{ "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: The compact interior work bay of a bicycle repair shop, directly beside the oil-stained workbench and inverted bicycle. A single ceiling-hung fluorescent light illuminates the bench, open toolbox, and repair 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): Minsu wears navy coveralls with rolled sleeves and has oil-stained fingertips; because he later sets down the wrench he was holding, it must already be in his hand as he works on the inverted bicycle. The toolbox remains open on the oil-stained workbench.\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 workbench at Minsu's chest height, frame him from a front three-quarter angle with a slight downward tilt, his upper body occupying the right half while his grease-marked fingertips meet the bicycle chain near center. The open toolbox and workbench remain visible across the lower left, creating a compact observational composition that holds still before the backward transition begins; Minsu stays absorbed in the chain rather than acknowledging the lens.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 작업대 (기름때가 묻어 있음) — The work surface is seen obliquely from above, with its near edge crossing the lower frame; used as Supports the toolbox and forms the lower compositional boundary; 공구 상자 (열려 있음) — Its open interior faces diagonally toward the camera beside Minsu's hands; used as Provides a practical scale reference beneath the working action; 거꾸로 세운 낡은 자전거 (거꾸로 세워져 있고 체인을 손보는 중) — The chain side is angled toward the camera while the inverted frame extends behind Minsu; used as Places the chain at the central focus without obscuring Minsu's hands; 천장 형광등 (천장에 매달려 있음) — Its underside is only partially visible near the upper frame edge; used as Marks the workshop ceiling above the compact working 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/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/L01B03.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: A cleared patch of floor inside the compact bicycle repair shop, immediately beside the workbench that has been pushed to one side. The overhead fluorescent light illuminates the man lying under a blanket and the person crouched beside him.\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 horizontally on the repair-shop floor with his eyes closed and a blanket covering his body. His body orientation and the exact positions of his head and limbs are not further specified.\n\nCARRIED STATE (persist exactly): The elderly man is positioned horizontally on the repair-shop floor with his eyes closed and a blanket covering his body. His body orientation and the exact positions of his head and limbs are not further specified; the workbench remains pushed aside, Minsu stays crouched beside him, and Yeonhui remains at the doorway with the flashlight. The inverted bicycle, open toolbox, and wrench remain as previously left, with the toolbox and wrench on the displaced workbench.\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 and diagonally offset from the pair, let the dolly-in settle into a brief wide hold with the blanket-covered old man extending across the lower center and Minsu balanced in a low squat beside him. The displaced workbench stays along one frame edge as a spatial boundary, while Minsu occupies the opposite side and concentrates on the old man's closed face beneath the fluorescent light.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 노인 in the lower-center of the frame, midground; 민수 in the middle-right of the frame, midground, looks toward 노인의 얼굴; displaced workbench in the middle-left of the frame, background.\n- KEY BACKGROUND ELEMENTS: 한쪽으로 밀린 작업대 (한쪽으로 옮겨져 바닥 자리를 비움) — Its long side faces the camera obliquely along the edge of the cleared floor area; used as Frames the pair and makes the newly cleared floor space readable; 담요 (노인의 몸을 덮고 있음); used as Defines the old man's prone outline against the workshop floor; 비워진 바닥 공간 (작업대를 옮겨 자리가 마련됨) — The cleared area extends between the displaced workbench and the two figures; used as Provides uncluttered negative space around the emergency care arrangement.\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/L01B03.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" }, "S3sh5": { "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_alley_intersection", "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_alley_intersection_map.png", "base_map_asset_id": "fa2fe939-2c1b-4242-b70c-bf789551b918", "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 High over the left cross-axis road approach, well left of the central crossing. (coarse estimate x=0.15, y=0.48); its sight line ends at LOOK TARGET: At the middle of the central four-way road crossing. (coarse estimate x=0.49, y=0.50); the frame's LEFT edge cuts through Deep along the opposite-axis road approach near its right edge. (coarse estimate x=0.75, y=0.08) and its RIGHT edge through Deep along the streetlamp-side road approach near its right edge. (coarse estimate x=0.78, y=0.91)\n- E1 (side-lying elderly man): circle In the middle of the central four-way road crossing. (coarse estimate x=0.48, y=0.49), facing At the northern edge of the central crossing where it meets the opposite-axis road approach. (coarse estimate x=0.48, y=0.36)\n- E2 (fallen walking cane): circle On the central four-way road crossing just southeast of its center. (coarse estimate x=0.53, y=0.53), facing Near the southeastern edge of the central crossing beside the streetlamp-side road approach. (coarse estimate x=0.58, y=0.61)", "geometry": { "entity_placements": [ { "slot": "E1", "subject_en": "side-lying elderly man", "x": 0.48, "y": 0.49, "anchor_en": "In the middle of the central four-way road crossing.", "facing": { "x": 0.48, "y": 0.36 }, "facing_anchor_en": "At the northern edge of the central crossing where it meets the opposite-axis road approach.", "camera_facing_relation": "unspecified", "camera_facing_evidence": "" }, { "slot": "E2", "subject_en": "fallen walking cane", "x": 0.53, "y": 0.53, "anchor_en": "On the central four-way road crossing just southeast of its center.", "facing": { "x": 0.58, "y": 0.61 }, "facing_anchor_en": "Near the southeastern edge of the central crossing beside the streetlamp-side road approach.", "camera_facing_relation": "unspecified", "camera_facing_evidence": "" } ], "camera": { "origin": { "x": 0.15, "y": 0.48 }, "look_target": { "x": 0.49, "y": 0.5 }, "origin_anchor_en": "High over the left cross-axis road approach, well left of the central crossing.", "look_target_anchor_en": "At the middle of the central four-way road crossing.", "view_left": { "x": 0.75, "y": 0.08 }, "view_right": { "x": 0.78, "y": 0.91 }, "view_left_anchor_en": "Deep along the opposite-axis road approach near its right edge.", "view_right_anchor_en": "Deep along the streetlamp-side road approach near its right edge." }, "rationale_ko": "노인은 사거리 중심에 고립되어 보이도록 배치하고, 지팡이는 바로 곁의 남동쪽으로 치우쳐 떨어뜨렸다. 카메라는 왼쪽 진입로 상공에서 중심을 향해 가파르게 내려다보며, 넓은 화각 안에 중심부와 네 갈래 도로의 확장을 담도록 설정했다." }, "geometry_attempts": 1, "leakage": { "has_marker_leakage": false, "details_ko": "마커나 기호 등의 유출 흔적이 없으며 입체적인 장면입니다." }, "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 High over the left cross-axis road approach, well left of the central crossing. (coarse estimate x=0.15, y=0.48); its sight line ends at LOOK TARGET: At the middle of the central four-way road crossing. (coarse estimate x=0.49, y=0.50); the frame's LEFT edge cuts through Deep along the opposite-axis road approach near its right edge. (coarse estimate x=0.75, y=0.08) and its RIGHT edge through Deep along the streetlamp-side road approach near its right edge. (coarse estimate x=0.78, y=0.91) — everything between those two edges is in frame, anything outside them is out of frame\n- side-lying elderly man stands In the middle of the central four-way road crossing. (coarse estimate x=0.48, y=0.49), facing At the northern edge of the central crossing where it meets the opposite-axis road approach. (coarse estimate x=0.48, y=0.36) — from this camera the subject is near the CENTER of the frame and faces toward the LEFT of the frame\n- fallen walking cane stands On the central four-way road crossing just southeast of its center. (coarse estimate x=0.53, y=0.53), facing Near the southeastern edge of the central crossing beside the streetlamp-side road approach. (coarse estimate x=0.58, y=0.61) — from this camera the subject is near the CENTER of the frame and faces toward the RIGHT of the frame and away from the camera, into the depth of the shot, so the camera sees this subject from behind\n\nCAMERA DIRECTION (vertical angle / elevation / framing SOT): From high above one side of the intersection, look steeply down in a wide oblique composition with the old man isolated near the center and the fallen cane offset beside him. The four roads branch toward separate frame edges around his small side-lying figure, and the crane pauses at its initial height before beginning its descent toward the alley.\n\nTHE LOCATION: 어두운 골목과 연결된 젖은 사거리 갈래길\n\nSHOT TEXT (authoritative, Korean): 깜빡이는 가로등 불빛이 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": "8eb498d6-f715-4a8a-a782-09f58231c8ae", "resolved_model": "gpt-image-2", "updated_at": "2026-08-24T14:09:57.760288+00:00", "project_config_snapshot": {} }