{ "status": "completed", "applicable_count": 3, "completed_count": 3, "failed_count": 0, "schema_version": 3, "config_hash": "b9c71c81b67c097c", "data": { "contis": { "S1sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/images/fb7a883f-baac-4145-9131-732ce628d474/conti/conti_S1sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/episodes/fb7a883f-baac-4145-9131-732ce628d474/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 cramped work bay of a bicycle repair shop, directly beside the grease-stained workbench and the inverted bicycle. A single fluorescent tube overhead lights the work area.\n\nSHOT TEXT (authoritative, Korean): 좁은 정비소 천장에 매달린 형광등 불빛 아래, 거꾸로 세워진 낡은 자전거 체인에 손을 대고 있는 민수의 상반신. 열린 공구 상자가 놓인 작업대 위로 민수의 기름 묻은 손끝이 보인다.\n\nCARRIED STATE (persist exactly): The open toolbox remains on the oil-stained workbench beside the inverted old bicycle. Minsu wears navy work clothes, has oil-stained fingertips, and is holding the wrench while working on the chain.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From waist height beside the workbench, hold a low three-quarter view angled slightly upward, with 민수 occupying the right half while his oil-marked fingertips meet the inverted bicycle chain near center. Keep the open toolbox and workbench in the lower left, allowing the chain, hands, and 민수's navy-clad upper body to remain legible in one restrained composition; his attention stays fixed downward on the repair.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 거꾸로 세워진 낡은 자전거 (inverted beside the workbench while its chain is being repaired) — Its chain side turns toward the camera at an oblique angle, with the frame extending behind 민수's hands; used as Provides the central working line connecting 민수's hands to his upper body; 열린 공구 상자 (open on the workbench) — The open compartment side faces diagonally toward the camera, exposing the tools inside without blocking 민수's hands; used as Anchors the lower-left foreground and supplies workshop context; 기름때 묻은 작업대 (marked with oil grime); used as Forms the lower frame line beneath 민수's working hands; 천장에 매달린 형광등 (hanging above the narrow workshop) — Its underside is visible near the upper frame edge; used as Acts as a spatial ceiling anchor above 민수 rather than a foreground 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, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/episodes/fb7a883f-baac-4145-9131-732ce628d474/images/background_chain/L01B02.png" ], [ "char:민수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/images/fb7a883f-baac-4145-9131-732ce628d474/reference/ea4df600-52aa-4b58-ad41-bffc5fa5d07e.png" ] ], "asset_id": "9a17f9db-4843-4150-89e9-b6080b16b2df" }, "S1sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S2sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S3sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/images/fb7a883f-baac-4145-9131-732ce628d474/conti/conti_S3sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/episodes/fb7a883f-baac-4145-9131-732ce628d474/images/background_chain/L01B04.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 bicycle repair shop, on the cleared floor beneath the fluorescent light where the workbench has been pushed aside. The blanketed man lies in the newly opened space beside the crouching mechanic.\n\nSHOT TEXT (authoritative, Korean): 형광등 불빛 아래 한쪽으로 밀린 작업대 옆 바닥. 담요가 덮인 채 눈을 감고 누워 있는 노인과 그 곁에 쪼그려 앉아 있는 민수.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): The elderly man is positioned recumbent on the repair-shop floor under the fluorescent light, with his eyes closed and a blanket covering his body. His precise facing direction and limb arrangement are not specified in the source.\n\nCARRIED STATE (persist exactly): The workbench remains pushed aside, while the elderly man is positioned recumbent on the repair-shop floor under the fluorescent light, with his eyes closed and a blanket covering his body. Minsu stays crouched beside him, and Yeonhui remains at the doorway holding the flashlight.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From waist height at medium distance, angle gently downward from 민수's three-quarter side, placing the blanket-covered 노인 along the lower-left floor and 민수 crouched close at lower right. The displaced workbench remains behind them with enough surrounding floor visible to explain the cleared space; 민수 bends toward 노인 and watches his closed face in tense silence.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 한쪽으로 밀린 작업대 (moved aside to clear floor space) — Its long side faces the camera obliquely behind the two figures, leaving the cleared area visible in front of it; used as Explains how the workshop has been rearranged to accommodate the 노인; 담요 (covering the 노인 as he lies on the floor); used as Defines his protected resting shape without concealing his closed face; 비워진 바닥 공간 (cleared beside the displaced workbench); used as Separates the two figures from the workshop clutter and makes their proximity 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, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/episodes/fb7a883f-baac-4145-9131-732ce628d474/images/background_chain/L01B04.png" ], [ "char:민수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/images/fb7a883f-baac-4145-9131-732ce628d474/reference/ea4df600-52aa-4b58-ad41-bffc5fa5d07e.png" ], [ "char:노인", "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/images/fb7a883f-baac-4145-9131-732ce628d474/reference/1f61110f-3cdb-4bf6-ade7-ed6f55c0884a.png" ] ], "asset_id": "3fb40a68-6d0e-4196-9ec4-83b2d1b91a37" }, "S3sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null } }, "map_conti": {}, "conti_pack": "5.202607222353", "lane_conti": { "S2sh1": { "lane": "map_marker", "group_id": "bg_wet_intersection_alley", "segment_id": "SEG_01", "marker_attempts": 1, "sketch_attempts": 1, "status": "ok", "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/images/fb7a883f-baac-4145-9131-732ce628d474/conti/lane_sketch_S2sh1.png", "base_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/images/background_chain/canon_bg_wet_intersection_alley_map.png", "base_map_asset_id": "8c7d0c20-f161-4659-b7ef-688e58f82140", "marker_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/images/fb7a883f-baac-4145-9131-732ce628d474/conti/lane_marker_map_S2sh1.png", "marker_check": { "markers_ok": true, "details_ko": "정상" }, "marker_prompt": "Edit the attached TOP-DOWN SITE PLAN image: draw STAGING MARKERS on it\nat the positions described below. This is a planning aid for a film\ncrew, drawn over the plan.\n\nPLACEMENT AUTHORITY: each marker line below places its marker relative\nto a fixed feature, zone or boundary VISIBLE on the attached plan —\nthat landmark-relative description is the placement authority. The\nnormalized fractions in parentheses are coarse estimates of the same\nspot (x runs left→right 0..1, y runs top→bottom 0..1 of the full\ncanvas) — use them only to confirm the rough region; when in doubt,\nthe landmark description wins. Do NOT relocate a marker onto a\ndifferent salient line or feature than the one its description names.\n\nNEVER move a marker to make the drawing fit. The camera circle and\nevery subject circle go exactly where their descriptions place them,\neven when that leaves the view wedge or an arrow running off the edge\nof the image — in that case just let the wedge or arrow continue to\nthe image border and stop there. Shifting the camera outward, pulling\na subject aside, or shrinking the wedge to keep it inside the canvas\nall break the plan this map exists to record.\n\nDraw EXACTLY these markers, flat and high-contrast, small enough not\nto hide the plan under them:\n- CAMERA: one filled circle at the camera position, labelled CAM, and\n out of that circle a FIELD-OF-VIEW WEDGE showing what this shot\n sees — two straight thin lines, one running toward each of the two\n frame-edge positions given below, and a third thinner line to the\n look-target position between them. Fill the area between the two\n edge lines with a light translucent tint so the wedge reads as the\n camera's view; the plan underneath must stay fully readable through\n the tint. Every subject listed below stands inside this wedge —\n if your drawing leaves one outside it, the wedge is drawn wrong,\n not the subject.\n- SUBJECTS: one filled circle per subject at its position, labelled\n with its slot code (E1, E2, ...) followed by its short description\n in parentheses, and one short ARROW leaving that circle toward the\n spot the subject faces, so the direction each subject is turned is\n readable at a glance.\n\nChange NOTHING else: keep every zone, landmark, line, label and color\nof the plan exactly as attached — do not redraw, recolor, move or\nremove anything, do not add scenery, shadows or any other symbols or\ntext beyond the markers, wedge, arrows and labels specified above. The\noutput is the SAME plan image with only these staging markers added.\n\nMARKERS TO DRAW:\n- CAM (camera): circle Above the connected alley approach near its lower mapped end. (coarse estimate x=0.50, y=0.94); its sight line ends at LOOK TARGET: At the midpoint of the wet four-way intersection center. (coarse estimate x=0.50, y=0.49); the frame's LEFT edge cuts through At the outer portion of the first lateral road approach near the left property boundary. (coarse estimate x=0.05, y=0.58) and its RIGHT edge through At the outer portion of the second lateral road approach near the right property boundary. (coarse estimate x=0.90, y=0.58)\n- E1 (side-lying elderly man): circle On the wet four-way intersection center just left of its midpoint. (coarse estimate x=0.48, y=0.51), facing At the mouth of the opposite road approach just above the intersection center. (coarse estimate x=0.48, y=0.36)\n- E2 (fallen walking cane): circle On the wet four-way intersection center slightly toward the second lateral road approach. (coarse estimate x=0.57, y=0.54), facing Toward the inner end of the second lateral road approach beside the intersection center. (coarse estimate x=0.68, y=0.54)", "geometry": { "entity_placements": [ { "slot": "E1", "subject_en": "side-lying elderly man", "x": 0.48, "y": 0.51, "anchor_en": "On the wet four-way intersection center just left of its midpoint.", "facing": { "x": 0.48, "y": 0.36 }, "facing_anchor_en": "At the mouth of the opposite road approach just above the intersection center.", "camera_facing_relation": "away_from_camera", "camera_facing_evidence": "his closed face stays turned away from any lens address" }, { "slot": "E2", "subject_en": "fallen walking cane", "x": 0.57, "y": 0.54, "anchor_en": "On the wet four-way intersection center slightly toward the second lateral road approach.", "facing": { "x": 0.68, "y": 0.54 }, "facing_anchor_en": "Toward the inner end of the second lateral road approach beside the intersection center.", "camera_facing_relation": "unspecified", "camera_facing_evidence": "" } ], "camera": { "origin": { "x": 0.5, "y": 0.94 }, "look_target": { "x": 0.5, "y": 0.49 }, "origin_anchor_en": "Above the connected alley approach near its lower mapped end.", "look_target_anchor_en": "At the midpoint of the wet four-way intersection center.", "view_left": { "x": 0.05, "y": 0.58 }, "view_right": { "x": 0.9, "y": 0.58 }, "view_left_anchor_en": "At the outer portion of the first lateral road approach near the left property boundary.", "view_right_anchor_en": "At the outer portion of the second lateral road approach near the right property boundary." }, "rationale_ko": "카메라는 연결 골목 상공에서 사거리 중심을 향해 높은 사선으로 내려다보며, 넓은 화각 안에 네 갈래 도로와 가로등을 함께 담는다. 노인은 중심에서 약간 벗어나 렌즈 반대쪽인 맞은편 도로 방향으로 얼굴을 두었고, 지팡이는 우측에 분리해 배치했다." }, "geometry_attempts": 1, "leakage": { "has_marker_leakage": false, "details_ko": "스케치에 마커, 기호, 텍스트 좌표 또는 평면도 형태의 데이터 유출이 없으며, 지시된 하이 앵글 뷰를 입체적으로 잘 표현했습니다." }, "prompt": "Draw a single CAMERA-VIEW storyboard frame (16:9) of the scene staged\non the attached MARKER-ANNOTATED TOP-DOWN SITE PLAN, seen from the\ncamera position marked on it.\n\nThe attached plan carries STAGING MARKERS drawn over it: a\ncamera-position marker with a field-of-view wedge (where the camera\nstands, which way it looks and how wide it sees) and one labelled\ncircle per subject with an arrow (where each subject stands and which\nway that subject is turned). Jurisdiction of sources — follow all three, they do not\nconflict:\n- The SITE PLAN under the markers is the SOT for what exists on the\n site and how its zones and landmarks are arranged relative to each\n other. The markers themselves are staging aids, NOT site content.\n- The markers on the plan are the SOT for XY POSITIONS, horizontal\n heading and body facing ONLY: where each subject stands on that\n plan, which way each one is turned, where the camera stands, which\n way it looks and how wide its wedge opens. Distances, directions\n and relative depths between subjects come from the marked\n positions; what the wedge covers is what this frame contains, and\n subjects outside the wedge are out of frame. The STAGING GEOMETRY\n text below restates the same staging with coarse normalized\n estimates — it never overrides the marked plan.\n- The CAMERA DIRECTION text below (when present) is the SOT for the\n VERTICAL angle, elevation, tilt and framing (eye-level, high angle,\n overhead crane, low angle, ...). If it asks for a high or overhead\n angle, draw that angle — the site plan being top-down does NOT mean\n the frame must be eye-level. It does NOT govern horizontal\n placement: which side of the frame a subject occupies and which way\n that subject is turned come from the marked plan and the staging\n text, even when that memo also mentions left, right, foreground or\n background.\n\nSTYLE — MANNEQUIN BLOCKING SKETCH: thin uniform dark outlines on plain\npaper, nothing else. Draw every person as a PLAIN ARTIST'S MANNEQUIN:\na featureless oval head with NO face, NO hair, NO clothing and no\ncostume detail — simple tapered limbs and torso, like a wooden posing\nfigure. Because the head has no face and no hair, the ONLY thing that\nshows which way a figure is turned is the BODY ITSELF: the direction\nthe chest, hips and feet point, and the way the head-oval sits on the\nshoulders. Aim each mannequin's chest and feet at the spot the staging\ntext says that person faces, and let the arms carry the action. A\nmannequin turned to the wrong side is the single worst error in this\ndrawing. Environment is reduced to a few placement lines (ground line,\nkey landmark silhouettes) — just enough to read positions and depth.\n\nSTAGING GEOMETRY — PLANNING DATA ONLY, NEVER RENDER IT: the lines\nbelow restate, marker by marker, the staging already marked on the\nattached plan: each landmark-relative description restates the\nmarker-map authority in words, and the normalized fractions in\nparentheses (x left→right 0..1, y top→bottom 0..1) are coarse audit\nestimates only — neither ever overrides the marked plan.\n\nThose fractions are TOP-DOWN bookkeeping. Never read them as left and\nright of your frame: on a plan seen from above, a subject \"to the\nright\" can sit on either side of a camera that looks any direction.\nEach subject line therefore ends with the SAME staging expressed from\nTHIS camera — which part of the frame the subject occupies, and which\nway that subject faces in screen terms (toward the left or right of\nthe frame, toward or away from the camera or side-on to it in\nprofile, and whom they are looking at). Those screen-space statements\nare what your drawing must match:\na figure said to face the right of the frame is turned to the right in\nyour drawing, never mirrored.\n\nDo NOT draw any of this data in the image — no numbers, no\ncoordinates, no labels, no arrows, no cones, no dots, no diagram\nsymbols of any kind.\n\nWhere the CAMERA DIRECTION text below also describes horizontal\nplacement (which side of the frame someone occupies, foreground left,\nbackground right), treat that as background reading only: for anything\nabout left, right and where a subject sits in this frame, the staging\nabove wins. CAMERA DIRECTION governs the vertical angle, elevation,\ntilt and framing.\n\nFor whether a subject faces the camera or is turned away from it, each\nsubject line above already states it in screen terms and the SHOT TEXT\nis the source it was derived from — draw exactly what the subject line\nsays, and never mirror it.\n- the camera stands Above the connected alley approach near its lower mapped end. (coarse estimate x=0.50, y=0.94); its sight line ends at LOOK TARGET: At the midpoint of the wet four-way intersection center. (coarse estimate x=0.50, y=0.49); the frame's LEFT edge cuts through At the outer portion of the first lateral road approach near the left property boundary. (coarse estimate x=0.05, y=0.58) and its RIGHT edge through At the outer portion of the second lateral road approach near the right property boundary. (coarse estimate x=0.90, y=0.58) — everything between those two edges is in frame, anything outside them is out of frame\n- side-lying elderly man stands On the wet four-way intersection center just left of its midpoint. (coarse estimate x=0.48, y=0.51), facing At the mouth of the opposite road approach just above the intersection center. (coarse estimate x=0.48, y=0.36) — from this camera the subject is near the CENTER of the frame and faces away from the camera, into the depth of the shot, so the camera sees this subject from behind\n- fallen walking cane stands On the wet four-way intersection center slightly toward the second lateral road approach. (coarse estimate x=0.57, y=0.54), facing Toward the inner end of the second lateral road approach beside the intersection center. (coarse estimate x=0.68, y=0.54) — from this camera the subject is near the CENTER of the frame and faces toward the RIGHT of the frame\n\nCAMERA DIRECTION (vertical angle / elevation / framing SOT): Pause the crane at its widest high, steeply oblique view so the four diverging roads remain readable around the intersection center. Place 노인's side-lying figure slightly off center and the fallen cane nearby but clearly separated, while the elongated streetlight reflection occupies a different portion of the wet ground; his closed face stays turned away from any lens address.\n\nTHE LOCATION: 가로등이 켜진 젖은 사거리와 연결된 어두운 골목\n\nSHOT TEXT (authoritative, Korean): 켜진 가로등 불빛이 흔들리는 순간, 그 빛이 번진 젖은 사거리 바닥 한가운데에 눈을 감은 채 옆으로 누워 있는 노인. 곁에는 지팡이가 떨어져 있다.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, head-oval and chest turned toward the target the\nSHOT TEXT implies; avoid a stiff attention stance (feet together, arms\nhanging straight down) and a head-oval squared flat to the lens. If the\nSHOT TEXT or any POSE contract above stages stillness, death, sleep,\nunconsciousness, restraint, drill or an explicit direct-to-camera look,\ndraw THAT exactly — this clause never overrides it.\n\nCRITICAL — THE SITE PLAN IS A STAGING REFERENCE, NOT CONTENT: do NOT\ndraw the plan itself, and do NOT draw any diagram elements in the\nframe — no circles, dots, wedges, cones, arrows, callouts, codes or\nany other overlay symbols. The output is a clean storyboard drawing\nof the scene as seen by the camera only.\n\nNo text, no letters, no numbers, no captions anywhere in the image.", "lane_sketch_pack": "14.202607270344", "lane_geometry_pack": "4.202607270248", "mannequin_chain_contract": "1", "asset_id": "50e7d22e-6213-40b1-97f7-adc902602902" } } }, "step_id": "shot_conti_light", "run_id": "e80a3e0b-75a6-4753-b64c-3fea36acf1fe", "resolved_model": "gpt-image-2", "updated_at": "2026-08-24T20:03:25.237574+00:00", "project_config_snapshot": {} }