soft foreground focus, making their reciprocal eyeline the emphasis without suggesting a reflection or a mediated image.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 성당문에 난 작은 창 (Opened for looking outside) — The aperture's inner edges are visible; the opened glazed section is kept out of the viewing path; used as Creates a restricted foreground frame around the conversation without adding glass distortion; 성당 문밖 공간 (Occupied by the priest and 구도환 during their conversation); used as Provides a continuous exterior plane behind both men.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:신부", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/0d06c639-6de3-4209-a818-db1d16132f72.png" ], [ "char:구도환", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/6c93f59f-96c4-4113-89bd-ef85291a31e2.png" ] ], "asset_id": "5d3a20c2-5883-403f-b75c-b33a53ec40e2" }, "S29sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S30sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S30sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S30sh14": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S31sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S31sh2.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: In the third-floor room of the refugee-camp administration building being used for interrogation. The building's lights are on brightly at night.\n\nSHOT TEXT (authoritative, Korean): 퉁퉁 부은 얼굴을 한 미연의 맞은편 의자에 박철진이 다리를 꼬고 앉은 구도.\n\nCARRIED STATE (persist exactly): The management-office building is brightly lit, with the interrogation taking place on the third floor. 미연: Her face is badly swollen from the beating, and she remains detained in the interrogation room. 박철진: He has taken a seat for the interrogation.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Begin from the side of the interrogation axis at seated chest height with a slight upward tilt, holding the dolly's entry composition before advancing. Place 미연 on the left and 박철진 on the right in opposing three-quarter views, showing both chairs, his newly crossed legs, and the uninterrupted gap between them. 미연 holds her swollen face toward the interrogator with guarded tension, while 박철진 settles into the chair with his attention on her rather than the camera.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: Opposing chairs (Occupied by 미연 and 박철진, facing one another) — Both chairs are seen obliquely from the same side of the confrontation axis; used as Establish the interrogation geometry while leaving the space between the occupants visible.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:미연", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/7cec27ea-d04d-432a-a8a8-598ad6f08c94.png" ], [ "char:박철진", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/2d4b9912-8b71-4e1f-9433-9735e09a8e94.png" ] ], "asset_id": "bc9d8c5c-56d5-4456-a26a-080f1e0b2da9" }, "S31sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S31sh11": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S32sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S32sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S32sh11": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S33sh7": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S33sh7.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At the front passenger position inside a combat helicopter above the refugee settlement. The dark exterior is visible through the forward glazing, with only minimal cockpit illumination.\n\nSHOT TEXT (authoritative, Korean): 아래쪽을 향해 거칠게 삿대질한 채 매섭게 공격을 지시하는 박철진의 옆얼굴.\n\nCARRIED STATE (persist exactly): The combat helicopter is airborne over the camp, with a convoy traveling along the seawall road below; the seawall retains its cracks and seepage. The church's basement access has been discovered, and the management office remains illuminated. 박철진: He occupies the helicopter's passenger seat and is directing the operation.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Hold a static position inside the helicopter, inboard of 박철진's passenger seat at seated chest height, with a slight upward angle onto his near-profile face. Place his head in the upper-left portion and retain his forcefully extended forearm and downward-pointing finger across the lower-right portion without enlarging the hand through foreground perspective. He leans into the command with his gaze directed down toward the activity below and outside the frame, preserving the established helicopter side view.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Helicopter passenger seat (Occupied by 박철진) — A partial inboard side is visible behind his torso; used as Establish the confined airborne command position without competing with his gesture.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:박철진", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/2d4b9912-8b71-4e1f-9433-9735e09a8e94.png" ] ], "asset_id": "a5f170ab-a5c0-4cb3-a610-917d31811d47" }, "S33sh12": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S33sh12.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: On the entrance steps leading up from the camp administration building's yard, beside the departing guards and trucks.\n\nSHOT TEXT (authoritative, Korean): 출동을 서두르는 경비병들의 등 뒤로 이현우가 한 발로 관리사무소 계단을 딛고 몸이 붕 떠오른 mid-action 자세의 역동적인 측면.\n\nCARRIED STATE (persist exactly): The manhole beside the illuminated management office is open, and deployment trucks are leaving the grounds. The third-floor detention-room door remains locked and its handle is still intact. 이현우: He is ascending the management-office stairs with facial bruises and the persistent leg injury; his outer garment remains removed.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Finish the low lateral track parallel to 이현우's route, looking slightly upward from behind the departing guards while retaining his full side-view action at the stair approach. Keep the guards' backs across the left foreground and 이현우 unobstructed at right-center, one foot driving against the first stair while his trailing foot lifts and his torso rises toward the upper-right continuation. The guards attend to boarding the truck in staggered phases—one transferring weight upward, another approaching with a different stride—while 이현우 watches his next stair, making his movement behind their backs the single emphasized positional change.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: first management-office stair beneath 이현우's planted foot in the lower-right of the frame, midground; upward continuation of management-office stairs in the upper-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: Management-office stairs (Being ascended by 이현우) — Viewed from the side, rising toward the upper right; used as Expose the first planted foot and provide a clear continuation for his escape movement; Truck (Being boarded by guards preparing to depart) — Only the boarding-side portion is retained at the left edge; used as Anchor the guards' activity and explain why their backs are turned to 이현우.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ] ], "asset_id": "3e589345-49dc-482d-9456-b9f786948626" }, "S33sh15": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S34sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S34sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S34sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S35sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S36sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S36sh4.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Inside the underground sewer tunnel beneath the settlement, where seawater bursts in from both sides. The passage has no established fixed light source.\n\nSHOT TEXT (authoritative, Korean): 구도환의 등 뒤 하수도 터널 양쪽에서 거대한 바닷물이 폭포수처럼 쏟아져 들어오는 찰나.\n\nCARRIED STATE (persist exactly): The underground sewer is beginning to fill with seawater; this is the same flood released by the destroyed seawall. 구도환: He is on foot inside the sewer tunnel during the escape. Huge streams of water pour into the tunnel from multiple directions.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From an elevated front-quarter position inside the sewer, continue the restrained crane rise and angle downward past 구도환's near shoulder into the tunnel behind him. Catch him mid-stride along the lower-left edge, looking toward his escape route beyond the camera's right side, while separate torrents enter behind him from the rear-left and rear-right and converge toward the central passage. The widened viewing distance is the reveal's emphasis: preserve clear depth between the runner and the incoming water, with the other companions outside this crop.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: Left torrent behind the runner in the middle-left of the frame, background; Right torrent behind the runner in the middle-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: Sewer tunnel (Beginning to fill as seawater enters from multiple directions) — The passage recedes behind 구도환, with both lateral sides visible; used as Establishes the depth and enclosure necessary to read the approaching flood; Rear-left seawater torrent (Pouring into the tunnel behind 구도환) — Enters from the left rear toward the central passage; used as One side of the converging threat, kept distinct from the opposite torrent; Rear-right seawater torrent (Pouring into the tunnel behind 구도환) — Enters from the right rear toward the central passage; used as Completes the bilateral flood reveal without obscuring the runner.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:구도환", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/6c93f59f-96c4-4113-89bd-ef85291a31e2.png" ] ], "asset_id": "6677edce-34aa-4d18-b33a-1106606c8648" }, "S36sh7": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S36sh7.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: In open floodwater outside the sewer outlet, beneath the surface of the inundated settlement.\n\nSHOT TEXT (authoritative, Korean): 물속에서 찰리의 거대한 기계 손이 앰버의 작은 손을 꽉 움켜쥔 근접 찰나.\n\nCARRIED STATE (persist exactly): The sewer has been overwhelmed by seawater, and the flood continues outside its outlet. 앰버: She is soaked and submerged outside the sewer, struggling to stay afloat with one hand held out in the water. 찰리: He is swimming in the floodwater with one hand closed in a firm grip. His old coat and hat are soaked; no removal has been established.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Underwater outside the sewer, remain on the established side of 찰리 and 앰버, slightly below their joining hands and looking obliquely upward along their forearms as the tracking move begins. Place 찰리's mechanical hand left of center, occupying roughly a quarter of the image, as its fingers close firmly around 앰버's smaller hand from the right; cropped arm and torso edges retain bodily scale without including either face. Both are engaged in securing the rescue grip, their eyes outside the crop, and the tightened camera distance makes this physical connection the sole emphasis.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Seawater outside the sewer (Both characters are submerged after being swept out of the sewer); used as Continuous surrounding space for the joined hands and cropped bodies, with no additional background structures introduced.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/e3c6cd6a-e750-4810-94ac-194cac2eb856.png" ], [ "char:앰버", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/ab744da1-7780-4cb5-aba8-87e0188dd443.png" ] ], "asset_id": "cc262e8c-bc85-49aa-b36c-8afa0f294417" }, "S37sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S37sh6": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S37sh6.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: In the administration building's upper-floor circulation area beside the windows, after the pair have climbed higher. The interior is still lit at night.\n\nSHOT TEXT (authoritative, Korean): 미연이 이현우의 머리를 자신의 가슴에 깊이 파묻은 채 두 팔로 꽉 껴안은 구도.\n\nCARRIED STATE (persist exactly): The enormous wave has reached the building's upper-floor vicinity. The windows have not yet shattered. 이현우: He is on a higher floor with his head tucked inward, still bearing facial bruises and the untreated leg wound. His outer garment remains removed, and the stiff contact card remains inside his shoe. 미연: She holds both arms tightly inward in a protective embrace, with her face still swollen from the beating.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Finish the approach along the pair's interior flank, holding a three-quarter side view from just above 미연's head with a gentle downward tilt. Place 미연 center-left as she folds both arms tightly around 이현우, whose bent neck and partially hidden profile lead into her chest at lower center; her attention is lowered to his tucked head, while his face turns down into the embrace. Keep the window beyond them at the right edge, preserving the axis for the coming retreat and emphasizing only the reduced camera distance.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Upper-floor corridor window (Still intact immediately before the wave breaks through) — Seen obliquely beyond the embracing pair from their interior flank; used as A restrained right-background reference establishing the direction of the coming impact; Upper-floor corridor (The pair have reached it after climbing higher) — Seen along the diagonal from the interior side toward the window; used as Maintains the spatial axis for the following backward camera move.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ], [ "char:미연", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/7cec27ea-d04d-432a-a8a8-598ad6f08c94.png" ] ], "asset_id": "fbd824bf-9ec3-4690-afb9-11453c2b1b32" }, "S37sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S38sh8": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S38sh8.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: On a floating container panel amid the flooded refugee settlement at dawn, surrounded by open water and drifting debris.\n\nSHOT TEXT (authoritative, Korean): 죽은 미연을 품에 꽉 껴안은 채 하늘을 향해 입을 크게 벌리고 절규하는 이현우의 상체.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Miyeon's dead body is held tightly against Hyunwoo's chest on the floating container panel, her eyes closed and her upper body enclosed by his arms. Her head's exact angle and the placement of her own arms and legs are not specified.\n\nCARRIED STATE (persist exactly): At dawn, container panels and containers float on the sea above the inundated settlement. Blood remains on the floating panel at the abdominal-wound site. 미연: She is dead with her eyes closed on a floating container panel, soaked and bleeding from a puncture wound in her abdomen. Her earlier facial swelling remains. 이현우: He is soaked and crouched on the floating panel with both arms gathered into an embrace, crying intensely; his facial bruises and leg wound persist. The stiff contact card remains protected inside his shoe.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Hold beside the platform at 이현우's seated shoulder height in the established three-quarter side view, tilting slightly upward rather than changing distance. His tightly embracing upper body occupies the center-right, his mouth open and gaze lifted toward the sky, while 미연's closed-eyed face and unsupported shoulders remain visible against him across the lower-left. Preserve a narrow margin of platform and sea so the embrace retains its physical isolation.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Container-board platform (Floating and supporting 이현우 and 미연) — Only a narrow portion of the supporting upper surface remains visible beneath them; used as Retains the precarious physical setting at the bottom edge; Sea (Surrounding the floating platform); used as Provides sparse peripheral space around the tightly held figures.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ], [ "char:미연", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/7cec27ea-d04d-432a-a8a8-598ad6f08c94.png" ] ], "asset_id": "1b8b2869-fb93-422b-ae03-adf5b196f3a8" }, "S38sh10": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S38sh10.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/background_chain/seed_bg_flooded_refugee_district_sel.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On a floating panel just outside an open container doorway, above the floodwater at dawn.\n\nSHOT TEXT (authoritative, Korean): 열린 컨테이너 문 밖 판자 위에서 한쪽 팔을 뻗어 앰버의 손을 꽉 쥐고 몸쪽으로 끌어당기는 찰리의 굳건한 자세.\n\nCARRIED STATE (persist exactly): The floating container's door is open, with storage boxes still inside. Nearby floating container panels remain adrift in dawn light. 찰리: He has climbed onto another floating container and is braced with one arm extended. The old coat and hat remain his established disguise. 앰버: She is climbing out of the container with one hand extended, after spending the night inside.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From outside the open doorway at 찰리's waist height, track gently alongside him and look slightly upward across his extended arm toward 앰버 at the threshold. Place 찰리 in three-quarter view on the left, braced backward into the pull, with 앰버 on the right pitching toward him; their clasped hands bridge the center without exaggerated foreground scale. Both direct their attention downward to the secure handhold, with the doorway defining 앰버's route out.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Container doorway (Open as 앰버 climbs out) — The opening is seen obliquely, with its side and threshold framing 앰버; used as Separates the interior starting point from 찰리's supporting position outside; Exterior supporting platform (Supporting 찰리 outside the doorway) — A narrow upper surface is visible beneath his braced position; used as Makes the leverage of the assisted climb physically legible.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/background_chain/seed_bg_flooded_refugee_district_sel.png" ], [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/e3c6cd6a-e750-4810-94ac-194cac2eb856.png" ], [ "char:앰버", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/ab744da1-7780-4cb5-aba8-87e0188dd443.png" ] ], "asset_id": "c554d318-ee8c-4f02-97a0-f491c6957653" }, "S38sh17": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S39sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S39sh2.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: On floating boards and rubbish amid the submerged refugee settlement in daylight.\n\nSHOT TEXT (authoritative, Korean): 판자와 쓰레기 더미 위에서 페드로와 구도환이 웅크린 채 표류하는 구도.\n\nCARRIED STATE (persist exactly): In daylight, Sector 7 remains completely submerged, with containers and debris floating across the former settlement. 페드로: He is afloat in the flooded settlement. 구도환: He is afloat in the flooded settlement; no active swimming or successful rescue is established here.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At the end of the descending approach, retain the broadcast drone's elevated three-quarter view from one side, with 페드로 and 구도환 fully visible near the center and surrounding water open on every side. 페드로 crouches more tightly on the left while 구도환 shifts his weight lower on the right, both looking down toward their precarious support rather than repeating an identical pose. Present the mediated aerial image cleanly, without invented interface graphics, as the descent settles before the lateral move toward the rescue area.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: Drifting boards and rubbish (Floating beneath 페드로 and 구도환) — The supporting upper surfaces are seen diagonally from above; used as Forms a compact, irregular support beneath the two figures, leaving most of the frame to the water; Floodwater (Covering the refugee-camp area and surrounding the drifting pair); used as Makes the absence of secure ground immediately readable.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:페드로", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/bf510a5f-30d9-47b3-a402-42e987ae67f7.png" ], [ "char:구도환", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/6c93f59f-96c4-4113-89bd-ef85291a31e2.png" ] ], "asset_id": "eb4c2977-bc97-4497-bb58-0924d27f762c" }, "S39sh8": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S39sh8.png", "plate_path": null, "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Aboard an open rubber boat on the flooded settlement's surface, beside a floating body being inspected.\n\nSHOT TEXT (authoritative, Korean): 막대기에 뒤집혀 하늘을 향해 드러난 창백한 시체의 얼굴을 빤히 내려다보는 민병대원의 상체.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): The corpse floats at the water's surface while a militiaman manipulates it with a pole to inspect its face. Its head is exposed for inspection, but the torso's orientation and the positions of the arms and legs are not specified in the scene text.\n\nCARRIED STATE (persist exactly): The settlement remains submerged in daylight, with floating debris and a rubber boat crossing the floodwater.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Complete the inward move just above the water beside the body's head and outside the boat, looking obliquely upward toward the militia member's three-quarter upper body at upper-right. Keep the pale, upturned face in the lower-left foreground at believable scale, with the boat edge separating it from the member leaning down to inspect it. The member's gaze terminates on the face rather than the lens, and the probing stick remains a narrow diagonal connection between the two planes.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Rubber boat (Carrying the militia member beside the floating body) — Its outer side and a limited portion of the upper edge face the camera; used as Establishes the height difference and separates the inspecting figure from the body; Probing stick (Held after turning the body to expose its face) — Runs obliquely from the member's hand toward the body; used as Links the inspection action across foreground and midground; Floodwater (Supporting the floating body beside the boat); used as Retains the low water-level context around the face.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [], "asset_id": "d52423f7-faeb-4459-8594-b420b34e12df" }, "S40sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S40sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L54B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On an exposed street at the refugee settlement's outer edge, looking back toward the inundated district.\n\nSHOT TEXT (authoritative, Korean): 제자리에 멈춰 서서 바닷물에 잠긴 난민촌 방향으로 몸을 틀어 뒤돌아보는 앰버의 전신.\n\nCARRIED STATE (persist exactly): The refugee settlement remains flooded behind the route toward the city in daylight. 앰버: She has stopped from exhaustion, turning back repeatedly with her face covered in tears.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Settle the tracking camera behind and to one side of 앰버 at below-shoulder height, keeping her full body center-right and preserving the group's established travel axis toward screen-right. Capture her halted weight on the rear foot, torso twisting back toward screen-left, with her tear-covered face partly visible in profile as she looks toward the refugee camp beyond the frame. Leave generous space on that backward-looking side and keep the companions farther along the route outside this framing.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: Refugee-camp outskirts (The group is passing through toward the city) — The route continues diagonally forward toward screen-right; used as Leaves opposing spaces for onward escape and 앰버's backward attention.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L54B01.png" ], [ "char:앰버", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/ab744da1-7780-4cb5-aba8-87e0188dd443.png" ] ], "asset_id": "331384f4-cbcd-4583-b617-e981c6377aa6" }, "S40sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S40sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S41sh18": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S41sh18.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L55B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At the cash machine inside the unattended shop, beside the retail aisles. Daylight enters through the intact storefront glazing.\n\nSHOT TEXT (authoritative, Korean): 찰리의 거대한 금속 주먹이 현금인출기의 전면 패널을 정통으로 꿰뚫고 들어간 파괴적인 찰나.\n\nCARRIED STATE (persist exactly): The ATM now has a fresh hole punched through its front; cash has not yet begun pouring out at this impact. The collected duffel and backpack contain supplies including a disposable phone, a map, food, drinks, and the remaining COPD medicine. 찰리: He stands at the ATM with his fist embedded in its front. The blanket has not yet been handed over.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Hold beside 찰리's punching arm, slightly below the impact and looking obliquely upward across the ATM front, without crossing the strike axis. His forearm runs from lower-left into the embedded metal fist near center-right, with the breached panel occupying no more than two-fifths of the frame and a soft margin of the shop display retaining context. Exclude his head and torso, concentrating on the completed forward extension and contact point before withdrawal or falling money begins.\n- FRAMING SCALE: insert close-up on a detail\n- KEY BACKGROUND ELEMENTS: ATM front (Pierced by 찰리's fist, which remains embedded) — The front and a narrow adjoining side are viewed obliquely from below; used as Locates the impact without enlarging the machine beyond believable scale; Shop display (Present within the shop) — Only an indistinct edge remains beyond the punching arm; used as Provides a small contextual margin around the isolated action detail.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L55B01.png" ], [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/e3c6cd6a-e750-4810-94ac-194cac2eb856.png" ] ], "asset_id": "9a6bb787-0846-4533-8eca-f856ce454482" }, "S41sh33": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S41sh36": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S42sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S42sh2.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At the muddy outdoor entrance to the flooded refugee settlement, beside a body bag laid out for identification at night.\n\nSHOT TEXT (authoritative, Korean): 반쯤 열린 보디백 사이로 창백하게 굳어 죽어 있는 구도환의 평온한 얼굴이 드러난 구도.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Gu Dohwan's dead body is enclosed in a body bag whose opened zipper exposes his face. The bag conceals his torso and limbs, and the scene text does not specify the body's underlying orientation or support.\n\nCARRIED STATE (persist exactly): At the refugee-settlement entrance at night, a body bag lies with its zipper opened far enough to expose the face inside. 구도환: His dead body is enclosed in the opened body bag.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Hold the crane at its initial high position beside 구도환's head, looking steeply downward into the half-open body bag rather than adopting 박철진's literal viewpoint. Place the pale, motionless face diagonally across the center, with the parted bag edges forming narrow borders and occupying less than two-fifths of the image together. Pause before the rise, keeping 박철진 outside the frame so the revelation rests entirely on 구도환's peaceful stillness.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Body bag opening (Half-open, revealing 구도환's face) — The parted upper edges face the downward-looking camera on either side of his head; used as A narrow enclosing frame around the revealed face.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:구도환", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/6c93f59f-96c4-4113-89bd-ef85291a31e2.png" ] ], "asset_id": "8e843507-bc8f-4860-8b5a-579ba2cc1239" }, "S42sh18": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S42sh27": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S43sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S43sh9": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S43sh9.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L56B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At the telephone position inside the defense minister's private office, under office lighting.\n\nSHOT TEXT (authoritative, Korean): 수화기에 대고 손가락을 강하게 뻗은 채 오만한 기세로 입을 벌려 명령하는 자세의 국방장관의 역동적인 상반신.\n\nCARRIED STATE (persist exactly): The militia-office wall retains the previously embedded knife. 국방장관: He remains in his office on the telephone.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Cut explicitly into 국방장관's office and hold the prescribed static, low oblique view, looking upward from below his seated shoulder line. His upper body sits right of center, while the receiver and forcefully extended finger occupy the central space at natural scale; his open mouth addresses the call and his attention stays on the receiver rather than the lens. Keep the pointing hand lateral to his face so the command reads through the relationship between hand, mouth, and telephone without exaggerated foreshortening.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Telephone receiver (Held during the command) — The receiver is seen obliquely near his mouth, with the extended finger directed toward its lower end; used as Makes the target of the commanding gesture readable without showing the remote listener.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L56B01.png" ], [ "char:국방장관", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/a5dd11e1-aaa0-44e9-871e-0cc7059d901b.png" ] ], "asset_id": "621e897f-6865-4cff-ad78-84a56b41b8ce" }, "S43sh14": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S44sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S44sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S45sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S45sh13": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S45sh13.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Inside the camper's leaking passenger and living compartment on the rain-soaked road. A single small rear lamp lights the wet interior.\n\nSHOT TEXT (authoritative, Korean): 비가 새는 어두운 차 안에서 옷과 수건을 물구멍에 밀착시키고 힘껏 버티는 이현우, 앰버, 라울, 찰리의 복잡한 내부 구도.\n\nCARRIED STATE (persist exactly): Heavy rain falls around the camper, whose headlights remain off while a single small light illuminates the rear compartment. Water leaks through the ceiling and window frames; the duffel bag and backpack contain the gathered supplies. 이현우: He remains at the wheel with an injured thigh and facial bruising. The contact card is concealed inside his shoe. 라울: He has pulled clothing from a bag and is pressing it against the leaking ceiling. 앰버: She is pressing clothing against a leaking window frame in the rear compartment. 찰리: The old gorilla-shaped robot remains in the rear compartment with the blanket acquired at the unmanned shop.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Finish the withdrawal into the compartment's left rear corner, holding a low, slightly upward diagonal toward the driver's seat; camera distance is the emphasized change as the interior opens into layered depth. Keep 찰리 seated along the left foreground edge, 앰버 braced at the right window, 라울 reaching toward the ceiling in the middle distance, and 이현우 remaining at the wheel beyond them, with gaps between their overlapping arms. 라울 looks up toward the leak, 앰버 concentrates on the window joint just outside the right edge, 찰리 watches the leaking ceiling, and 이현우 keeps his attention on the road beyond the windshield.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: Compartment ceiling (Rain leaking through multiple points) — Its underside extends above the occupants toward the front seats; used as Connects the raised arms across the upper frame; Window frame (Leaking, with clothing pressed against it) — The interior joint is visible obliquely along the right edge; used as Establishes 앰버's separate effort without obscuring the driver; Front seats and steering wheel (이현우 remains in the driver's position) — Seat backs face the rear camera, with the steering wheel partially visible beyond; used as Anchors the deepest layer and preserves the distinction between driving and stopping leaks.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/e3c6cd6a-e750-4810-94ac-194cac2eb856.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ] ], "asset_id": "c7e041f6-257d-4222-bf6a-78edf1c946f2" }, "S46sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S46sh19": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S46sh19.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At the makeshift meal spot inside the abandoned library's dusty reading room, beside disordered bookshelves. Nighttime illumination is not assigned a specific source.\n\nSHOT TEXT (authoritative, Korean): 이현우의 거친 손이 찰리가 들고 있던 책을 강하게 치는 mid-impact 순간, 책이 손에서 막 떨어져 허공에 뜬 역동적인 찰나.\n\nCARRIED STATE (persist exactly): The abandoned reading room remains dusty, cobwebbed and lined with disordered shelves; the bags and canned food are at the group's resting place. The discarded Ubik book contains a chapter on next-generation robots. 이현우: His facial bruising and thigh wound remain untreated, and the contact card remains hidden inside his shoe. 찰리: The old gorilla-shaped robot still has the blanket from the unmanned shop.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From the established lateral side of the exchange, settle the inward move just above book level with a shallow downward angle, emphasizing camera distance alone. Crop 이현우 and 찰리 to their opposing torso edges and forearms, with 이현우's striking hand entering from the left and 찰리's newly emptied hands on the right; suspend the released book between them at less than a third of the frame, leaving clear space beyond its leading edge. Their attention is directed downward toward the broken hand-to-book contact, while the visible torso fragments and reading-room floor keep the impact physically grounded.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Open robotics book (Just released into the air after being struck) — The open next-generation robot chapter is tipped obliquely toward the camera, with no additional invented page content; used as Separates the striking hand from the hands that had offered it; Reading-room floor (Dusty from prolonged abandonment); used as Provides a subdued spatial field behind the airborne book.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/e3c6cd6a-e750-4810-94ac-194cac2eb856.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ] ], "asset_id": "69886730-788e-4e34-bb48-b65d0ffb0eca" }, "S46sh33": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S47sh9": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S47sh9.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Along the mural-covered inner wall of the abandoned library, farther inside the reading-room area. Early-morning daylight reaches the interior.\n\nSHOT TEXT (authoritative, Korean): 벽에 크레파스를 댄 찰리의 낡은 뒷모습을 경이로운 눈빛으로 올려다보는 앰버의 상체.\n\nCARRIED STATE (persist exactly): In the early-morning library, a blue crayon sea leads into a wall-sized mural of Charlie, Hyunwoo, Raul and Amber arriving in Haenam by camper, with Pedro, Miyeon and the priest amid marine life, palms and vivid scenery. Crayon writing describes Haenam and Soyoung; boxes and books remain as makeshift bedding. 찰리: He is still drawing on the wall with crayons, with the blanket from the shop retained. 앰버: She is awake and has followed the mural farther into the library.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Enter the close-observation stage behind 찰리, laterally clear of his shoulder and at 앰버's upper-chest height, looking slightly upward into her three-quarter view. Keep his worn back as a narrow left foreground edge and his crayon touching the wall beside it, while 앰버's upper body occupies the right middle distance with enough separation for her gently raised chin to remain natural. Emphasize her gaze as she pauses to look up in wonder at 찰리, while he continues drawing and attends to the continuation of the mural beyond the left crop.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Crayon mural on the library wall (Extensive drawing still being worked on) — The drawn face is seen obliquely beyond 찰리, showing a partial blue sea and the paradise imagery rather than a complete reproduction; used as Links the drawing hand to 앰버's wonder while keeping her reaction primary; Crayon (Held against the wall by 찰리) — Its contacting tip remains visible beside the foreground arm; used as Provides a small, concrete sign of the ongoing act of drawing.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/e3c6cd6a-e750-4810-94ac-194cac2eb856.png" ], [ "char:앰버", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/ab744da1-7780-4cb5-aba8-87e0188dd443.png" ] ], "asset_id": "d32c08c6-b25d-4171-ae56-70ae7eda22cc" }, "S47sh17": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S47sh17.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: In a secluded, dim corridor corner of the abandoned library, away from the others. Morning daylight is weaker here than in the main reading area.\n\nSHOT TEXT (authoritative, Korean): 일회용 핸드폰을 귀에 바짝 댄 이현우가 어두운 복도 구석에서 긴장된 표정으로 서 있는 상체.\n\nCARRIED STATE (persist exactly): The sea mural, the Haenam arrival scene and their crayon writing remain on the library walls. The dusty shelves and makeshift bedding remain in place. 이현우: He is in a secluded corner using the disposable phone, having removed a shoe to retrieve the intact contact card. His facial bruising and thigh wound remain untreated.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Hold the entrance to the private-call stage from 이현우's front three-quarter side, slightly above his eye line with a gentle downward tilt, before advancing closer. Place his upper body in the right third, elbow folded tightly as he presses the disposable phone to his ear, leaving negative space to the left along his averted gaze toward the secluded corridor outside frame. His lifted shoulder and arrested breath express concentration on the caller; exclude the route behind him and use camera distance as the approach's sole emphasized change.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Secluded corridor corner (Separated from the group's gathering area) — The intersecting walls sit obliquely behind 이현우; the approach behind him is excluded; used as Makes the call feel private without revealing 찰리 prematurely; Disposable phone (In use, held tightly to 이현우's ear) — Its outer side is visible; the display is not presented to camera; used as A small focal accent beside the tense expression.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ] ], "asset_id": "8fe4197f-d3b8-4326-baa1-d7b771f793ef" }, "S47sh21": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S48sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S48sh24": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S48sh24.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: On the dirt mountain track beside the stopped camper, before the group descends toward the roadside.\n\nSHOT TEXT (authoritative, Korean): 차 밖 산길에 각자 짐을 멘 채 서 있는 앰버와 찰리의 전신 구도.\n\nCARRIED STATE (persist exactly): The camper has very little fuel and a punctured tire; its wheel bolts have just been tightened. The route descends from the mountain track toward the roadside. 앰버: She is outside the camper, descending the mountain path on foot. 찰리: He is walking down the mountain path, still with the shop blanket.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Hold the exterior regroup's opening position on the downhill side of the vehicle, with a low, gently upward three-quarter view that includes 앰버 and 찰리 from head to foot. Place 앰버 left of center settling her carried load and 찰리 to the right with his weight braced beneath his belongings, keeping their pauses asymmetrical and a portion of the vehicle behind them for scale. Both attend to the downhill route beyond the left edge without yet stepping off; emphasize their new exterior placement and defer the parallel tracking move until they begin walking.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: Mountain track (The group has regrouped beside the vehicle before descending) — Its downhill continuation passes toward the left edge; used as Supports the full figures and prepares the lateral walking axis; Camper exterior (Beside the pair after the vehicle trouble) — A partial side view remains behind the figures without obscuring their silhouettes; used as Establishes that they are now outside and supplies a restrained scale reference; Carried belongings (Borne by 앰버 and 찰리) — Visible against their bodies rather than enlarged in the foreground; used as Makes their preparation to descend legible.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/e3c6cd6a-e750-4810-94ac-194cac2eb856.png" ], [ "char:앰버", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/ab744da1-7780-4cb5-aba8-87e0188dd443.png" ] ], "asset_id": "9da1ce80-366e-4825-bdc9-476fd1c169f9" }, "S48sh29": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S49sh16": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S49sh16.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L67B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the service-station convenience store, at the medicine aisle facing the armed proprietor. Daylight comes through the storefront.\n\nSHOT TEXT (authoritative, Korean): 찰리, 앰버, 라울을 향해 샷건의 총구를 정면으로 들이민 조일광의 위협적인 구도.\n\nCARRIED STATE (persist exactly): The shop's television has displayed wanted images of the youths and robot, and a corner mirror overlooks the aisles. Outside, the camper is at the fuel pump with its luggage loaded back aboard. 조일광: He wears a military uniform, Marine Corps cap and medals, and holds a loaded shotgun at the ready.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Briefly settle the lateral track behind and beside 찰리 at his lower shoulder height, looking slightly upward past his shoulder toward 조일광 in the center-right midground. Keep 찰리 as a narrow left-edge foreground presence, with 앰버 and 라울 partially visible beside him, their heads lifted toward 조일광 while his attention angles down toward the group. The shotgun runs diagonally toward the group rather than into the lens; emphasize their redirected attention without changing the established distance or lighting.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Medicine shelving (Stocked with medicine containers) — The aisle-facing shelves recede beside the group; used as Establish the interrupted medicine search and constrain the confrontation spatially; Shotgun (Raised and aimed at the group) — Seen obliquely from beside its firing axis, with the muzzle directed away from the lens toward the foreground group; used as Connect the threatening figure to the intended targets without exaggerated muzzle perspective.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L67B02.png" ], [ "char:조일광", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/6dd96cf4-a50b-40df-bddc-0dbf2689cfd9.png" ] ], "asset_id": "16aa5388-fb84-4348-bd24-c24ddc8d6fed" }, "S49sh40": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S49sh40.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L67B03.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At the shattered front passenger window of the moving camper, straddling the cab and the open roadside air. Daylight floods the broken window opening.\n\nSHOT TEXT (authoritative, Korean): 깨진 창문 밖으로 상반신을 내민 찰리의 가슴 중앙에서 눈부신 에너지가 강한 빛을 뿜어내며 맺혀 있는 근접 구도.\n\nCARRIED STATE (persist exactly): The fleeing camper has a shotgun-shattered window and a separately smashed front passenger window, with broken glass inside. Its dashboard RPM is climbing rapidly and its interior bulbs are growing brighter. 찰리: His shoulder is damaged and sparking, and his upper body is halfway outside the broken passenger window. The ring in his chest is spinning and emitting energy.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Track alongside the passenger window from outside and slightly toward the vehicle's rear, maintaining the oblique upward view from below 찰리's chest. Tighten only the distance so his exposed upper body occupies roughly two-thirds of the frame, with the rotating chest source near center and a narrow section of the broken window opening at lower right. Keep his head turned toward the pursuing drone off-screen, making his protective intervention readable through the forward lean rather than a look into the lens.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Passenger-side window opening (Broken, with 찰리 leaning through it) — The opening is seen obliquely from outside and toward the rear of the vehicle; used as Retain a lower-right spatial reference that explains the body's support and position.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L67B03.png" ], [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/e3c6cd6a-e750-4810-94ac-194cac2eb856.png" ] ], "asset_id": "b4011ab7-3f3c-4cfd-b878-f9a1ab3bfa6e" }, "S49sh47": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S49sh47.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L67B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the overturned camper's driving cab, looking through a broken window toward the rescuers outside. Smoke hangs in the cab and an interior bulb flickers weakly.\n\nSHOT TEXT (authoritative, Korean): 이현우의 흐릿한 시야 너머로 깨진 창문 밖에서 차 안을 들여다보는 태진과 은영의 실루엣.\n\nCARRIED STATE (persist exactly): The camper lies completely overturned after striking the trash embankment, with shattered windows, smoke inside and an interior bulb flickering weakly. The hunting drone has exploded. 태진: She is outside the wreck, looking into the camper. 은영: She is outside the wreck, looking into the camper.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Remain motionless at 이현우's resting eye position inside the overturned camper, looking obliquely upward through the broken window with the established canted horizon. Place 태진 beyond the upper-left portion of the opening and 은영 farther right, their upper bodies leaning down at different angles as they inspect 이현우 below them rather than presenting frontal poses. Let failing optical focus soften their silhouettes while preserving the window boundary; 이현우 remains entirely outside the image, and neither woman has yet transformed into 미연.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: Broken window opening with the women outside in the upper-center of the frame, midground.\n- KEY BACKGROUND ELEMENTS: Broken camper window opening (Broken and accessible from outside the overturned vehicle) — Seen diagonally upward from the interior, with the women beyond its boundary; used as Separate the trapped subjective viewpoint from the rescuers outside.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L67B01.png" ], [ "char:태진", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/d4fc8b87-435c-4523-bc9f-ea9c0059d0a8.png" ], [ "char:은영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/c7807987-ded1-46da-8dd0-f28bdabe9077.png" ] ], "asset_id": "8d35d5c1-2c31-43ed-a124-edb6271a92c7" }, "S50sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S50sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L70B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: In the recovery corner of an auto-repair workshop's storage room, where rock-band posters cover the walls. Daytime light reaches the interior from the workshop opening.\n\nSHOT TEXT (authoritative, Korean): 낯선 방 안에서 상체를 반쯤 일으킨 자세로 자신의 다리 쪽을 멍하니 내려다보고 있는 이현우의 상반신.\n\nCARRIED STATE (persist exactly): Rock-band posters cover the room, and a large pair of pliers is within reach. The recovered camper is under repair at the garage, with its engine and brakes badly damaged. 이현우: He has awakened and is raising his torso to inspect his bandaged leg. His body bears visible signs of medical treatment.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Begin beside 이현우 and above his half-raised eye line, looking diagonally down across his upper body toward his legs before the dolly-out opens the room. Place his torso left of center and let the lower frame follow his downward gaze toward the bandaged legs just beyond the crop, catching the effort of lifting himself rather than a settled seated pose. Keep a limited patch of poster-covered wall behind him, maintaining attention on his bewildered inspection of his own injuries.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Rock-band posters (Attached around the room) — Printed band imagery faces the camera obliquely, without requiring individual text to be readable; used as Provide a restrained unfamiliar-room cue behind the upper body.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L70B01.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ] ], "asset_id": "2bc2d940-b53b-41e2-ba58-940827f11039" }, "S50sh7": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S50sh7.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L70B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Beside the damaged camper in the auto shop's repair bay, facing the adjoining recovery area. Daylight enters through the workshop entrance.\n\nSHOT TEXT (authoritative, Korean): 펜치를 잡으려는 이현우를 향해 고개를 돌린 채 아니꼽다는 듯 비웃는 표정을 짓고 있는 태진의 상체.\n\nCARRIED STATE (persist exactly): The rock-band posters and large pliers remain in the room. The camper is still under repair, with extensive engine and brake damage, beside a large music speaker. 태진: She remains at the camper repair area, with her bobbed hair unchanged.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: After the explicit cut on 이현우's reach, hold beside the vehicle at 태진's upper-chest height, slightly off the line between them and looking gently upward. Frame 태진's upper body on the right, her torso still oriented toward the repair while her head turns left toward 이현우 reaching for the pliers off-screen. Keep a modest section of the vehicle at the lower edge and negative space toward him, allowing the dismissive expression—not an additional camera move—to carry the interruption.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Camper under repair (Damaged and being repaired) — Only an oblique portion beside 태진 is visible along the lower edge; used as Anchor her interrupted task without exposing an invented repair configuration.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L70B01.png" ], [ "char:태진", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/d4fc8b87-435c-4523-bc9f-ea9c0059d0a8.png" ] ], "asset_id": "59c59c56-933a-4ce9-8d9e-2d34328eab69" }, "S50sh14": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S51sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S51sh4.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L71B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Just inside the entrance to the container dining room beside the auto-repair shop. Daylight enters through the opened door.\n\nSHOT TEXT (authoritative, Korean): 달려온 추진력이 남은 채 두 팔로 이현우의 허리를 와락 껴안아 밀착된 충돌 순간의 앰버.\n\nCARRIED STATE (persist exactly): Bowls of rice soup are set out in the makeshift container dining room beside the garage. 앰버: She has just risen from her meal and rushed forward, still with a mouthful of rice soup. 이현우: He has entered the dining room with his leg bandaged and his other injuries treated.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Ease the lateral track at contact from the established three-quarter side position, outside 앰버's running line and below 이현우's eye level. Place 앰버 on the left leaning into 이현우 on the right, framing from her wrapping arms to his face so her remaining forward momentum and his slight backward weight transfer are visible together. Her face tips up toward him while he looks down at her, with the opened entrance behind them establishing that the embrace interrupts his arrival.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Dining-area entrance (Opened for 이현우's arrival) — Seen obliquely behind 이현우 rather than symmetrically surrounding the pair; used as Anchor the meeting point and distinguish the embrace from a posed two-shot.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L71B01.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ], [ "char:앰버", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/ab744da1-7780-4cb5-aba8-87e0188dd443.png" ] ], "asset_id": "5b63c85d-7e6c-4b4f-a0ba-609025bc893e" }, "S51sh22": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S51sh32": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S52sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S52sh1.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: In the middle of an empty rural road in daylight, away from the auto-repair shop.\n\nSHOT TEXT (authoritative, Korean): 아무도 없는 한적한 지방도로 한가운데, 한 발을 앞으로 뻗고 다른 발로 땅을 밀어내는 mid-stride 자세로 묵묵히 나아가는 비장한 기세의 찰리의 넓은 전신 구도.\n\nCARRIED STATE (persist exactly): 찰리: His shoulder is repaired, and he now wears an oversized straw hat, oversized boots and a colorful raincoat while walking along the rural road.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Track ahead of 찰리 and diagonally to one side from slightly above his head, tilting gently downward while retaining his complete body and generous empty road around him. Place him just left of center, one large boot reaching forward as the other pushes off, with the oversized straw hat and colorful raincoat preserving the comic contrast to his solemn expression. His attention stays on the road ahead beyond the frame, not the lens; maintain this forward three-quarter axis before the subsequent gradual approach and lowering.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: Quiet provincial road (Empty around 찰리) — The road extends behind him and continues toward his off-screen destination; used as Give the solitary full-body stride spatial weight without adding roadside structures or weather.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/e3c6cd6a-e750-4810-94ac-194cac2eb856.png" ] ], "asset_id": "f12b2d5c-4c71-4c55-a156-7891d8ed85b3" }, "S53sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S53sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S54sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S54sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S55sh5": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S55sh5.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Inside the camper's rear passenger area beside a side window, looking toward the forest bordering the rural road. Daylight enters after a rain shower.\n\nSHOT TEXT (authoritative, Korean): 뒷좌석의 라울이 창밖 숲 쪽을 향해 손가락을 뻗은 측면 구도.\n\nCARRIED STATE (persist exactly): A rain shower has passed over the rural road, and the camper still carries the packed luggage, added food and medicine. 라울: He is soaked and tired inside the camper, pointing toward the forest outside.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Finish the rear-seat tracking stage beside 라울 at his seated shoulder height, looking across his profile toward the side window. Place his tired upper body on the left and his pointing hand below the window on the right, with his gaze following the same outward line toward the forest rather than toward the camera. Preserve a comfortable distance between his face and the window, holding the gesture's destination before the camera advances toward the driver.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: forest visible through the side window, aligned with 라울's pointing finger in the middle-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: 캠핑카 측면 창문 (The forest outside is visible through it) — Viewed obliquely across the interior, with the forest beyond 라울's pointing hand; used as Links his gesture and gaze to the proposed search direction; 창밖 숲 (Visible outside the camper as the subject of 라울's suggestion); used as Provides the destination in the right side of the composition.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:라울", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/59b55ca2-2604-4efd-a39b-e3e8fbf177a3.png" ] ], "asset_id": "14d22d90-78d6-4643-a901-3050ae29203b" }, "S55sh6": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S55sh6.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At the driver's seat inside the camper's front cab, turning off the rural road toward the forest. Daylight enters through the windshield.\n\nSHOT TEXT (authoritative, Korean): 운전대를 숲 쪽으로 확 꺾은 채 팔에 힘이 들어간 이현우의 역동적인 찰나.\n\nCARRIED STATE (persist exactly): The camper turns toward the forest after the passing shower, with the packed supplies still aboard. 이현우: He remains at the wheel, soaked and exhausted, with his treated leg still bandaged.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Complete the interior approach on the passenger side, slightly behind 이현우's shoulder line at his lower-chest height, looking obliquely upward across his arms and steering wheel. His torso occupies the left-center, his loaded forearms run toward the wheel in the lower right, and his partly visible profile remains directed along the vehicle's new heading beyond the frame. Emphasize the closer camera distance while retaining the driver's forward axis, with the wheel below a third of the image and the torso providing a natural scale reference.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 운전대 (Turned sharply as 이현우 redirects the camper toward the forest) — Seen obliquely from the passenger side beneath his hands; used as Shows the directional decision through the relationship between hands, arms, and wheel.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ] ], "asset_id": "1f778713-9546-4c22-afe7-7d35212e3ddc" }, "S55sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S56sh14": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S56sh14.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: On a woodland path near the contaminated marsh, beside the flowers where the robot stopped to watch a butterfly.\n\nSHOT TEXT (authoritative, Korean): 하늘에서 떨어진 거대한 그물망이 찰리의 금속 몸체를 완전히 덮기 직전 공중에 넓게 펼쳐져 있는 역동적인 찰나.\n\nCARRIED STATE (persist exactly): The camper is stuck in the swamp near oversized bootprints, a no-entry sign and a corroded radiation-zone marker. In the forest, a butterfly has just lifted from a flower as a capture net descends. 찰리: He wears the oversized straw hat, boots and colorful raincoat, with his shoulder repaired. He is looking upward after reaching toward a butterfly.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Finish the upward tilt from 찰리's waist-height front-quarter position, remaining outside his forward axis and holding his head, raised hand, and upper torso beneath the spreading net. Place 찰리 in the lower-left half with his face lifted after the ascending butterfly, while the descending net stretches across the upper third without yet obscuring him. Keep the forest visible around both forms so his lingering, gentle reach and the sudden threat read in the same direct observational image.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: descending net spread above 찰리, not yet covering his face in the upper-center of the frame, midground.\n- KEY BACKGROUND ELEMENTS: 그물망 (Spread in midair immediately before descending over 찰리) — Its underside is visible above 찰리, with the spread crossing the upper third; used as Creates the impending enclosure while leaving his face and gesture exposed; 나비 (Ascending after leaving the flower); used as Remains a small visual endpoint above 찰리's raised gaze; 숲의 나무 (Surround 찰리's location on the forest path); used as Maintain environmental scale around the robot and airborne net.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/e3c6cd6a-e750-4810-94ac-194cac2eb856.png" ] ], "asset_id": "1bbaa650-796c-4df1-9085-4a0a8af10bd3" }, "S56sh23": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S56sh23.png", "plate_path": null, "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At the rim of a concealed pit trap in the forest near the marsh, overlooking the prisoners below.\n\nSHOT TEXT (authoritative, Korean): 하회탈 모양의 마스크를 쓴 무장한 남자들이 함정 구덩이 위에서 이현우와 앰버를 굽어보는 위압적인 구도.\n\nCARRIED STATE (persist exactly): An arrow remains embedded in a tree beside the approach to the trap pit. The camper remains stuck in the nearby swamp, where the large bootprints and weathered warning signs persist.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Begin the threat-reveal stage inside the pit, low behind and beside 이현우 and 앰버, with a steep upward angle across their near shoulders toward the rim. Keep 이현우 at the lower left and 앰버 at the lower right, recoiling and looking up from clear of the wall, while the armed men look down from the upper band of the frame. Before the pan isolates the shooter, distinguish the men through uneven spacing, different downward head tilts, and varied weapon angles, preserving their common threatening attention without creating a synchronized lineup.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: pit rim occupied by the armed men above the trapped pair in the upper-center of the frame, background; inside of pit containing 이현우 and 앰버 below the rim in the lower-center of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: 함정 구덩이 (Contains 이현우 and 앰버 below the armed men at its rim) — Interior walls rise from the near shoulders toward the visible opening; used as Establishes the vertical separation and prevents the men from reading as standing beside the trapped pair; 하회탈 모양의 가죽 마스크 (Worn by the armed men in varied colors) — Mask fronts angle downward toward the trapped pair rather than directly toward the lens; used as Make the watching group threatening without erasing individual head-angle differences; 긴 창, 도끼, 활 (Held by the men around the pit opening) — Their silhouettes occupy differing angles beside their holders rather than repeating one identical pose; used as Identify the group's armed control while keeping faces and the opening readable.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [], "asset_id": "1d96b2cd-1952-4cbd-9db0-5c648a0e829f" }, "S56sh25": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S57sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S57sh3.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Inside a barred cage carried on the open load bed of a truck moving through the village streets.\n\nSHOT TEXT (authoritative, Korean): 주행 중인 트럭 적재함 위의 쇠창살 케이지 안에 갇혀 있는 이현우와 앰버의 전경.\n\nCARRIED STATE (persist exactly): A barred cage rides on the truck bed through the village; a tall water-tank tower stands nearby. 이현우: He is bound inside the cage, newly awake after the tranquilizer dart. His previously treated leg remains bandaged. 앰버: She is bound inside the cage and has no new injury from the capture.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Track steadily outside the moving truck's rear quarter, above the captives, looking diagonally downward through the cage bars in a direct observational wide shot. Place 이현우 left of center, leaning toward 앰버 as she finishes shaking her head on the right; both turn their attention toward the shouting people beyond the off-screen side of the cage. Keep their complete figures and a strip of truck bed visible, with separated foreground bars framing rather than crossing their faces.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 쇠창살 케이지 (Contains both captives on the moving truck) — The rear corner and adjoining side bars are seen obliquely; used as Sparse foreground divisions establish imprisonment without concealing faces; 트럭 적재함 (Carrying the cage while the truck moves) — A strip of the upper bed surface remains visible below the captives; used as Provides spatial support and a scale reference beneath the cage.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ], [ "char:앰버", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/ab744da1-7780-4cb5-aba8-87e0188dd443.png" ] ], "asset_id": "81a9e533-7359-4c08-908d-202e415b09ae" }, "S57sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S57sh10": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S57sh10.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: On the approach to the village church entrance, beneath the masked religious statue outside the building.\n\nSHOT TEXT (authoritative, Korean): 하회탈 예수 동상을 경악에 찬 눈빛으로 쳐다보는 이현우와 앰버의 압송 뒷모습.\n\nCARRIED STATE (persist exactly): The truck has stopped outside the church-like building with its cage still on the bed. The outstretched-armed Jesus statue wears a Hahoe mask. 이현우: He is bound and being escorted into the building after removal from the cage. His previously treated leg remains bandaged. 앰버: She is bound and being escorted into the building, still without a new injury from the capture.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Finish the rear-following track from a low, laterally offset position behind 이현우 and 앰버, tilting upward past their backs toward the entrance statue in a direct wide view. Their bound figures occupy the lower left and lower center, caught at different phases of an unwilling step as escorting soldiers flank them; raised chins and narrow profile slivers convey their alarm at the statue ahead, without forcing their necks vertically upward. Keep the masked, outstretched figure in the upper-right background at less than a third of the image, making the captives' redirected gaze the principal emphasis.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: masked Jesus statue with outstretched arms in the upper-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: 하회탈을 쓴 예수 동상 (Arms outstretched with a Hahoe mask covering the face) — Its front and one side are visible beyond the captives' raised heads; used as Upper-background destination of the captives' gaze; 성당처럼 보이는 건물 입구 (The captives are being escorted inside) — Seen obliquely along the escort's approach; used as Connects the rear-following figures and the statue within one entrance space.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ], [ "char:앰버", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/ab744da1-7780-4cb5-aba8-87e0188dd443.png" ] ], "asset_id": "65f1dd1f-3f20-4554-a6af-adaa53196391" }, "S58sh11": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S58sh11.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: On the raised platform inside the ruined village church. Daylight filters through the stained-glass windows.\n\nSHOT TEXT (authoritative, Korean): 황금빛 하회탈을 쓰고 화려한 옷을 입은 거구의 장백산이 위풍당당하게 단상 위로 한 발을 내디디며 걷고 있는 전신 구도.\n\nCARRIED STATE (persist exactly): The church interior is damaged, with daylight entering through surviving stained glass. Charlie is already confined in a steel cage before its reveal, still wearing the oversized straw hat, boots and colorful raincoat established on the road. 장백산: He has a massive build and wears a golden Hahoe mask and regal clothing. His face is already severely disfigured by radiation beneath the intact mask.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Hold the entry composition at the foot of the dais, low and oblique to 장백산's path, looking upward while retaining his entire body with clear space above his head and beneath his feet. Place him just right of center as his first foot takes weight on the dais, his masked face directed toward his seat beyond the frame rather than toward the lens. Bowed members of the crowd occupy the lower side edges with individually varied neck angles and shoulder heights, making his elevated position—not a change in exposure—the source of authority.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 단상 (Being stepped onto by 장백산) — The near edge and upper surface are visible from below and to one side; used as Establishes the physical elevation separating authority from the bowed crowd; 파괴된 성당 내부 (Ruined interior surrounding the dais) — The interior recedes behind the full-body figure; used as Provides architectural scale without competing with the entrance gesture; 황금빛 하회탈 (Worn with elaborate, kinglike clothing) — The mask's sculpted front is visible at a three-quarter angle; used as A small, precise identity and authority cue within the full-body composition.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:장백산", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/5753ed98-9769-4625-96f0-b9b4c05b9239.png" ] ], "asset_id": "517cf288-e775-47d6-af70-4759d0214bb0" }, "S58sh28": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S58sh41": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S59sh9": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S59sh9.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Inside a barred underground prison cell, near the damp floor and loose hay. Light is limited, with no specific fixture established.\n\nSHOT TEXT (authoritative, Korean): 이현우의 품에 안긴 앰버의 코 바로 밑으로 수빈의 손이 젖은 건초를 바짝 들이민 근접 구도.\n\nCARRIED STATE (persist exactly): The underground cell is locked, with hay on the floor and pooled water available inside. 이현우: He is confined in the cell with his arms held in a protective embrace. His previously bandaged leg and the effects of the recent assaults remain. 앰버: She is confined in the cell during a severe coughing episode; her breathing begins to settle at this point. 수빈: She has a dirty, wounded face and radiation lesions on her torso beneath her T-shirt. She holds a handful of hay soaked in the cell's pooled water.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Finish the approach at 앰버's nose height, oblique to her face and beside 이현우's enclosing arm, in a direct observational close shot. Her face occupies the center-right, his arm curves along the left and lower edges, and 수빈's hand enters from the right with a naturally sized handful of wet hay immediately beneath the nose, leaving both nostrils unobstructed. 앰버 lowers her gaze toward the offered hay as her breathing settles, while 이현우 looks down protectively from the upper-left edge and 수빈, visible only by her hand and forearm, attends to 앰버 from outside the crop.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 물에 적신 건초 (Held immediately beneath 앰버's nose after being soaked in pooled cell water); used as A small lower-center focal detail connecting care, breath and the offered hand.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ], [ "char:앰버", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/ab744da1-7780-4cb5-aba8-87e0188dd443.png" ] ], "asset_id": "978b2d8e-a4da-4cf1-892f-be6f6f2781c6" }, "S59sh25": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S59sh44": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S60sh57": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S60sh95": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S60sh95.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: On the soaked open ground beside the collapsed village water tower, in the evening light.\n\nSHOT TEXT (authoritative, Korean): 장백산의 황금 가면이 반쯤 부서져 나가 피복으로 흉측하게 녹아내린 끔찍한 맨얼굴이 노출된 근접 구도.\n\nCARRIED STATE (persist exactly): The water-tank tower has been shot through and toppled, releasing a great volume of water across the area in the evening light. Charlie is battered, and B-200 still has its hand-mounted guns deployed. 장백산: He is soaked, and his golden mask is half broken. The exposed portion of his face is severely disfigured by radiation; his regal clothing has not yet been stripped away.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: End the dolly-in on the exposed side of 장백산's face, looking slightly downward at his partially raised head in an oblique close-up. His disfigured face occupies the center-right, the surviving golden mask remains to the left, and his wet shoulders and rising hands border the lower frame without concealing the damage. Observe him directly as he looks toward the soldiers outside the frame, emphasizing only the final reduction in camera distance before he covers his face.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 황금 가면 (Half broken, exposing the previously concealed face) — The remaining exterior face and broken edge are visible obliquely beside the exposed skin; used as Provides an immediate visual boundary between concealed authority and exposed vulnerability.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:장백산", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/5753ed98-9769-4625-96f0-b9b4c05b9239.png" ] ], "asset_id": "e0360747-fa50-4ce5-88f8-53279b8ecf0c" }, "S60sh115": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S60sh115.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: On an exposed ridge overlooking the damaged village, beneath the red sunset.\n\nSHOT TEXT (authoritative, Korean): 붉은 노을을 배경으로 손을 맞잡은 채 나란히 앉아 먼 풍경을 응시하는 이현우와 찰리의 따뜻한 전경.\n\nCARRIED STATE (persist exactly): Red sunset light falls across the devastated village and ridge. Charlie's body is dented and punctured, with malfunctioning sensors; the earlier raincoat, oversized hat and boots have no scripted removal. 이현우: He sits on the ridge, battered from the fighting but with a brightened expression, one hand extended in a clasp. His earlier treated leg injury remains.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Finish the withdrawal behind and to the side of 이현우 and 찰리, holding a wide rear-oblique view with a slight downward tilt toward their joined hands. Their complete seated figures occupy the lower central third, 이현우 on the left and 찰리 on the right, with their clasp visible in the gap between their bodies and the distant landscape extending above them. Both remain absorbed in that distant landscape rather than looking back, and the retreat settles into stillness without rearranging their positions.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 능선 (The two friends remain seated together on it) — Seen from behind their seated position, extending beneath both figures; used as Grounds the complete figures and their unobstructed handclasp; 먼 풍경과 노을 하늘 (Visible beyond the ridge as the sun sets) — Extends ahead of the pair in their shared viewing direction; used as Leaves generous visual space above the figures for their shared contemplation.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ], [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/e3c6cd6a-e750-4810-94ac-194cac2eb856.png" ] ], "asset_id": "7a63e964-607f-496c-9a3d-466b4b1fb551" }, "S61sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S61sh1.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At the marsh-side stopping point of the abandoned camper, beside a rusted radiation-warning sign at night.\n\nSHOT TEXT (authoritative, Korean): 어두운 늪지대, 버려진 자동차와 녹슨 방사능 구역 팻말 주변을 둘러싸고 선 박철진과 민병대원들의 넓은 전경.\n\nCARRIED STATE (persist exactly): The abandoned camper remains stuck in the swamp, beside the corroded radiation-zone warning sign. It is night, with a visible moon. 박철진: He is at the stranded vehicle inspecting the site.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Hold the crane's high opening position outside the group, looking diagonally down across the front of the abandoned car before beginning the descent. Keep the car below two-fifths of the frame in the lower center, 박철진 near its front on the left, and the rusty radiation-zone sign legible on the right, with the swamp continuing behind them. 박철진 and the militia examine the car rather than the lens; distribute the men in unequal gaps, some leaning closer and others touching it with different arm angles and lowered head positions.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 버려진 자동차 (Abandoned and being touched and examined by the group) — Its front and one side are visible from the elevated diagonal viewpoint; used as Organizes the group's irregular arrangement while the men provide scale; 방사능 구역 팻말 (Rusty) — The warning-bearing face is turned sufficiently toward the camera for the radiation-zone designation to remain readable; used as Establishes the danger associated with the discovered vehicle; 늪지대 (Surrounds the abandoned vehicle and the searching group); used as Provides the spatial setting beyond the car without added atmospheric effects.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:박철진", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/2d4b9912-8b71-4e1f-9433-9735e09a8e94.png" ] ], "asset_id": "a37d2f20-6bcd-4a6f-8b15-37d140bde384" }, "S61sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S62sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S62sh4.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Inside the village food storehouse just beyond its opened iron door. Daylight reveals an almost empty space with only a few sacks of rice and potatoes.\n\nSHOT TEXT (authoritative, Korean): 텅 빈 창고 안을 바라보며 충격받은 표정으로 굳어버린 이현우, 수빈, 마을총무의 구도.\n\nCARRIED STATE (persist exactly): The food store's old iron door is open, revealing only a few sacks of rice and one sack of potatoes. In the village clearing, an old truck is under attempted repair; Charlie remains dented and punctured from the battle. 이현우: He is inside the food store, still bearing the previous day's combat injuries and his earlier treated leg injury. 수빈: She is inside the food store with persistent facial wounds, grime and radiation lesions on her torso. 마을총무: He is inside the newly opened food store.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: End the storage-room approach at upper-chest camera height, offset from the group's entry path, with 이현우 left, 수빈 center, and 마을총무 right in a staggered medium three-shot. Keep all three faces readable at oblique angles as their interrupted steps and uneven shoulder positions express shock, their eyes lowered toward the meager provisions below the frame rather than toward the camera. Retain the open doorway behind them and a narrow band of empty interior around their bodies, making distance the approach's only emphatic change.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 식량창고 내부 (Nearly empty, with only a few rice sacks and one potato sack remaining below the reaction framing) — Seen from within the room, looking obliquely toward the entering group; used as Empty space around the figures supports the scarcity revealed by their downward eyelines; 낡은 철문 (Open) — The open door leaf is seen obliquely behind the group; used as Marks the entrance and preserves the direction of their interrupted movement.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ], [ "char:수빈", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/06cbcb40-35e5-40d6-959e-913d9d28b883.png" ] ], "asset_id": "7f8167b8-7da2-4ac6-88dd-bb51e4640391" }, "S62sh17": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S62sh19": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S62sh19.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: In the village communal clearing beside the old truck being repaired.\n\nSHOT TEXT (authoritative, Korean): 극구 반대하며 두 손을 거세게 엑스(X) 자로 교차한 마을총무의 다급한 상반신.\n\nCARRIED STATE (persist exactly): The old truck remains in the village clearing under repair, and the worn football remains in use nearby. Charlie retains his dented, punctured body and malfunctioning sensors. 마을총무: He remains in the clearing during the discussion of the supply trip.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Finish the short lateral track beside 이현우 at shoulder height, settling on 마을총무 in an oblique upper-body composition without crossing the conversation axis. Place the administrator slightly right of center and retain both elbows and the complete X of his forearms below his face as he leans into his urgent refusal. His eyes and crossed-arm appeal address 이현우 and 수빈 just outside the left edge, while the clearing remains a quiet background rather than a new focal point.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 마을 공터 (The group remains gathered here during the discussion); used as Provides unobtrusive spatial continuity behind the fully visible crossed-arm gesture.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:마을총무", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/6d5c69ae-e2d4-4c68-8be3-1b746b8f6d86.png" ] ], "asset_id": "ed980390-e6f6-4352-bc2a-816f460b25a8" }, "S63sh7": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S63sh7.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At the passenger seat inside the old truck's driving cab, beside the driver. Daylight enters through the windshield and side windows.\n\nSHOT TEXT (authoritative, Korean): 정한수를 배신자라 칭하는 이현우를 향해 목에 핏대를 세운 채 입을 크게 벌리고 버럭 소리치는 수빈의 역동적인 상반신.\n\nCARRIED STATE (persist exactly): The truck is traveling along the road in daylight. 수빈: She occupies the passenger seat. Her facial wounds and torso radiation lesions remain.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Observe directly from the driver-side edge of the gap between the seats at 수빈's seated eye level, remaining behind the occupants' connecting line and holding enough distance for her upper body. Frame 수빈 across the right two-thirds with a narrow seat edge on the left, catching her torso twisting toward 이현우 outside the left edge, her mouth open and neck taut in protest. Preserve this oblique axis through the inward move so her anger travels across the cabin toward him, never toward the lens.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 트럭 좌석 (The driver and passenger positions remain occupied, although the driver is outside this framing) — A narrow driver-seat edge borders the left foreground while the passenger seat remains behind 수빈; used as Locates the camera within the central gap and contains the outburst within the cabin.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:수빈", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/06cbcb40-35e5-40d6-959e-913d9d28b883.png" ] ], "asset_id": "f6c7d322-c1e6-4dd6-8657-00afbfcbfe1f" }, "S63sh13": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S63sh16": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S63sh16.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At the driver's position inside the old truck's compact cab. Strong sunlight enters through the side window and falls across the driver's face.\n\nSHOT TEXT (authoritative, Korean): 차창 밖에서 비쳐 든 눈부신 햇살 아래, 입술을 굳게 다문 채 결연한 의지를 띠고 있는 이현우의 얼굴 구도.\n\nCARRIED STATE (persist exactly): The truck continues along the road in daylight. 이현우: Back in the present, he remains in the driver's seat with his recent injuries. His expression has become resolute.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: After the explicit return from memory, finish the approach from the passenger-side edge of the central gap, just below 이현우's cheek level with a slight upward angle and the established lateral view. Keep his face on the right with looking room to the left toward the road outside the frame, his lips pressed together and his driving shoulders held taut. A narrow window edge retains the cabin context while the reduced distance, not a new turn of his head, makes his resolve legible.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 트럭 차창 (Visible as a narrow portion of the cabin boundary) — Seen obliquely beside the driver's face, with the exterior beyond it left indistinct; used as Retains the present-tense driving environment without pulling attention from his expression.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ] ], "asset_id": "c02f25cc-04e8-4d5f-80ef-3cc87ae8fb33" }, "S64sh7": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S64sh7.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L100B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: In a shadowed corner of the village's large abandoned machinery warehouse, near piles of broken robots. Daylight enters through the half-open door.\n\nSHOT TEXT (authoritative, Korean): 고사포를 겨눈 B-200의 곁에 털썩 주저앉은 찰리의 구도.\n\nCARRIED STATE (persist exactly): The warehouse door is half open, with machine parts and a heap of broken robots inside; baby birds are already concealed behind a box. Charlie sits with his battle-damaged body and faulty chest ring and language system, while B-200 remains equipped with weaponized gun-hands.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From the pair's open side, begin the descending crane move above seated shoulder height, looking diagonally downward with both seated bodies and the raised cannon visible. Place 찰리 on the left, caught as his weight lands beside B-200 on the right; 찰리 watches his companion while B-200 turns toward him and begins drawing his torso away. Let their changing bodily proximity carry the beat, preserving the established oblique axis and leaving the piled robots behind them as spatial context.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: Pile of broken robots (Broken robots heaped in the warehouse corner) — Individual bodies lie at differing angles behind the seated pair; used as Provides a layered background without overlapping either character's face; B-200's cannon (Raised and aimed toward 찰리) — Seen obliquely, with its aiming direction legible rather than pointed into the lens; used as Maintains the threatening counterpoint to 찰리's friendly proximity while occupying a small portion of the frame.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L100B01.png" ], [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/e3c6cd6a-e750-4810-94ac-194cac2eb856.png" ], [ "char:B-200", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/18b5e956-3073-48f5-8062-872e37bda2b0.png" ] ], "asset_id": "b9b0de2b-7735-4510-b88f-1796fd4716b5" }, "S64sh11": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S64sh17": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S65sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S65sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L107B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On the overgrown approach to a partially collapsed department store, among moss, puddles, and unmanaged vegetation.\n\nSHOT TEXT (authoritative, Korean): 수빈의 손에 든 방사능 측정기의 바늘이 0 수치를 정확히 가리키고 있는 근접 구도.\n\nCARRIED STATE (persist exactly): The department store is half collapsed and overgrown with moss and trees, with standing pools of water. The radiation meter reads close to zero. 수빈: She wears a gas mask and holds the radiation meter. Her pre-existing facial wounds and torso lesions remain beneath her clothing and equipment.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Hold the close approach beside 수빈's forearm, looking obliquely downward from just above the radiation meter so its scale remains unobstructed. The meter occupies roughly the central third, supported by her hands with one finger poised outside the scale before tapping; her forearms and a narrow portion of her torso supply scale while her attention remains lowered toward the reading. Keep the needle precisely aligned with zero in sharp focus and allow the moss-covered surroundings to recede softly, making camera distance the principal change.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Radiation meter scale (Needle holding at zero before 수빈 taps the instrument) — The marked face is directed upward and obliquely toward the camera, with the zero marking and needle unobstructed; used as Primary readable detail, bounded by 수빈's fingers rather than isolated from her body; Moss-covered ground (Moss spread widely around the ruined department store); used as Soft peripheral context beyond the hands.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L107B01.png" ], [ "char:수빈", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/06cbcb40-35e5-40d6-959e-913d9d28b883.png" ] ], "asset_id": "730f8bb3-3af6-4471-9e2c-0390b59ba3fa" }, "S65sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S65sh14": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S66sh13": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S66sh13.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L108B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Within the collapsing floor opening beside the ruined department store's damaged escalator route, above the lower food section. Handheld flashlights cut through the dark interior.\n\nSHOT TEXT (authoritative, Korean): 부서진 바닥 잔해들과 함께 거대한 어둠 속을 향해 허공으로 떨어지고 있는 이현우와 수빈의 역동적인 찰나.\n\nCARRIED STATE (persist exactly): The ruined store interior is dark, and the floor has collapsed into a sinkhole leading down to the food section. Broken walls surround the partly visible descending escalator. 이현우: He is falling through the collapsed floor, with his flashlight still in his possession and his gas mask off. His earlier injuries remain. 수빈: She is falling through the collapsed floor with her flashlight and radiation meter in her possession, her gas mask off. Her earlier wounds and radiation lesions remain.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Descend parallel to the falling pair from the established lateral position, keeping the lens slightly above their upper bodies and angled downward in an oblique side view. Place 이현우 lower-left with his legs folding beneath him and 수빈 upper-right with her torso pitching after him, both looking down into the space they are falling through; retain their full bodies, scattered floor fragments, and the broken opening across the upper background. Emphasize their downward displacement rather than rotating the camera, using restrained motion blur on the fragments while keeping the human silhouettes readable.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: Collapsed floor opening (Freshly broken by the floor collapse) — The underside and irregular opening edge remain visible above the falling pair; used as Upper spatial reference that makes the descent legible; Falling floor fragments (Falling alongside 이현우 and 수빈) — Separate fragments turn at different angles and remain smaller than the figures; used as Staggered foreground and background motion accents, kept clear of faces.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L108B02.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ], [ "char:수빈", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/06cbcb40-35e5-40d6-959e-913d9d28b883.png" ] ], "asset_id": "795e42d5-f005-4aee-ace8-39c3c8f0693b" }, "S66sh38": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S66sh46": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S67sh83": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S67sh83.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: In the middle of the dark road leading out of the village, directly in the departing truck convoy's path.\n\nSHOT TEXT (authoritative, Korean): 캄캄한 도로 한가운데 우뚝 서서 트럭의 진로를 막아선 B-200의 거대한 실루엣 전경.\n\nCARRIED STATE (persist exactly): The militia trucks are still upright on the moonlit road; Charlie is confined in a transport cage with heavy restraints around his neck and wrists, his earlier battle damage still present. B-200 blocks the route with its gun-hands intact and aimed, before the ensuing gunfire damage.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Hold the track's initial distant roadside position with a low lens, viewing B-200 diagonally across the approaching trucks' route rather than from his frontal axis. Place his entire figure near center with visible road continuing on either side and behind him, his body firmly braced across the route and cannon aligning toward the approaching truck beyond the near frame edge. Keep his attention fixed on that off-screen truck and his silhouette visually imposing through low-angle placement rather than enlarging him unnaturally, establishing the roadblock before the advance begins.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: Truck route (Blocked by B-200 before the trucks overturn) — The road recedes diagonally past B-200, making his position across the approaching route readable; used as Open foreground and lateral space establish the obstruction and preserve the roadside camera axis; B-200's cannon (Aligning toward 박철진's approaching truck before firing) — Seen from the side at an oblique angle, aimed beyond the near frame edge rather than into the lens; used as Small but legible directional extension of the roadblock silhouette.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:B-200", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/18b5e956-3073-48f5-8062-872e37bda2b0.png" ] ], "asset_id": "23096701-ec62-46d1-94a6-654a2505d911" }, "S67sh95": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S67sh119": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S68sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S68sh4.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At a rural road fork outside the village in daylight, where the two truck groups take separate branches.\n\nSHOT TEXT (authoritative, Korean): 갈림길에서 이현우의 트럭과 수빈의 트럭이 양 갈래로 벌어지는 찰나.\n\nCARRIED STATE (persist exactly): Two old roofless trucks separate at a daytime fork, with additional vehicles following one branch. Charlie rides in the cargo bed, retaining his battle-damaged body and the recovered B-200 chest component. 이현우: He is driving a roofless truck and still bears his battle injuries. 수빈: She is driving the other truck; her battle wounds and pre-existing radiation damage remain.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At the end of the rising crane move, remain behind and oblique to the roofless trucks, looking diagonally down across the fork as their separation becomes the principal change. Place 이현우's truck on the left branch and 수빈's on the right, each occupying less than a quarter of the frame, with following vehicles receding behind 수빈 rather than arranged at identical intervals. Both drivers are seen from behind, leaning into their respective turns and attending to the road ahead; leave the leftward route open for the subsequent continuous descent toward 찰리's truck.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: Road branch taken by 이현우's truck in the upper-left of the frame, background; Road branch taken by 수빈's truck and following vehicles in the upper-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: Forked road (Dividing into the two routes taken by the trucks) — The shared approach enters from below and separates toward the upper-left and upper-right; used as Makes the farewell readable through diverging travel paths; 이현우's truck (Old, roofless, moving onto one branch) — Rear and near side visible from above; the open driving area reveals 이현우; used as Leftward moving anchor and destination of the next camera move; 수빈's truck and following vehicles (Moving onto the other branch) — Rear quarters remain visible, with following vehicles staggered in depth along the route; used as Carries the departing group away without making the convoy look mechanically repeated.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ], [ "char:수빈", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/06cbcb40-35e5-40d6-959e-913d9d28b883.png" ] ], "asset_id": "cbc7fcb1-4bf4-4a5c-99a7-b07b039e1614" }, "S68sh8": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S68sh8.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: On the open rear load bed of the moving truck, exposed to daylight and the surrounding countryside.\n\nSHOT TEXT (authoritative, Korean): 허공에서 날아온 작은 아기 새가 찰리의 굵은 금속 손가락 끝에 사뿐히 내려앉은 근접 찰나.\n\nCARRIED STATE (persist exactly): The old roofless truck continues along the daytime road, with battle-damaged Charlie seated in its cargo bed and retaining B-200's chest component. A baby bird has landed on Charlie's finger.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Track beside 찰리 inside the cargo bed, holding the established close lateral position slightly above the raised finger and looking obliquely down, with open arrival space above it. Catch 아기 새 just as its feet settle and its wings begin folding near center; 찰리's metal finger enters from the lower-left, while a softly resolved portion of his seated torso remains behind as a scale reference. Keep 찰리's head outside the crop, his attention lowered toward the bird, and the bird's head inclined toward its new perch; focus the landing without enlarging the finger beyond its natural relation to his body.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Truck cargo bed (Carrying the seated 찰리 during travel) — A partial inner edge is visible behind the hand and torso; used as Maintains the real traveling setting beneath the shallow-focus landing detail.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/e3c6cd6a-e750-4810-94ac-194cac2eb856.png" ], [ "char:아기 새", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/d47417d0-0839-4cd5-859c-ee358b57f1fd.png" ] ], "asset_id": "6ed020ac-24c2-4481-bbcd-027c83f6b30b" }, "S68sh20": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S68sh20.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: In an imagined sunlit meadow of purple violets near a distant research building.\n\nSHOT TEXT (authoritative, Korean): 의식 속 환상, 찰리의 거대한 기계 손이 지소영의 작은 손을 맞잡은 근접 찰나.\n\nCARRIED STATE (persist exactly): This imagined daytime Haenam landscape is filled with purple violets moving in a gentle spring breeze, with the research institute visible in the distance. B-200 is present in the imagined scene, without the destruction carried by the real-world remains.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Within 찰리's dream, finish the close dolly beside the space between the two bodies, looking diagonally down across their hands from just above hand height rather than along either frontal axis. 찰리's larger hand enters from the left and closes gently around 지소영's smaller hand from the right, with their forearms and cropped body edges retaining scale and purple flowers visible beyond the joined grip. Their heads remain outside the frame as their bodies begin orienting toward the off-screen caller, 지동현; hold the completed contact before the camera retreats behind their movement.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Purple violets (Blooming and moving in the breeze within the dream); used as A softly resolved surrounding field keeps the clasp situated in the imagined place of friendship.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/e3c6cd6a-e750-4810-94ac-194cac2eb856.png" ] ], "asset_id": "ca3ec43a-0832-4cb9-bb1a-f51d83efa39b" }, "S69sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S69sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/background_chain/seed_bg_open_travel_truck_sel.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On the open rear bed of a parked truck sheltered beside a rock outcrop, beneath a makeshift shade cover.\n\nSHOT TEXT (authoritative, Korean): 트럭 짐칸 바닥에 이현우, 앰버, 라울이 머리를 맞댄 채 곤히 잠들어 있는 구도.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Hyunwoo is asleep in the truck's rear cargo bed, with his head gathered together with Amber's and Raul's heads. The scene text does not specify his torso's orientation, his head's supporting surface, or the placement of his arms and legs.\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Amber is asleep in the truck's rear cargo bed, with her head gathered together with Hyunwoo's and Raul's heads. The scene text does not specify her torso's orientation, her head's supporting surface, or the placement of her arms and legs.\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Raul is asleep in the truck's rear cargo bed, with his head gathered together with Hyunwoo's and Amber's heads. The scene text does not specify his torso's orientation, his head's supporting surface, or the placement of his arms and legs.\n\nCARRIED STATE (persist exactly): The old roofless truck is parked in shade beside rocks during the day, with a shade screen available over the cargo area. Charlie retains his battle damage and possession of B-200's recovered chest component. 이현우: He is asleep in the cargo bed with his existing battle wounds. 앰버: She is asleep in the cargo bed; the injury to the back of her head remains unresolved. 라울: He is asleep in the cargo bed.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Begin motionless just outside the rear corner of the cargo bed, looking diagonally downward from above the sleepers and retaining their full resting arrangement. Cluster 이현우, 앰버, and 라울's heads near center while their bodies extend in different directions: 이현우 lies slightly turned, 앰버 curls toward the shared center, and 라울 rests with one shoulder rolled back. All three have their eyes closed in sleep, with naturally different arm and knee positions; leave the near bed edge readable for the ensuing move along the same side.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: Truck cargo-bed floor and rear edge (Stationary, supporting the three sleeping companions) — The floor is seen obliquely from the rear corner, with the near edge below the sleepers; used as Defines their shared resting space and the camera's continuous path; Sheltering rocks (The truck is parked in the space between them) — Only peripheral portions beyond the cargo bed are included; used as Grounds the resting place without competing with the clustered heads.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/background_chain/seed_bg_open_travel_truck_sel.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ], [ "char:앰버", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/ab744da1-7780-4cb5-aba8-87e0188dd443.png" ] ], "asset_id": "bca8100b-96f9-4c74-ba97-6d1492d43b65" }, "S69sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S70sh8": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S70sh8.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L113B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At a patient's bed inside a military-hospital ward, illuminated for nighttime care.\n\nSHOT TEXT (authoritative, Korean): 침대 위, 한쪽 눈과 팔다리에 두꺼운 깁스를 감은 채 꼼짝 못하고 누워있는 박철진의 처참한 전신.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Park Cheoljin is recumbent in a hospital bed, with one eye covered and his injured arm and leg immobilized in casts, looking up at the defense minister with his remaining eye. The scene text does not specify which side is injured, the angle of his torso and head, or the placement of his other arm and leg.\n\nCARRIED STATE (persist exactly): The setting remains a military hospital at night, with a bed in the ward. 박철진: He lies in bed under treatment, with one eye covered and an arm and leg immobilized in casts. His consciousness is faint.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Finish the crane reveal beyond and to one side of the bed's foot, looking diagonally downward along 박철진's entire immobilized body. Let the body run from the lower-right feet toward the upper-left head, clearly separating the thick arm and leg casts and the covered injured eye, while keeping the bed subordinate to the patient. His remaining eye strains upward toward the minister outside the frame; the rigid posture reads as the consequence of severe injury, not deliberate stillness.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: Hospital bed (Occupied by the severely injured 박철진) — Foot and one long side visible beneath the oblique full-body view; used as Establishes the patient's helpless horizontal position and the side used for the next move; Arm and leg casts (Thick casts immobilizing the injured limbs) — Their outer contours remain separately visible rather than overlapping in projection; used as Makes the extent of immobilization legible in the full-body reveal.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L113B01.png" ], [ "char:박철진", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/2d4b9912-8b71-4e1f-9433-9735e09a8e94.png" ] ], "asset_id": "959e7c4a-cff6-4e0d-bfd9-7f270432ea80" }, "S70sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S70sh14": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S71sh6": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S71sh6.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At the rear passenger and cargo area of the old truck, where the drawing is passed from the robot riding in the load bed. Early-dawn light reaches the open vehicle.\n\nSHOT TEXT (authoritative, Korean): 찰리가 그려낸 보라색 꽃 그림을 빤히 내려다보는 앰버의 어깨너머 시점 구도.\n\nCARRIED STATE (persist exactly): The old roofless truck is traveling south at dawn, and a flower sketch has been drawn on the reverse of a sheet of paper; the text identifies the flower as a purple violet but does not establish colored drawing media. Charlie remains battle-damaged in the cargo bed and retains B-200's chest component. 앰버: She holds the sheet bearing the flower drawing; her prior head injury has no stated treatment yet.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Finish the inward approach just behind 앰버's outer shoulder, slightly above her seated shoulder height and tilted down toward the drawing. Her shoulder and bowed head border the left foreground while her hands hold the paper obliquely across the lower center, occupying roughly one third of the image; she studies the purple flower, with 찰리 outside the crop. Keep the truck-bed conversation axis unchanged, making camera distance the sole emphasis as the movement settles before the daytime cut.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 꽃 그림이 그려진 종이 (Received by 앰버, with the purple flower drawing visible) — The reverse side bearing the flower drawing tilts toward the camera and 앰버; used as Primary focal detail, bounded by her hands and shoulder rather than isolated from context; 트럭 짐칸 (Occupied during the journey) — A limited downward view of the bed remains around the seated figure; used as Peripheral spatial context beneath the drawing.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:앰버", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/ab744da1-7780-4cb5-aba8-87e0188dd443.png" ] ], "asset_id": "ce3545ce-59ac-4ae4-ae13-d92cf3a890d6" }, "S71sh15": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S71sh15.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: On the roadside hill where the truck has stopped, near the patch of earth where the children and robot are playing.\n\nSHOT TEXT (authoritative, Korean): 찰리의 표정을 살피며 슬픔이 차오른 눈빛으로 아랫입술을 꾹 깨문 앰버의 측면.\n\nCARRIED STATE (persist exactly): Daylight reveals coastal ridges and glinting seawater, with no violets found at this stopping place; the truck and the earlier flower drawing remain available. Charlie's battle damage and possession of B-200's chest component continue. 앰버: She is outside the truck after playing with dirt, now visibly sad and tearful. Her head injury remains unresolved.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Briefly settle the lateral track at 앰버's seated eye height, perpendicular to her gaze, with her right-facing profile occupying the left half of the close frame. She lightly bites her lower lip and studies 찰리 just beyond the right edge, leaving open space ahead of her face rather than turning her toward the lens. Hold the established distance and lighting, concentrating the beat on her gaze as sadness gathers.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 언덕의 지면 (The ground where the group has been playing with soil); used as A softly resolved background below her profile, keeping the reaction rooted in the hill location.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:앰버", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/ab744da1-7780-4cb5-aba8-87e0188dd443.png" ] ], "asset_id": "21067bef-99f9-4b59-8cd5-cc610f5127fa" }, "S71sh28": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S72sh48": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S72sh48.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Beside the rescue truck's open doorway at the cliff-edge end of the violet field near the abandoned research building.\n\nSHOT TEXT (authoritative, Korean): 찰리의 거대한 기계 손이 이현우의 손을 덥석 부여잡은 채 바닥을 박차고 허공에 뜬 mid-action 순간.\n\nCARRIED STATE (persist exactly): The truck has reached the cliff-edge violet field at sunset with its door open; armed humanoid robots wear Ubik uniforms and have small switches at their temples. Charlie retains his battered body, including the open chest damage exposing its interior, and possession of B-200's chest component. 이현우: He is at the open truck doorway with an arm extended, retaining his earlier wounds.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Reach the doorway endpoint from the established low, rear-side tracking position and tilt slightly upward with 찰리's leap, keeping his full airborne body at left and 이현우 leaning out from the doorway at right. Their clasped hands meet near the center at natural scale, with visible ground beneath 찰리's lifted feet; 찰리 looks toward the opening while 이현우 looks down toward their grip. Emphasize the upward change in character position, retaining the same oblique action axis and enough doorway context to make the rescue physically readable.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: open truck doorway receiving the leap in the middle-right of the frame, midground; ground visibly separated from Charlie's airborne feet in the lower-left of the frame, midground.\n- KEY BACKGROUND ELEMENTS: 트럭 출입문 (Open for 찰리 to board) — The opening is seen obliquely from outside, with the threshold visible behind the joined hands; used as Destination of the leap and structural frame around 이현우; 제비꽃밭의 지면 (Below the boarding action during the pursuit); used as A visible gap beneath 찰리's feet establishes the airborne instant.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/e3c6cd6a-e750-4810-94ac-194cac2eb856.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ] ], "asset_id": "39bcb0b3-d802-4810-8f20-04ee1d5af087" }, "S72sh74": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S72sh74.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Inside the stopped truck's front passenger area on the nighttime road. The dark windows and rain outside enclose the dim cab.\n\nSHOT TEXT (authoritative, Korean): 조수석에서 이현우가 축 늘어진 앰버의 상체를 자신의 품에 와락 껴안은 절망적인 구도.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Amber is held tightly in Hyunwoo's arms inside the stopped truck, her severely wounded body supported against him as she loses consciousness. Her head's precise angle, her body's facing direction, and the placement of her arms and legs are not specified.\n\nCARRIED STATE (persist exactly): The old truck has stopped on the road at night with its fuel completely exhausted, and rain is falling outside. Charlie retains his unrepaired body and chest damage and possession of B-200's component. 이현우: He is inside the stopped truck with his arms tightly gathered in an embrace, crying. His existing wounds and dirty appearance remain. 앰버: She has a severe bleeding wound in her side and is limp and increasingly drowsy. Her earlier head injury also remains unresolved.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Begin the short inward move from diagonally behind 이현우's shoulder inside the stopped truck, looking down across his arms toward the passenger seat. His bent back occupies the left foreground while 앰버's slack upper body lies diagonally through the center-right, her closed eyes visible above his enclosing arms; his lowered head remains directed toward her rather than the lens. Keep both upper bodies readable and make only the closing camera distance emphatic, withholding the later turn toward 찰리 and the window.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 조수석 (Supporting the embrace inside the stopped truck) — The seat is viewed diagonally from above and behind 이현우; used as A narrow visible perimeter anchors the bodies without competing with them.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ], [ "char:앰버", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/ab744da1-7780-4cb5-aba8-87e0188dd443.png" ] ], "asset_id": "8ded6f96-1a13-4aa3-a093-54d38d0ea3cb" }, "S72sh80": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S73sh6": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S73sh6.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L125B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Beside the recovering child's bed inside a harbor-town health clinic. The treatment room is lit for nighttime care.\n\nSHOT TEXT (authoritative, Korean): 신부의 두 손이 이현우의 어깨를 따뜻하게 감싸 쥔 근접 구도.\n\nCARRIED STATE (persist exactly): The setting is the nighttime Mokpo clinic, with a bed for the emergency-treated patient. Charlie retains his unrepaired battle damage and possession of B-200's chest component. 이현우: He stands at the bedside, still dirty and disheveled with his earlier wounds. 신부: He is at the bedside with his hands raised in a comforting gesture, wearing his clerical collar.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Finish the dolly close to 이현우's nearer shoulder from his rear three-quarter side, slightly above shoulder height and looking gently downward. His bowed head and both shoulders occupy the lower center while 신부's two hands close around them from opposite sides, with only the priest's forearms and a small portion of his torso visible above. 이현우 looks down as he speaks about his promise, and the hands remain the focal point; emphasize proximity alone before the camera later withdraws.\n- FRAMING SCALE: close-up\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L125B01.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ], [ "char:신부", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/0d06c639-6de3-4209-a818-db1d16132f72.png" ] ], "asset_id": "cb7f47a2-8241-43a5-ab3a-ebc513c55373" }, "S73sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S74sh5": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S74sh5.png", "plate_path": null, "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At a streetside dining table in the harbor village at night, beside the fish-trading activity.\n\nSHOT TEXT (authoritative, Korean): 식당 테이블 위로 낯선 남자의 거친 손이 흉측한 돌연변이 생선회가 담긴 접시를 내려놓아 테이블에 막 닿은 찰나.\n\nCARRIED STATE (persist exactly): At the nighttime harbor-side eatery, a plate of raw fish is being placed on the table; the fish is recognizably mutated by radioactive contamination.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Complete the downward crane beside the near table edge on 쿠마's side, looking obliquely down at the exact instant the plate first touches the tabletop. The plate of visibly abnormal mutant-fish sashimi occupies roughly one third of the lower-center frame while 낯선 남자's rough hand enters from the upper right, still supporting its edge; his face and the diners remain outside the crop. Keep a broad tabletop margin as scale context, emphasizing the lowered camera distance before the same route rises toward 이현우.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 돌연변이 생선회 접시 (Its base has just touched the table, with the seller's hand still on the edge) — The food-bearing upper side is visible at an oblique downward angle; used as Primary object detail, kept small enough to retain hand and table context; 식당 테이블 (Receiving the plate during the conversation) — The tabletop extends around the plate, with its near edge at the bottom of the image; used as Landing plane and natural scale reference.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [], "asset_id": "1fe93e53-8a1a-4570-a744-63aa97ed81c0" }, "S74sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S75sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S75sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S76sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S76sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S76sh11": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S77sh22": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S77sh39": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S77sh39.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L129B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On the airfield apron beside the helicopter's boarding area in daylight, where the robot waits on the ground.\n\nSHOT TEXT (authoritative, Korean): 지상에 내려 찰리 곁에 나란히 선 이현우의 전신 구도.\n\nCARRIED STATE (persist exactly): Daylight has replaced the nighttime hangar sequence, and the departure helicopter remains on the ground. Charlie stands outside it with his existing body and chest damage and retains B-200's component. 이현우: He has stepped down onto the ground, still bearing his earlier wounds and dirty appearance.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Ease the ground-level tracking move as 이현우 completes his approach, maintaining the slightly low, side-and-rear three-quarter view rather than crossing in front of the pair. Show 이현우 head to foot at center-left with his weight settling onto his arriving foot and 찰리 at center-right beginning to pivot toward him, leaving clear ground beneath both and a visible gap to the helicopter in the background. 이현우's gaze is lowered toward the ground where he stops, while 찰리 looks down toward his companion's arriving step; their changing proximity carries the reunion without a push-in.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: Helicopter (On the ground before departure) — An oblique exterior portion is visible behind the pair, with the cabin interior outside the framing; used as Establishes the departure they have stepped away from while remaining smaller than two-fifths of the image; Airport ground (The pair have reached the same ground-level position); used as Visible space beneath their feet and between them and the helicopter clarifies the completed approach.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L129B01.png" ], [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/e3c6cd6a-e750-4810-94ac-194cac2eb856.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ] ], "asset_id": "609125c2-5374-42e8-b221-6537e2b40d31" }, "S77sh56": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S77sh56.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L129B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On the abandoned airfield's open runway, walking toward its far end after the helicopter's departure.\n\nSHOT TEXT (authoritative, Korean): 활주로 끝을 향해 나란히 발을 내디딘 mid-stride 자세를 한 이현우와 찰리의 경쾌한 뒷모습 전경.\n\nCARRIED STATE (persist exactly): The helicopter has departed and disappeared into the distance over the daylight airport. Charlie now carries a backpack, retains his battle damage and B-200's component, and no longer retains the violet given away before departure. 이현우: He is walking away from the airport with a backpack, still visibly wounded and disheveled.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Hold a static, near-eye-level wide view from behind and slightly outside the companions' shared walking line, looking directly along the runway toward its far end. Place 이현우 left of center and 찰리 right of center in the lower middle of the image, both fully visible with backpacks and clear space below their feet; catch different phases of their strides rather than synchronized steps. Their attention follows the distant route ahead as they walk toward the upper center, letting their recession change scale naturally without a zoom or a new camera angle.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: Far end of the runway, destination of both receding companions in the upper-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: Runway (The companions are walking toward its far end) — Its length recedes from the lower foreground toward the upper-center distance; used as Provides the shared direction of travel and generous space ahead; Backpacks (Worn by both companions) — Their rear-facing outer sides are visible against the walkers' backs; used as Keeps the departure visually grounded in the continuing journey.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L129B02.png" ], [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/e3c6cd6a-e750-4810-94ac-194cac2eb856.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ] ], "asset_id": "24c6117e-2683-4c62-916b-8fd226c9f787" }, "S78sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S78sh2.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: On the harbor quay's edge at dusk, beside the moored boats and a nearby fish seller.\n\nSHOT TEXT (authoritative, Korean): 커다란 회색 모포를 뒤집어쓴 찰리와 배낭을 멘 이현우가 부둣가에 나란히 걸터앉은 구도.\n\nCARRIED STATE (persist exactly): Boats lie moored at Mokpo harbor in the evening, with the sea moving beside the quay. Charlie sits wrapped in a large blanket, retaining his backpack, damaged body and B-200's recovered chest component beneath the covering. 이현우: He sits on the quay with his backpack and retains his earlier wounds and disheveled appearance.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Finish the crane descent on the landward side of the pier, holding a rear three-quarter wide view with a gentle downward tilt toward the seated pair. Place blanket-covered 찰리 at lower left and backpack-wearing 이현우 beside him nearer center, both perched on the pier edge with their seated bodies and hanging lower legs legible; leave the upper half open to the harbor and moored boats. 찰리 leans slightly forward while 이현우 turns his head farther across the harbor, their attention searching the distant boats rather than returning to the camera.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: Pier edge (Occupied by the two seated companions) — Runs diagonally beneath the figures, separating the landward camera position from the water beyond; used as Anchors their shared seated position and establishes the harbor-facing direction; Moored boats (Stationary in the harbor) — Distributed as separate oblique hull views across the background; used as Supplies the visible area of their search without allowing one boat to overwhelm the pair; Harbor water (Undulating); used as Separates the pier from the boats and supplies depth behind the seated figures; Large gray blanket (Draped over 찰리) — Its back and side folds follow the seated robot's silhouette; used as Makes his concealment readable without obscuring the relationship between the companions.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/e3c6cd6a-e750-4810-94ac-194cac2eb856.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ] ], "asset_id": "eeff0814-a4ae-456c-8b10-ac8bb5118b81" }, "S78sh15": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S78sh15.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At the boarding point beside an old fishing boat moored in the harbor.\n\nSHOT TEXT (authoritative, Korean): 크리스가 자신의 배 안쪽을 향해 턱을 위로 든 채 시선을 맞춰 타라는 신호를 보내고 멈춘 찰나.\n\nCARRIED STATE (persist exactly): The old boat remains moored at the evening harbor. Charlie is still covered by the large blanket, now drawn over his face, and retains his backpack, unrepaired damage and B-200's component. 크리스: He remains beside the old boat he was servicing.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Settle the dolly beside the boat just behind 이현우's shoulder, with the lens below 크리스's eye line and a slight upward tilt across, not along, his frontal axis. Keep a narrow sliver of 이현우's shoulder and turned head at the left edge, placing 크리스's upper body at center-right and a limited portion of the boat interior farther right. Capture 크리스 with his chin lifted toward that interior while his eyes remain lowered toward 이현우, who looks up at him; the completed chin gesture, rather than a new distance or lighting change, carries the permission to board.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: Boat interior indicated by 크리스's chin gesture in the middle-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: 크리스's boat (Aged and still moored before boarding) — A partial view into the boat sits to the right of 크리스, in the direction of his chin gesture; used as Makes the invitation's destination visible while keeping the boat subordinate to the human exchange.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:크리스", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f98aa49f-dc96-4dff-8e3c-19b5556b4356.png" ] ], "asset_id": "2e79fe5f-bf77-4dde-be5b-1a5074cd2bad" }, "S78sh19": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S79sh8": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S79sh8.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: On the sofa inside the fishing boat's small two-person crew cabin. Modest cabin lighting is sufficient for the nighttime rest area.\n\nSHOT TEXT (authoritative, Korean): 이현우가 눈을 감고 잠든 평온한 얼굴 클로즈업.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Hyunwoo is asleep, reclining against the sofa in the crew cabin with his legs extended and his eyes closed. The sofa supports his leaning torso, while the precise turn of his head and the positions of his arms are not specified.\n\nCARRIED STATE (persist exactly): The small two-person cabin has a sofa, and its door remains closed after the departure. Charlie rests leaned back, with the blanket and backpack brought aboard still in his possession. 이현우: He is asleep, reclining against the sofa with his legs stretched out.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: After the explicit time cut, hold a static, direct view just above 이현우's reclining face, looking gently downward from the established three-quarter side. His peaceful face occupies the central-right portion, with a narrow strip of sofa retaining the setting; his eyes are closed in sleep, with no active visual target. Emphasize the reduced camera distance rather than adding a new lighting or staging change.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Sofa (Supporting the sleeping passenger) — Only the supporting section beside his head and shoulder is visible; used as A narrow contextual edge beneath the face.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ] ], "asset_id": "e4180a8e-d044-4b4c-9b87-e44eaa9ad977" }, "S79sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S80sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S80sh3.png", "plate_path": null, "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: On the fishing boat's exposed working deck in violent nighttime rain and heavy seas.\n\nSHOT TEXT (authoritative, Korean): 거대한 파도가 갑판 위 선원들을 덮치는 찰나.\n\nCARRIED STATE (persist exactly): The boat is engulfed in torrential rain, typhoon winds and huge waves, with visibility severely reduced. Charlie is now on deck, retaining his existing mechanical damage.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From the established elevated position above one side of the deck, look diagonally down across the crew toward the incoming wave, observing the event directly rather than through a character's eyes. Place the crew across the central deck, with 이현우 and 찰리 smaller at the near-left edge, and catch the wave reaching them from the upper-right background; all attention is directed toward its off-screen approaching crest, not the lens. Emphasize the bodies' displacement, giving the sailors different interrupted running phases, shoulder angles, and uneven spacing instead of a synchronized defensive pose.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: Ship's deck (Being swept by the first large wave) — Seen diagonally from above along the established camera-side edge; used as Shared ground plane for the differently phased bodies; Incoming wave (Breaking across the crew) — Advances from the upper-right background onto the central deck; used as Creates a readable source and direction for the impact; Torrential rain (Severely restricting visibility); used as Partially obscures depth without erasing the crew's distinct silhouettes.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [], "asset_id": "898760a1-297c-4514-93fb-e3f449dc9611" }, "S80sh11": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S80sh15": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S80sh15.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Deep below the storm-tossed sea surface, in open water beneath the sinking vessel and its falling cargo.\n\nSHOT TEXT (authoritative, Korean): 눈을 반쯤 감은 채 심해를 향해 몸이 아래로 기울어진 이현우의 평온한 수중 상체.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Hyunwoo is unconscious and sinking beneath the sea's surface, his body unsupported in the water. The scene text does not specify the angle of his torso or head, his facing direction, or the positions of his arms and legs.\n\nCARRIED STATE (persist exactly): Heavy cargo from the vessel sinks through the water, which grows darker with depth. Charlie is also descending underwater. 이현우: He is unconscious and sinking deeper underwater.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Track underwater beside 이현우's upper torso and slightly above his shoulder, looking diagonally downward across his face and chest while matching his descent speed before any further withdrawal. His upper body occupies the center-left with the head below the shoulder line, leaving open water beneath the downward diagonal; his half-closed eyes are unfocused toward the depths, with no conscious object of attention. Hold the lateral three-quarter relationship and let his downward displacement carry the moment, with no imagery added for the mother's voice.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Surrounding underwater space (Darkening as he sinks deeper); used as Negative space below the torso makes the continuing descent readable.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ] ], "asset_id": "d97b1bff-66a0-47fb-87f6-85df8c1fa6b3" }, "S81sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S81sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S81sh11": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S82sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S82sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S82sh13": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S82sh13.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At the observation side of the circular glass enclosure in the laboratory connected to the main research hall. Laboratory lighting reveals the stainless-steel examination bed and scanning arms beyond.\n\nSHOT TEXT (authoritative, Korean): 수술대 앞 유리벽에 두 손을 짚고 안타까운 눈빛으로 찰리를 바라보는 이현우의 뒷모습.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Charlie is recumbent on the cold stainless-steel bed inside the circular glass enclosure, his damaged body inactive during examination and with wires attached to it. The bed supports his body, but the exact orientation of his head and torso and the placement of his arms and legs are not specified.\n\nCARRIED STATE (persist exactly): Charlie remains inactive on the stainless-steel bed inside the circular glass enclosure, with attached wires and robotic arms scanning his water-damaged hardware. The surrounding laboratory computers are staffed. 이현우: He is at the glass enclosure in white clothes, visibly worried.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Finish the following movement outside the enclosure, at shoulder height behind and slightly left of 이현우, looking directly through the glass rather than at a reflection. His back occupies the left half as both palms meet the wall and his head inclines toward 찰리, whose reclining body remains visible beyond his right shoulder in the middle-right depth. Hold their separation in the same composition, using the arrival of his hands against the glass as the principal change.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: Glass barrier beneath 이현우's palms in the middle-center of the frame, midground; Treatment bed beyond 이현우's right shoulder in the middle-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: Circular glass enclosure (Separates 이현우 from 찰리 during the procedure) — 찰리 and the bed are visible through the section beneath 이현우's hands; used as Makes the physical barrier between the friends legible; Stainless-steel bed (Supports 찰리 during scanning) — Seen obliquely beyond 이현우's right shoulder; used as Provides a stable horizontal beneath 찰리 and a scale reference; Artificial-intelligence arms (Scanning different parts of 찰리) — Partial articulated profiles flank the bed without covering his head; used as Frames the ongoing treatment inside the enclosure.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ] ], "asset_id": "544e3944-5241-4703-bc75-804991ca3e7b" }, "S83sh8": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S83sh8.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L139B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On the active video-call display inside the research institute's temporary-shelter room. The distant callers appear on the lit screen; their surrounding location is not established.\n\nSHOT TEXT (authoritative, Korean): 화상통화 모니터 화면 속 앰버의 얼굴 옆으로 라울이 바짝 붙어 있는 구도.\n\nCARRIED STATE (persist exactly): The video call is active, displaying Amber after her surgery and Raul as he enters the image. The call is taking place in the shelter room.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: End the forward approach beside 이현우's right shoulder position at shoulder height, keeping him outside the crop and retaining an oblique view of the monitor. Place the complete display near center-right at just under two-fifths of the frame, with 앰버 on its left and 라울 pressed close on its right, their adjacent faces occupying most of the transmitted image. Both lean toward the call and attend to 이현우's received image just off their local lens axis; the visible bezel and angled screen distinguish mediated contact from direct presence.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Video-call monitor (Showing 앰버 and 라울 together during the active call) — The image-bearing front is visible obliquely, with its bezel retained and both faces clearly contained within it; used as Defines the screen boundary and the distance implicit in their reunion; 이현우's temporary-shelter room (Surrounds the active call station); used as Unobtrusive surrounding space keeps the monitor a physical object rather than a full-screen replacement image.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L139B02.png" ], [ "char:앰버", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/ab744da1-7780-4cb5-aba8-87e0188dd443.png" ], [ "char:라울", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/59b55ca2-2604-4efd-a39b-e3e8fbf177a3.png" ] ], "asset_id": "a9e86fce-64f3-42df-9b32-8300baa2514e" }, "S83sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S83sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S84sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S84sh7": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S84sh7.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At the old piano in the central hall of the director's suite adjoining the research center. The modern interior is illuminated for nighttime use.\n\nSHOT TEXT (authoritative, Korean): 모던한 중앙 홀 한가운데 놓인 낡은 피아노 건반 위를 지소영의 손가락이 짚고 있는 전신 구도.\n\nCARRIED STATE (persist exactly): The director's office is clean and modern, with an old piano in its central hall. Charlie is awake and mobile after removing the attached wires and opening the glass enclosure's door. 지소영: She is at the piano, playing the familiar melody.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Hold a neutral observing position beside the pillar at 지소영's seated head height, looking diagonally across the keyboard rather than assuming 찰리's literal viewpoint. Show her full seated figure on the right, leaning slightly into her fingers on the keys, with the old piano extending toward center-left and occupying less than two-fifths of the frame. Confine the pillar to a narrow left edge and let her downward attention remain on the keyboard before she notices the visitor.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: Old piano (Being played by 지소영 in the central hall) — Keyboard and adjacent side are visible obliquely, leaving her hands and seated figure unobstructed; used as Connects her absorbed posture to the source of the familiar melody; Pillar (Present beside the camera's office-side position) — Only a narrow side section is visible at the left edge; used as Provides a restrained foreground boundary for the reveal; Director's office central hall (Clean, modern interior surrounding the old piano); used as Negative space preserves the contrast between the modern room and the familiar instrument.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:지소영", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/27fcd857-9687-43f2-8327-1f323bd5effc.png" ] ], "asset_id": "86142bee-74fb-4d76-88b7-ddec73c55c14" }, "S84sh13": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S85sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S85sh15": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S85sh15.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At a dining table beside the serving queue inside the research institute's communal cafeteria. The room is illuminated for daytime meal service.\n\nSHOT TEXT (authoritative, Korean): 배식을 기다리는 사람들의 긴 줄 옆, 식당 테이블에 마주 앉은 이현우와 서지민의 넓은 구도.\n\nCARRIED STATE (persist exactly): Bread and a meal are set on the dining table and remain uneaten. 이현우: He is seated at the table, looking down without eating. 서지민: She is at the dining table, still in her research coat.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Make the explicit cut to the dining room and hold the crane's high entry position beside the meal queue, looking diagonally downward across the table from one side of the conversation axis. Place 이현우 on the left and 서지민 opposite on the right, both fully readable in seated posture, with the uneaten bread and food between them; he folds toward his meal while she inclines toward the same food before questioning him. Let the long queue recede beside the table into the upper-left background, its waiting people differing subtly in weight shifts, head angles, arm positions, and spacing rather than repeating a single pose.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: Meal queue receding beside the dining table in the upper-left of the frame, background; Dining table between 이현우 and 서지민 in the lower-center of the frame, midground.\n- KEY BACKGROUND ELEMENTS: Dining table (이현우 and 서지민 sit opposite each other) — Its top is visible diagonally from above, with the open side facing the camera; used as Establishes their conversation axis and keeps the meal between them; Bread and food (Untouched before 이현우); used as A modest foreground detail gives his lowered gaze a concrete subject; Meal queue (Research-center people and residents wait for food in a long line) — The line recedes beside the table toward the serving destination outside the frame; used as Establishes communal life through varied waiting postures and naturally uneven spacing, without adding interactions.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ], [ "char:서지민", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f706a5a2-610f-4ae2-9917-ab6c01413743.png" ] ], "asset_id": "efcb4df7-d080-4d19-a38a-e01ccffbc245" }, "S85sh24": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S86sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S86sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S87sh5": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S87sh5.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L95B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: In the special-operations commander's military office, at the briefing position. Office lighting is on at night.\n\nSHOT TEXT (authoritative, Korean): 이강준이 턱을 치켜든 채 제주도 출동을 결연하게 명령하는 정면 상체.\n\nCARRIED STATE (persist exactly): The report document concerning the sunken vessel and the butterfly drones has been presented in the special task force commander's office.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Complete the direct observational approach beside the offscreen reporting soldier, staying below 이강준's eye line and oblique to their shared axis. Place 이강준's upper body center-right, with his raised chin clearly separated from his shoulders as he delivers the order toward the soldier offscreen left, never toward the lens. Hold the document low at the frame boundary and emphasize only his lifted eyeline as the approach settles before the explicit cut to the other office.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Report document (Presented to 이강준) — Only an oblique portion of the document face is visible; its contents are not resolved; used as Provides a small lower-frame trace of the report that prompted the order.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L95B01.png" ], [ "char:이강준", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/eccc3714-0f86-42eb-97c9-ac67a230e27b.png" ] ], "asset_id": "663f08c8-2257-4e87-9f27-d0e064181563" }, "S87sh6": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S87sh6.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L95B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At the desk and speakerphone inside a corporate chairman's dark private office. Only subdued nighttime office illumination is established.\n\nSHOT TEXT (authoritative, Korean): 어두운 유빅사 회장실, 윤성찬이 책상 위 스피커폰을 향해 몸을 기울이고 있는 상체.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: After an explicit spatial cut, observe 윤성찬 directly from beside his desk, above his eye line and oblique to his forward body axis, at the opening position of the approach. His upper body occupies the right half while the speakerphone sits small in the lower-left desk area; he inclines his torso and lowers his gaze toward it, absorbed in the intercepted order. Hold this entry composition before beginning the push, withholding his later turn toward the commander.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: Office desk (Supporting the speakerphone) — Its top is seen diagonally from the side, occupying the lower portion of the frame; used as Connects 윤성찬's leaning posture to the listening device; Speakerphone (On the desk as 윤성찬 listens) — Seen obliquely from above, without requiring readable controls; used as Small secondary focal point beneath his downward eyeline.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L95B01.png" ], [ "char:윤성찬", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/769ba089-6e18-4009-8e3b-ba4eda7e9805.png" ] ], "asset_id": "851e1c65-9a7b-41ce-9268-bbdfce653ec6" }, "S87sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S88sh11": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S88sh37": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S88sh45": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S89sh45": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S89sh45.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At the open doorway of a helicopter newly landed on the research institute's rooftop, stepping out onto the exposed roof.\n\nSHOT TEXT (authoritative, Korean): 활짝 열린 헬기 문밖으로 비릿한 미소를 띠며 한쪽 발을 허공을 향해 내딛고 있는 윤성찬의 거만한 상체.\n\nCARRIED STATE (persist exactly): The rooftop has lawn, a large antenna and omnidirectional speakers, with disabled artificial soldiers left from the sonic attack and bombardment damage accumulating. A Yubik helicopter has landed; Charlie is free of the bed restraints but still has experimental sensors attached.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Observe directly from a low rooftop position outside the landed helicopter's open doorway, offset from its outward axis and angled up toward 윤성찬's upper body. Keep him center-right in three-quarter view, smiling toward the rooftop ahead offscreen left as one leg extends outward through the lower frame; show only a bounded portion of the doorway behind him, with rooftop space providing scale. Continue the established lateral track gently, emphasizing his outward weight shift while retaining the helicopter on the right for the subsequent move toward 찰리.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 윤성찬 exiting the helicopter in the middle-right of the frame, midground, moves toward Open rooftop space toward screen left; Open helicopter doorway behind 윤성찬 in the middle-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: Helicopter doorway (Fully open on the landed helicopter) — Seen from outside at an oblique angle, behind 윤성찬 on the right; used as Frames his exit without allowing the aircraft to overwhelm the image; Research-center rooftop (The helicopter has landed here); used as Provides lower-frame spatial context and a realistic reference for the outward step.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:윤성찬", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/769ba089-6e18-4009-8e3b-ba4eda7e9805.png" ] ], "asset_id": "689ca5c5-f280-41e4-8ff3-8543eb6a4682" }, "S89sh59": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S89sh75": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S89sh75.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At the devastated outdoor blast site of the research institute at night, where the robot's remaining wreckage lies.\n\nSHOT TEXT (authoritative, Korean): 이현우의 두 팔이 전원이 꺼진 찰리의 차가운 금속 잔해를 자신의 품에 꽉 껴안고 있는 애처로운 구도.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Charlie's powered-off remains are gathered tightly against Hyunwoo's chest in both of Hyunwoo's arms. Only a surviving portion of his destroyed body remains, and the scene text does not establish an intact arrangement of head and limbs or a facing direction.\n\nCARRIED STATE (persist exactly): Outside the laboratory at night, the column of light has vanished. Charlie is reduced to a surviving portion of his torso and other remains, with his power now completely off. 이현우: His grenade-fragment injuries remain untreated, and the wireless receiver remains attached. He holds the powerless metal remains tightly and sobs.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Begin the final static composition close behind 이현우's side, slightly above his shoulder and angled downward into the space between his forearms and chest. His hunched shoulder borders the upper-left frame, his arms enclose the center, and 찰리's powered-down torso remains occupy less than a third of the image, held firmly against him rather than enlarged by foreground perspective. Observe the embrace directly, with 이현우's bowed head directed toward the remains and his hands tightening around them; the camera has stopped, leaving that compression of his arms as the sole emphasis.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Ground outside the laboratory (Visible beneath the embrace after the beam has disappeared) — A small downward-viewed area remains at the lower-right edge; used as Retains exterior spatial context without competing with the arms.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/e3c6cd6a-e750-4810-94ac-194cac2eb856.png" ], [ "char:이현우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/f64e0294-0d2e-4eff-acb9-d3913c901bc0.png" ] ], "asset_id": "718aaa5e-115f-4d74-8289-87ad019344c2" }, "S90sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S90sh2.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: At the altar-like parts table beneath a large active monitor in a spacious, dark research room. The screen provides the prominent light in the room.\n\nSHOT TEXT (authoritative, Korean): 모니터 아래 제단 같은 테이블 위에 찰리의 낡고 분해된 금속 부품들이 흩어져 놓인 구도.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Charlie's disassembled metal components rest on the altar-like table beneath the large monitor. His body is not assembled, so there is no intact torso, head-and-limb arrangement, or whole-body facing direction.\n\nCARRIED STATE (persist exactly): In the dim laboratory, Charlie's disassembled components lie on an altar-like table beneath a large monitor. The monitor displays energy-source Charlies distributed across Dubai, Europe, China and Africa.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Complete the crane descent at the near corner of the altar-like table, retaining an oblique downward view rather than flattening the arrangement into an overhead diagram. Observe 찰리's worn, disassembled metal parts directly across the central band of the frame, keeping individual pieces modest in scale and readable against the tabletop, its near edge, and the surrounding room. The monitor has passed beyond the upper edge and 이현우 remains outside the crop beyond the table; the final reduction in camera distance concentrates attention on the interrupted body without introducing another visual axis.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: Altar-like table (Supporting 찰리's separated parts beneath the off-frame monitor) — The upper surface and near corner are visible obliquely, with the near edge crossing the lower frame; used as Organizes the parts into a restrained central arrangement while preserving their scale; Laboratory interior (Open space visible beyond the table); used as Leaves quiet peripheral space around the close observation of the parts.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/e3c6cd6a-e750-4810-94ac-194cac2eb856.png" ] ], "asset_id": "8660d680-0c6a-4575-9790-c7eeb6feb6aa" }, "S90sh16": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S90sh19": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S91sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S91sh4.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: In clear shallow seawater beside an island rock outcrop, close enough to reach below the surface while standing.\n\nSHOT TEXT (authoritative, Korean): 찰리 곁의 바닷물 속에서 앰버와 라울이 해맑게 웃으며 허리를 굽힌 채 수면 아래로 손을 뻗은 역동적인 구도.\n\nCARRIED STATE (persist exactly): A month later, the daylight sea is clear enough to reveal fish beneath the surface, and a table is being set with food. Charlie is reassembled and operational, attempting to catch fish. 앰버: She is fishing in the water. 라울: He is fishing in the water.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Continue the lateral track at 앰버 and 라울's waist height, looking obliquely downward across their bent bodies toward their submerged hands, with 찰리 farther along the same viewing direction. Place 앰버 at left and 라울 at center-right, their smiles turned toward the fish below rather than the camera, and retain 찰리 in the upper-center background within the shared water space. Show different phases of the same fishing action—앰버 reaching farther down, 라울 bending into his reach, and 찰리 pitched toward the fish—while holding camera distance and lighting steady so lateral subject placement supplies the changing emphasis.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: Clear seawater (Transparent enough to reveal fish and the reaching hands below the surface) — Viewed obliquely downward through the surface toward submerged hands and fish; used as Connects the three fishing figures through a shared, visible target space; Fish beneath the surface (Visible in the seawater); used as Provide the concrete focus of the downward gazes and reaching gestures.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:찰리", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/e3c6cd6a-e750-4810-94ac-194cac2eb856.png" ], [ "char:앰버", "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/reference/ab744da1-7780-4cb5-aba8-87e0188dd443.png" ] ], "asset_id": "f2e25c03-b38c-4eb2-9ec4-3f02992dd74a" }, "S91sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S91sh13": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null } }, "map_conti": {}, "conti_pack": "5.202607222353", "lane_conti": { "S2sh1": { "lane": "structure_plate", "group_id": "bg_collection_vessel", "segment_id": "seg_01", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/background_chain/seed_bg_collection_vessel_sel.png", "seed_asset_id": "cd16d01d-6027-4184-a812-921eea63de02", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/background_chain/seed_bg_collection_vessel_sel.png", "bg_reason": "", "bypass_reason": "bg_only" }, "S5sh62": { "lane": "structure_plate", "group_id": "bg_upscale_house_approach", "segment_id": "seg_house_frontage", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/background_chain/seed_bg_upscale_house_approach_sel.png", "seed_asset_id": "01b4de99-ac44-4133-a3f6-bfd3988980df", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/background_chain/seed_bg_upscale_house_approach_sel.png", "bg_reason": "", "bypass_reason": "prev" }, "S24sh10": { "lane": "structure_plate", "group_id": "bg_container_home_entrance", "segment_id": "seg_01", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/background_chain/seed_bg_container_home_entrance_sel.png", "seed_asset_id": "ffc9bfa0-a02b-469e-86ad-c26d6771dc20", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/background_chain/seed_bg_container_home_entrance_sel.png", "bg_reason": "", "bypass_reason": "prev" }, "S38sh10": { "lane": "structure_plate", "group_id": "bg_flooded_refugee_district", "segment_id": "seg_01", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/background_chain/seed_bg_flooded_refugee_district_sel.png", "seed_asset_id": "d6290e1d-9c49-4e68-8488-f454a4d31ec4", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/background_chain/seed_bg_flooded_refugee_district_sel.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S38sh10.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/background_chain/seed_bg_flooded_refugee_district_sel.png" }, "S40sh7": { "lane": "structure_plate", "group_id": "bg_unattended_store", "segment_id": "seg_02", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/background_chain/seed_bg_unattended_store_sel.png", "seed_asset_id": "bdf4f3ec-d87e-45b4-93f6-17d8c1eaf331", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L54B01.png", "bg_reason": "", "bypass_reason": "bg_only" }, "S46sh1": { "lane": "structure_plate", "group_id": "bg_abandoned_library_exterior", "segment_id": "seg_01", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/background_chain/seed_bg_abandoned_library_exterior_sel.png", "seed_asset_id": "c27d7844-3dc9-4630-8ad7-2fb4fcdd998d", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/background_chain/seed_bg_abandoned_library_exterior_sel.png", "bg_reason": "", "bypass_reason": "bg_only" }, "S49sh40": { "lane": "structure_plate", "group_id": "bg_roadside_service_station", "segment_id": "seg_02", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/background_chain/seed_bg_roadside_service_station_sel.png", "seed_asset_id": "c3c4d03b-d9f9-4bfc-bc05-d962db6ab9f2", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L67B03.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S49sh40.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L67B03.png" }, "S49sh47": { "lane": "structure_plate", "group_id": "bg_roadside_service_station", "segment_id": "seg_03", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/background_chain/seed_bg_roadside_service_station_sel.png", "seed_asset_id": "c3c4d03b-d9f9-4bfc-bc05-d962db6ab9f2", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L67B01.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S49sh47.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L67B01.png" }, "S65sh14": { "lane": "structure_plate", "group_id": "bg_collapsed_department_store", "segment_id": "segment_2", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/background_chain/seed_bg_collapsed_department_store_sel.png", "seed_asset_id": "74c54f24-ba7d-415a-8826-99277d7bf2de", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L107B01.png", "bg_reason": "", "bypass_reason": "prev" }, "S69sh2": { "lane": "structure_plate", "group_id": "bg_open_travel_truck", "segment_id": "seg_01", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/background_chain/seed_bg_open_travel_truck_sel.png", "seed_asset_id": "2e3db7e5-7f1f-47b6-8d3a-2d3a8a41eaaf", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/background_chain/seed_bg_open_travel_truck_sel.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/e565764e-23fa-4991-a743-975fd8d061df/conti/conti_S69sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/background_chain/seed_bg_open_travel_truck_sel.png" }, "S71sh28": { "lane": "structure_plate", "group_id": "bg_open_travel_truck", "segment_id": "seg_03", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/background_chain/seed_bg_open_travel_truck_sel.png", "seed_asset_id": "2e3db7e5-7f1f-47b6-8d3a-2d3a8a41eaaf", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/background_chain/seed_bg_open_travel_truck_sel.png", "bg_reason": "", "bypass_reason": "bg_only" }, "S75sh4": { "lane": "structure_plate", "group_id": "bg_abandoned_airport", "segment_id": "seg_02", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/images/background_chain/seed_bg_abandoned_airport_sel.png", "seed_asset_id": "45ef8494-8d7b-45e5-a2fc-02ce9fedcbf4", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/91b9626e-83ee-4a85-9208-0c8e2d153a63/episodes/e565764e-23fa-4991-a743-975fd8d061df/images/background_chain/L128B02.png", "bg_reason": "", "bypass_reason": "bg_only" } } }, "step_id": "shot_conti_light", "run_id": "cdd17b4a-fdef-4fb3-ae80-6ed17a6f1548", "resolved_model": "gpt-image-2.5-sunburst", "updated_at": "2026-09-21T00:23:35.596725+00:00", "project_config_snapshot": {} }