{ "status": "completed", "applicable_count": 5, "completed_count": 5, "failed_count": 0, "schema_version": 4, "config_hash": "123987836f4b9e64", "data": { "contis": { "S1sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/images/97375a4b-b465-4fd6-9a2d-800e0eb01685/conti/conti_S1sh4.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/episodes/97375a4b-b465-4fd6-9a2d-800e0eb01685/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: Inside the cramped front fare-collection area of the first intercity bus, directly beside the driver’s instrument panel and the chained fare box.\n\nSHOT TEXT (authoritative, Korean): 쇠사슬로 둥근 아날로그 계기판 아래 기둥에 묶인 요금통 바로 앞에 쪼그려 앉아 시선을 아래로 고정한 정임.\n\nCARRIED STATE (persist exactly): Bus 1 remains parked with worn vinyl seat covers, a rubber aisle mat, three round analog gauges, and the farebox chained to the pillar beneath them. Several 100-won coins and two folded 1,000-won bills remain at the bottom of the farebox. 정임: She wears a navy conductor's uniform and a billed cap, crouching directly in front of the farebox with her gaze lowered.\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 knee height beside the front end of the aisle, the camera finishes its dolly-in at a three-quarter angle to 정임, placing her crouched figure in the right midground and the chained fare box in the lower-left foreground. Her shoulders fold toward the box and her gaze remains fixed downward, while the three round gauges and the aisle behind her preserve the bus interior without distracting from the impending tilt into the box.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 쇠사슬에 묶인 요금통 (기둥에 묶인 채 정임 바로 앞에 놓여 있음) — Its upper opening angles partly toward the camera while its chained side faces the aisle; used as Lower-left foreground anchor leading the eye beneath 정임's lowered eyeline; 둥근 아날로그 계기 세 개 (운전석 옆 계기판에 나란히 붙어 있음) — The three gauge faces are visible above the fare box; their markings face into the bus interior; used as Upper background marker connecting the fare box to the driver's area; 고무 매트가 깔린 통로 (통로 바닥에 깔려 있음); used as Receding background line behind 정임 that reinforces the low camera position; 낡은 비닐 좌석 커버 (각 좌석 등받이에 씌워져 있음) — Seat backs turn in alternating oblique planes along both sides of the aisle; used as Soft peripheral enclosure around the central search 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/da049582-2c6d-492c-979d-f468d61bab6e/episodes/97375a4b-b465-4fd6-9a2d-800e0eb01685/images/background_chain/L01B01.png" ], [ "char:정임", "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/images/0aea12c2-7e12-485f-b8c1-e20f4bf16185/reference/dc978079-d6ee-4d50-8a15-38ad425f9b11.png" ] ], "asset_id": "43c8376e-226a-46ae-80dd-0f9d6a6c1c63" }, "S1sh7": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/images/97375a4b-b465-4fd6-9a2d-800e0eb01685/conti/conti_S1sh7.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/episodes/97375a4b-b465-4fd6-9a2d-800e0eb01685/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: Inside the first intercity bus at the front fare box, immediately beside the open entryway and within sight of the front-door steps.\n\nSHOT TEXT (authoritative, Korean): 요금통 앞에 쪼그려 앉은 채 어깨를 틀어 앞문의 기사 최씨를 올려다보는 정임.\n\nCARRIED STATE (persist exactly): Bus 1 retains its worn vinyl seat covers, rubber aisle mat, three round analog gauges, and chained farebox. The coins and two folded bills remain inside the farebox. 정임: She remains in her navy conductor's uniform and billed cap, crouched by the farebox with her shoulders turned and her gaze raised toward the front 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: At knee height beside the fare box, the settled pan holds an oblique two-plane composition: 정임 occupies the lower-left foreground in a crouch, shoulders twisted toward the front doorway, while 기사 최씨 remains higher in the right background with one foot on the step and a gloved hand braced on the frame. The slightly widened view preserves the steep rise of 정임's eyeline to 기사 최씨 and his answering look down toward her, with the fare box between their spatial levels.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 정임 in the lower-left of the frame, foreground, looks toward 기사 최씨 at the front doorway; 기사 최씨 in the middle-right of the frame, background, looks toward 정임 beside the fare box; front doorway and steps in the middle-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: 앞문과 계단 (기사 최씨가 계단에 한 발을 올리고 문틀을 짚고 있음) — The doorway is seen diagonally from inside, with its stepped approach receding behind 기사 최씨; used as Background elevation anchor that establishes the vertical separation between the two characters; 쇠사슬에 묶인 요금통 (기둥에 묶인 채 정임 앞에 있음) — Its chained side and part of its upper opening are visible between the characters; used as Lower-frame relational anchor linking 정임's interrupted search to the exchange; 둥근 아날로그 계기 세 개 (운전석 옆 계기판에 나란히 붙어 있음) — The gauge faces remain partly visible above the fare box, facing the bus interior; used as Compact background context for the front section of the bus.\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/da049582-2c6d-492c-979d-f468d61bab6e/episodes/97375a4b-b465-4fd6-9a2d-800e0eb01685/images/background_chain/L01B01.png" ], [ "char:정임", "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/images/0aea12c2-7e12-485f-b8c1-e20f4bf16185/reference/dc978079-d6ee-4d50-8a15-38ad425f9b11.png" ] ], "asset_id": "927f7300-63f5-44ae-bf5c-9c6d801d0dc4" }, "S2sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/images/97375a4b-b465-4fd6-9a2d-800e0eb01685/conti/conti_S2sh1.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: Inside the passenger aisle of the second intercity bus, between the newly covered seats on the bare, unmatted floor.\n\nSHOT TEXT (authoritative, Korean): 고무 매트 없이 맨바닥이 드러난 통로와 새 좌석 커버가 씌워진 시외버스 2호차 안, 손잡이를 단단히 쥐고 상체를 숙여 바닥을 응시하는 정임.\n\nCARRIED STATE (persist exactly): Bus 2 remains parked with new seat covers, a bare aisle floor without a rubber mat, and only an empty pedestal beside the driver's seat where a farebox would be. 정임: She wears the same navy conductor's uniform and billed cap, gripping a handhold while bending forward to scan the floor.\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 knee height just inside the rear doorway, the camera moves forward several paces behind and slightly beside 정임, looking obliquely along the aisle as the uncovered floor extends toward the front. 정임 occupies the center-left midground, gripping a handhold and hinging her upper body between the seats to inspect the floor, while the newly replaced seat covers form staggered planes on both sides rather than a symmetrical corridor.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 맨바닥이 드러난 통로 (통로 매트가 깔리지 않아 바닥이 드러나 있음); used as Central receding line that makes the empty search area legible from the low rear position; 새 좌석 커버 (좌석마다 새것으로 교체되어 있음) — Successive seat backs show alternating side and rear planes along the oblique aisle view; used as Staggered side framing around 정임 and visual contrast with the first bus; 뒷문 입구 (정임이 올라온 뒤 카메라가 바로 안쪽에 위치함) — The inner edges of the rear doorway sit near the frame margins behind the camera position; used as Entry-point context and low-depth origin for the forward 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:정임", "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/images/0aea12c2-7e12-485f-b8c1-e20f4bf16185/reference/dc978079-d6ee-4d50-8a15-38ad425f9b11.png" ] ], "asset_id": "baecfce3-b8c1-4026-9019-4bc9461a93b3" }, "S2sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S3sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/images/97375a4b-b465-4fd6-9a2d-800e0eb01685/conti/conti_S3sh4.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/episodes/97375a4b-b465-4fd6-9a2d-800e0eb01685/images/background_chain/L01B02.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 first intercity bus beside the seat directly behind the driver, near the front aisle and chained fare box. The windows beyond are dark with night.\n\nSHOT TEXT (authoritative, Korean): 정임의 펼쳐진 한쪽 손바닥 위에 놓인, 표지가 낡게 접힌 회수권 뭉치를 다른 손 검지로 짚고 있는 클로즈업.\n\nCARRIED STATE (persist exactly): Bus 1 retains its worn vinyl seat covers, rubber aisle mat, and chained farebox in the same position, while the windows are dark outside. The rubber-banded ticket bundle has been removed from beneath the seat, and its worn folded cover is visible. 정임: She wears her navy conductor's uniform and billed cap, standing near the farebox with the ticket bundle supported on one open palm and counting it with the opposite index 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: From just above and to the aisle side of 정임's hands, a static steep oblique view isolates her open palm in the center-lower portion of the frame, with the rubber-banded ticket bundle resting naturally across it. Her other index finger touches the counted edge of the folded-cover bundle; portions of her sleeves and the aisle-side seat base remain at the margins as scale references, and the tickets stay well below forty percent of the frame.\n- FRAMING SCALE: insert close-up on a detail\n- KEY BACKGROUND ELEMENTS: 회수권 뭉치 (표지가 접혀 있고 고무줄로 묶인 채 펼친 손바닥 위에 놓여 있음) — The folded cover and layered ticket edges face upward toward the camera while 정임's index finger marks the count; used as Central insert subject, framed together with both hands and sleeve edges for physical scale; 좌석 아래쪽 (정임이 회수권 뭉치를 찾아낸 좌석 주변임) — Only an oblique portion remains visible at the upper frame edge; used as Minimal environmental context preventing the hand detail from becoming abstract; 고무 매트가 깔린 통로 (1호차 통로에 그대로 깔려 있음); used as Peripheral ground reference beneath 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/da049582-2c6d-492c-979d-f468d61bab6e/episodes/97375a4b-b465-4fd6-9a2d-800e0eb01685/images/background_chain/L01B02.png" ], [ "char:정임", "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/images/0aea12c2-7e12-485f-b8c1-e20f4bf16185/reference/dc978079-d6ee-4d50-8a15-38ad425f9b11.png" ] ], "asset_id": "0a75eeb5-c326-4b30-a5a7-be04460eba29" }, "S3sh6": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/images/97375a4b-b465-4fd6-9a2d-800e0eb01685/conti/conti_S3sh6.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/episodes/97375a4b-b465-4fd6-9a2d-800e0eb01685/images/background_chain/L01B02.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 passenger area of the first intercity bus, beside the seat behind the driver and close to the front entry. The bus windows are dark at night.\n\nSHOT TEXT (authoritative, Korean): 손바닥 위의 회수권 뭉치를 꼭 쥔 채 곁에 선 기사 최씨 쪽으로 고개를 돌린 자세로 시선을 맞춘 정임.\n\nCARRIED STATE (persist exactly): Bus 1 still has its worn vinyl seat covers, rubber aisle mat, and farebox chained in its original position beneath the gauges; the exterior beyond the windows remains dark. The rubber-banded ticket bundle remains out from under the seat with its worn folded cover intact. 정임: She remains in her navy conductor's uniform and billed cap, gripping the ticket bundle in one hand and turning her head sideways with her gaze raised. 기사 최씨: He wears his work jumper and work gloves, standing beside a seat near the front door with one hand resting on the seatback.\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 aisle side just below shoulder height, a static three-quarter composition crosses the line between the characters: 정임 occupies the left foreground with her head turned toward 기사 최씨, while her clenched hand and the ticket bundle remain visible in the lower center. 기사 최씨 stands beside her in the right midground with one hand resting on the adjacent seat back, and their matched eyelines hold the frame as the primary exchange.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 회수권 뭉치 (정임의 한 손에 꼭 쥐어져 있음) — The folded cover and compressed ticket edges angle toward the camera beneath 정임's face; used as Lower-center evidence retained within the reaction framing; 낡은 비닐 좌석 커버 (1호차 좌석 등받이에 그대로 씌워져 있음) — The seat beside 기사 최씨 presents its aisle-side plane, supporting his resting hand; used as Shared physical anchor between 기사 최씨 and 정임; 차창 (창밖이 이미 깜깜함) — The window presents a dark exterior beyond the bus interior; used as Background field that isolates the two-character exchange; 고무 매트가 깔린 통로 (1호차 통로에 그대로 깔려 있음); used as Lower background continuity beneath the two characters.\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/da049582-2c6d-492c-979d-f468d61bab6e/episodes/97375a4b-b465-4fd6-9a2d-800e0eb01685/images/background_chain/L01B02.png" ], [ "char:정임", "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/images/0aea12c2-7e12-485f-b8c1-e20f4bf16185/reference/dc978079-d6ee-4d50-8a15-38ad425f9b11.png" ], [ "char:기사 최씨", "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/images/97375a4b-b465-4fd6-9a2d-800e0eb01685/reference/d69bfb4e-d721-4fff-a6ec-82d353c37a1b.png" ] ], "asset_id": "84eb2e28-e90d-4752-992b-2ee12ee65303" } }, "map_conti": {}, "conti_pack": "5.202607222353", "lane_conti": {} }, "step_id": "shot_conti_light", "run_id": "ed79248b-b67d-44d1-84cd-18617d03dcec", "resolved_model": "gpt-image-2", "updated_at": "2026-08-29T08:57:23.694144+00:00", "project_config_snapshot": {} }