{ "status": "completed", "applicable_count": 2, "completed_count": 2, "failed_count": 0, "schema_version": 4, "config_hash": "123987836f4b9e64", "data": { "contis": { "S1sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/b1cefa45-c59c-4402-bcf2-afff78af62a5/images/45cce53b-1dbe-4248-b920-c8467186e5dc/conti/conti_S1sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/b1cefa45-c59c-4402-bcf2-afff78af62a5/episodes/45cce53b-1dbe-4248-b920-c8467186e5dc/images/background_chain/L01B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The interior side of the laundry shop entrance, directly across the open doorway from the rain outside. A worn fluorescent light flickers overhead.\n\nSHOT TEXT (authoritative, Korean): 열린 세탁소 문 틈으로 가방을 멘 태욱이 빗물에 젖은 어깨를 한 채 안으로 막 한 걸음 내디딘 순간.\n\nCARRIED STATE (persist exactly): The laundry door is open, the old fluorescent light flickers, and steam rises above the ironing board. The old yellow umbrella is still stored beneath the counter. 태욱: He steps inside wearing a backpack, with rain soaking his shoulder.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From chest height several steps inside the shop, the camera looks obliquely across the open threshold as 태욱 enters from the left background toward the right-side interior. His backpack and rain-wet shoulder remain visible as he is caught with his weight transferring onto the forward foot; the tracking move briefly settles on that first step, leaving open space ahead for the camera's continued retreat.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 태욱 in the middle-left of the frame, midground, moves toward shop interior at frame right; open shop doorway in the upper-left of the frame, background.\n- KEY BACKGROUND ELEMENTS: 세탁소 출입문 (open) — The threshold is seen diagonally, with the exterior behind 태욱 and the shop interior extending toward frame right; used as Frames 태욱's entry and establishes his inward direction of travel; 다림질대 (steam rising above it) — Its long side recedes obliquely in the deeper shop interior; used as Provides spatial continuity with the camera's preceding position near the work area.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b1cefa45-c59c-4402-bcf2-afff78af62a5/episodes/45cce53b-1dbe-4248-b920-c8467186e5dc/images/background_chain/L01B01.png" ], [ "char:태욱", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b1cefa45-c59c-4402-bcf2-afff78af62a5/images/45cce53b-1dbe-4248-b920-c8467186e5dc/reference/f348dec7-a91f-4d2c-9d00-f2743fcbc4f9.png" ] ], "asset_id": "dd91305e-d6ce-498d-8ec1-4f25ad785d83" }, "S1sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S2sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/b1cefa45-c59c-4402-bcf2-afff78af62a5/images/45cce53b-1dbe-4248-b920-c8467186e5dc/conti/conti_S2sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/b1cefa45-c59c-4402-bcf2-afff78af62a5/episodes/45cce53b-1dbe-4248-b920-c8467186e5dc/images/background_chain/L02B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Outside at the laundry shop doorway, where the entrance opens directly onto the narrow, rain-puddled alley between stained walls.\n\nSHOT TEXT (authoritative, Korean): 세탁소 문가에 멈춰 선 정순이 한 손에 다림질하던 천을 늘어뜨려 쥔 채 골목 쪽을 가만히 바라보는 상체 클로즈업.\n\nCARRIED STATE (persist exactly): Rainwater is pooled in the narrow alley, water stains mark the wall, and the laundry doorway remains open. The student ID left behind by Taewook is already resting on the counter inside the laundry. 정순: She stands at the laundry doorway, gazing toward the alley while holding the same ironing shirt loosely in one hand.\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: Just outside the doorway at chest height, the completed push-in holds 정순 in an oblique three-quarter view on the right side of frame, with the alley direction retained as negative space to her left. Her upper body occupies most of the frame, but the composition drops low enough to preserve the hand loosely gripping the hanging shirt as she remains absorbed in watching 태욱's departure.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 정순 in the middle-right of the frame, foreground, looks toward alley exit at frame left; alley direction in the middle-left of the frame, background.\n- KEY BACKGROUND ELEMENTS: 세탁소 출입구 (정순 paused at the threshold) — The entrance edge runs behind 정순 while opening the composition toward the alley on frame left; used as Creates a boundary between her stillness and 태욱's direction of departure; 다림질하던 셔츠 (hanging from one hand); used as Retained in the lower frame as evidence that 정순 stopped working to watch him leave; 좁은 골목 (rainwater pooled along it) — The visible stretch recedes away from the doorway into the left-side gaze space; used as Provides the off-screen direction of 정순's attention; 담벼락 (water marks risen along its surface) — Its alley-facing plane recedes through the background beside 정순's gaze line; used as Adds tactile depth to the narrow alley without distracting from her expression.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b1cefa45-c59c-4402-bcf2-afff78af62a5/episodes/45cce53b-1dbe-4248-b920-c8467186e5dc/images/background_chain/L02B01.png" ], [ "char:정순", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b1cefa45-c59c-4402-bcf2-afff78af62a5/images/45cce53b-1dbe-4248-b920-c8467186e5dc/reference/056a238c-f98f-4b2b-be3b-fd878457812d.png" ] ], "asset_id": "3f1d6ec5-ed97-44c1-a0e2-072f73de16d6" }, "S3sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S3sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null } }, "map_conti": {}, "conti_pack": "5.202607222353", "lane_conti": {} }, "step_id": "shot_conti_light", "run_id": "03629613-b44b-450c-a0ac-1ccbb29ce063", "resolved_model": "gpt-image-2", "updated_at": "2026-09-04T10:59:51.447214+00:00", "project_config_snapshot": {} }