{
 "S1sh1::confined_fp_apt": {
  "applies": false,
  "reason_ko": "이 샷은 자전거 정비소 내부를 배경으로 하고 있으며 조종석이나 차량 내부처럼 복잡한 제어 장치나 정확한 좌석 배치가 요구되는 공간이 아닙니다. 방향성이 엄격하게 중요한 물체를 겨냥하는 장면도 아니므로 평면도 레이아웃 보조가 필요하지 않습니다.",
  "input_fingerprint": "a3950732d8431968"
 },
 "S1sh1::signage": {
  "fp": "b1707e0635e91ab5",
  "inscriptions": [
   {
    "surface_native": "작업대 뒤쪽 벽면의 안내판",
    "text_native": "공구 사용 후 제자리에",
    "reason_ko": "어수선한 자전거 정비소의 현실적인 분위기를 살리기 위해 작업대 벽면에 공구 정리 정돈을 강조하는 안내 문구를 배치합니다."
   }
  ]
 },
 "era_assess::4de3a94fe373a6d8": {
  "subjects": [
   {
    "subject_native": "한국의 동네 자전거 수리점 (자전거포) 내부 작업 공간",
    "search_terms_native": [
     "동네 자전거포 내부",
     "자전거 수리점 작업대",
     "자전거 정비소 공구"
    ],
    "language_lock_native": "이 검색어들은 반드시 한국어로만 검색해야 하며, 다른 언어로 번역하거나 추가적인 영어 키워드를 붙여서는 안 됩니다.",
    "reason_ko": "일반적인 AI 모델은 서구식의 넓고 정돈된 자전거 정비소만을 그리기 쉬우나, 한국 특유의 좁고 조밀하게 배치된 동네 자전거포의 수리 작업대와 공구 배치, 수납용 플라스틱 상자 등의 고유한 생활 밀착형 디테일을 정확히 묘사하기 위해서는 실제 이미지가 필요합니다."
   }
  ]
 },
 "era_ref::73e42ad94b874790": {
  "subject": "한국의 동네 자전거 수리점 (자전거포) 내부 작업 공간",
  "terms": [
   "동네 자전거포 내부",
   "자전거 수리점 작업대",
   "자전거 정비소 공구"
  ],
  "queries": [
   [
    "동네 자전거포 내부 자전거 수리점 작업대",
    "자전거 정비소 공구"
   ]
  ],
  "candidates": 4,
  "picked_index": 3,
  "picked_url": "https://onthegrid.city/imager/s3_amazonaws_com/onthegrid.city/assets/grid/seoul/sangsu/dooboogong/IMG_7925-2_299006722e285f47655d17d1c9136337.jpg",
  "picked_reason_ko": "한국의 일상적인 자전거포 내부 작업 공간을 넓고 선명하게 보여 주며, 구조와 설비 및 실제 사용 상태를 가장 잘 파악할 수 있다.",
  "sha256": "d005bec27adf680f505d8f04587a05c267bd8f6b734070a615358116a9257dcf",
  "file": "eraref_73e42ad94b874790.png"
 },
 "S1sh1::bgfirst_bg": {
  "input_fingerprint": "fb2350dbc86c1619",
  "prompt": "Create the EMPTY BACKGROUND PLATE for one film shot — NO PEOPLE, no figures, no body parts, no sketch lines, no arrows anywhere.\n\"Empty\" means no people only: KEEP the location's inherent occupants and stock that define the place — animals in an animal shelter, pen or farm, goods in a market, moored boats in a harbour — unless the shot text explicitly removes them.\nThe FIRST attached image is a thin-line storyboard sketch: use ONLY its camera angle, horizon, perspective and the placement/size of buildings and set masses — ignore the sketched people and arrows entirely. The SECOND attached image (LOCATION PHOTOGRAPH) is the real place: take its architecture, materials, signage and fixed features, and RE-PROJECT them into the sketch's camera. If the photograph's camera differs from the sketch's, the sketch's camera wins.\nHUMAN-SCALE CALIBRATION: derive every structure's true size from human-scale elements — a door ≈ 2m, a window ≈ 1–1.5m wide, one storey ≈ 2.5–3m; never inflate a small structure or shrink a large one.\n\nSHOT TEXT this background must serve (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\nLOCATION (lock): 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\nTIME OF DAY (lock): evening.\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The single hanging fluorescent light gives the evening workshop restrained, slightly desaturated illumination with modest low-key contrast.\n- MATERIAL REALISM: every object and surface must read as a real,\n  physical material — correct texture, weight, wear and light response\n  (metal reflects, fabric drapes and creases, liquid is glossy and\n  pools, painted or drawn marks sit ON a surface and follow its\n  curvature and lighting). Nothing may look like a flat sticker, a\n  doodle or a graphic overlay pasted onto the frame.\n\nRender ONE photorealistic empty location photograph, 16:9, that this shot can be staged inside later. Signage and other writing that permanently belongs to this place may appear, in the place's native language and period style; no captions, watermarks or overlay text.\n\nPERIOD REFERENCE — 현대 한국의 동네 자전거 수리점 내부 작업 공간: a researched photograph of the real\nthing. Copy its era-accurate form, proportions, materials, fittings\nand styling exactly. It decides ONLY what this thing looks like —\nnever the composition, framing, lighting, people or their placement.",
  "effective_prompt": "Create the EMPTY BACKGROUND PLATE for one film shot — NO PEOPLE, no figures, no body parts, no sketch lines, no arrows anywhere.\n\"Empty\" means no people only: KEEP the location's inherent occupants and stock that define the place — animals in an animal shelter, pen or farm, goods in a market, moored boats in a harbour — unless the shot text explicitly removes them.\nThe FIRST attached image is a thin-line storyboard sketch: use ONLY its camera angle, horizon, perspective and the placement/size of buildings and set masses — ignore the sketched people and arrows entirely. The SECOND attached image (LOCATION PHOTOGRAPH) is the real place: take its architecture, materials, signage and fixed features, and RE-PROJECT them into the sketch's camera. If the photograph's camera differs from the sketch's, the sketch's camera wins.\nHUMAN-SCALE CALIBRATION: derive every structure's true size from human-scale elements — a door ≈ 2m, a window ≈ 1–1.5m wide, one storey ≈ 2.5–3m; never inflate a small structure or shrink a large one.\n\nSHOT TEXT this background must serve (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\nLOCATION (lock): 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\nTIME OF DAY (lock): evening.\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The single hanging fluorescent light gives the evening workshop restrained, slightly desaturated illumination with modest low-key contrast.\n- MATERIAL REALISM: every object and surface must read as a real,\n  physical material — correct texture, weight, wear and light response\n  (metal reflects, fabric drapes and creases, liquid is glossy and\n  pools, painted or drawn marks sit ON a surface and follow its\n  curvature and lighting). Nothing may look like a flat sticker, a\n  doodle or a graphic overlay pasted onto the frame.\n\nRender ONE photorealistic empty location photograph, 16:9, that this shot can be staged inside later. Signage and other writing that permanently belongs to this place may appear, in the place's native language and period style; no captions, watermarks or overlay text.\n\nPERIOD REFERENCE — 현대 한국의 동네 자전거 수리점 내부 작업 공간: a researched photograph of the real\nthing. Copy its era-accurate form, proportions, materials, fittings\nand styling exactly. It decides ONLY what this thing looks like —\nnever the composition, framing, lighting, people or their placement.",
  "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/images/fb7a883f-baac-4145-9131-732ce628d474/scene/recipe/S1sh1__bgfirst_bg.png",
  "asset_id": "42ea524e-ff35-4e4c-90cd-acf696b28bc2",
  "input_asset_ids": [
   "9a17f9db-4843-4150-89e9-b6080b16b2df",
   "d65c0c4e-6b9c-42f5-ba38-fafa617f13da"
  ],
  "era_research": {
   "subject": "현대 한국의 동네 자전거 수리점 내부 작업 공간",
   "queries": [
    [
     "현대 한국 동네 자전거 수리점 내부 작업 공간 자전거포 작업대",
     "한국 자전거 정비소 내부 자전거 수리 작업대 공구"
    ]
   ],
   "picked_url": "https://cdn.welfarehello.com/naver-blog/production/seocho88/2023-08/223195344874/seocho88_223195344874_15.jpg?f=webp&q=80&w=800",
   "sha256": "26368cece3e8a0a281edd32a4e8810270b81227242cd61f9d11fd1938d47d9d8",
   "file": "eraref_822fe5bd288597e9.png"
  }
 },
 "S1sh1": {
  "input_fingerprint": "de5c167bbb56bea3",
  "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean unless stated. TIME OF DAY (lock): evening.\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\nLOCATION (lock): 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. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The single hanging fluorescent light gives the evening workshop restrained, slightly desaturated illumination with modest low-key contrast.\n- MATERIAL REALISM: every object and surface must read as a real,\n  physical material — correct texture, weight, wear and light response\n  (metal reflects, fabric drapes and creases, liquid is glossy and\n  pools, painted or drawn marks sit ON a surface and follow its\n  curvature and lighting). Nothing may look like a flat sticker, a\n  doodle or a graphic overlay pasted onto the frame.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): 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\nTHE HAND THAT IS DOING THIS: the object at the centre of this shot is being held, operated, read, aimed or handed over by 민수 right now, so 민수's hand — and as much of the wrist and forearm as the framing reaches — is in the frame, gripping or resting on that object exactly the way its real use requires. Match that hand to 민수: its size, build, skin, age, grooming, sleeve and anything worn on it belong to that person and to no one else. Nothing else of them needs to be in shot; the framing stays on the object.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민수 (한국인 남성, 40대 중년 얼굴, 짧은 머리, 자연스러운 짙은색 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nSIGNAGE TEXT (authoritative — the scene itself calls for these inscriptions; render each on its surface as period-real physical lettering in the native script, exactly as written; add no other readable text anywhere):\n- 작업대 뒤쪽 벽면의 안내판: \"공구 사용 후 제자리에\"\n\nReal-world writing that this scene itself calls for — shop signs,\nbanners, posters, documents, vehicle or building markings — may appear,\nwritten naturally in the language this place and era establish; never\nsubstitute another language's lettering. Only writing the scene calls\nfor: do not invent signage or lettering the shot and location text do\nnot imply, and never print the shot description itself onto the image.\nNo captions, subtitles, watermarks, logos or any overlay text floating\noutside the physical scene. Where exact printed figures would decide\nthe shot — a banknote's denomination, a document's numbers — stage that\nface out of legibility (a hand across it, an oblique angle, shallow\nfocus): printed figures do not render to instruction.",
  "roll_prompts": {
   "A": "Stage the shot inside a tight, built interior. The FIRST attached image (SHOT BACKGROUND) is the finished empty interior of this shot, and in a space this cramped its geometry is the truth of the shot — keep it EXACTLY: its camera, perspective, every panel, control, seat, mirror, window and fixture stay untouched, in the same place, at the same angle, in the same number.\n\nBefore you place anyone, count what the background shows: how many steering wheels or control surfaces, how many seats and which way each faces, where each mirror sits and what it could reflect from this camera. Those counts and placements are what you must still be able to make after the people are in. Adding a second rim, sliding a seat, turning a mirror or growing a new panel is a failure even when the person looks right.\n\nThe SECOND attached image (LAYOUT SKETCH) tells you where the people go: each sketched person's position, screen size, pose and the gaze/motion arrows. Its background lines are not decoration — they are the same structure seen in line form, so use them to place each person correctly with respect to it: which seat the body occupies, which side of the wheel the hands are on, what the body passes in front of and what it passes behind. Where sketch and background disagree about the structure itself, the background wins.\n\nThe CHARACTER REFERENCE photographs show the real people.\n\nPlace the real people into the background at exactly the sketched positions, sizes and poses, following the arrow directions. A person may cover part of the structure — that is expected, and covering is not redrawing. What the body hides stays hidden; what remains visible stays exactly as the background had it. No sketch lines or arrows may remain.\n\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean unless stated. TIME OF DAY (lock): evening.\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\nLOCATION (lock): 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. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The single hanging fluorescent light gives the evening workshop restrained, slightly desaturated illumination with modest low-key contrast.\n- MATERIAL REALISM: every object and surface must read as a real,\n  physical material — correct texture, weight, wear and light response\n  (metal reflects, fabric drapes and creases, liquid is glossy and\n  pools, painted or drawn marks sit ON a surface and follow its\n  curvature and lighting). Nothing may look like a flat sticker, a\n  doodle or a graphic overlay pasted onto the frame.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): 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\nTHE HAND THAT IS DOING THIS: the object at the centre of this shot is being held, operated, read, aimed or handed over by 민수 right now, so 민수's hand — and as much of the wrist and forearm as the framing reaches — is in the frame, gripping or resting on that object exactly the way its real use requires. Match that hand to 민수: its size, build, skin, age, grooming, sleeve and anything worn on it belong to that person and to no one else. Nothing else of them needs to be in shot; the framing stays on the object.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민수 (한국인 남성, 40대 중년 얼굴, 짧은 머리, 자연스러운 짙은색 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nSIGNAGE TEXT (authoritative — the scene itself calls for these inscriptions; render each on its surface as period-real physical lettering in the native script, exactly as written; add no other readable text anywhere):\n- 작업대 뒤쪽 벽면의 안내판: \"공구 사용 후 제자리에\"\n\nReal-world writing that this scene itself calls for — shop signs,\nbanners, posters, documents, vehicle or building markings — may appear,\nwritten naturally in the language this place and era establish; never\nsubstitute another language's lettering. Only writing the scene calls\nfor: do not invent signage or lettering the shot and location text do\nnot imply, and never print the shot description itself onto the image.\nNo captions, subtitles, watermarks, logos or any overlay text floating\noutside the physical scene. Where exact printed figures would decide\nthe shot — a banknote's denomination, a document's numbers — stage that\nface out of legibility (a hand across it, an oblique angle, shallow\nfocus): printed figures do not render to instruction.",
   "B": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean unless stated. TIME OF DAY (lock): evening.\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\nLOCATION (lock): 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. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The single hanging fluorescent light gives the evening workshop restrained, slightly desaturated illumination with modest low-key contrast.\n- MATERIAL REALISM: every object and surface must read as a real,\n  physical material — correct texture, weight, wear and light response\n  (metal reflects, fabric drapes and creases, liquid is glossy and\n  pools, painted or drawn marks sit ON a surface and follow its\n  curvature and lighting). Nothing may look like a flat sticker, a\n  doodle or a graphic overlay pasted onto the frame.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): 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\nTHE HAND THAT IS DOING THIS: the object at the centre of this shot is being held, operated, read, aimed or handed over by 민수 right now, so 민수's hand — and as much of the wrist and forearm as the framing reaches — is in the frame, gripping or resting on that object exactly the way its real use requires. Match that hand to 민수: its size, build, skin, age, grooming, sleeve and anything worn on it belong to that person and to no one else. Nothing else of them needs to be in shot; the framing stays on the object.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민수 (한국인 남성, 40대 중년 얼굴, 짧은 머리, 자연스러운 짙은색 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nSIGNAGE TEXT (authoritative — the scene itself calls for these inscriptions; render each on its surface as period-real physical lettering in the native script, exactly as written; add no other readable text anywhere):\n- 작업대 뒤쪽 벽면의 안내판: \"공구 사용 후 제자리에\"\n\nReal-world writing that this scene itself calls for — shop signs,\nbanners, posters, documents, vehicle or building markings — may appear,\nwritten naturally in the language this place and era establish; never\nsubstitute another language's lettering. Only writing the scene calls\nfor: do not invent signage or lettering the shot and location text do\nnot imply, and never print the shot description itself onto the image.\nNo captions, subtitles, watermarks, logos or any overlay text floating\noutside the physical scene. Where exact printed figures would decide\nthe shot — a banknote's denomination, a document's numbers — stage that\nface out of legibility (a hand across it, an oblique angle, shallow\nfocus): printed figures do not render to instruction.\n\nCOMPOSITION VARIATION (this candidate only): keep the place, the people and the moment exactly as specified, but reframe like a film director choosing a different setup — a different angle, height, distance or foreground layer from the obvious one. For this candidate only, treat the CAMERA & FRAME contract above as a baseline to depart from, not a lock; the references and the shot text fix WHAT is seen, not WHERE the camera stands. Stay true to any explicit framing the SHOT TEXT itself dictates."
  },
  "roll_refs": {
   "A": [
    {
     "label": "SHOT BACKGROUND",
     "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/images/fb7a883f-baac-4145-9131-732ce628d474/scene/recipe/S1sh1__bgfirst_bg.png",
     "asset_id": "42ea524e-ff35-4e4c-90cd-acf696b28bc2",
     "role": "bgfirst_bg"
    },
    {
     "label": "LAYOUT SKETCH (people placement AND the structure they sit inside — the sketched panels, seats, controls and openings are the same ones the background photograph shows, drawn as lines; read them to place each body correctly against that structure, and where the two disagree about the structure itself the background photograph wins)",
     "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/images/fb7a883f-baac-4145-9131-732ce628d474/conti/conti_S1sh1.png",
     "asset_id": "9a17f9db-4843-4150-89e9-b6080b16b2df",
     "role": "conti_light"
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     "label": "CHARACTER REFERENCE — 민수: the exact person appearing in this shot; match face, hair and build exactly.",
     "path": "<bytes:905619>",
     "asset_id": "311223bc-085a-4ce1-938e-e30fb029fa64",
     "role": "character_ref"
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   "B": [
    {
     "label": "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.",
     "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/episodes/fb7a883f-baac-4145-9131-732ce628d474/images/background_chain/L01B02.png",
     "asset_id": "d65c0c4e-6b9c-42f5-ba38-fafa617f13da",
     "role": "location_plate"
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     "label": "CHARACTER REFERENCE — 민수: the exact person appearing in this shot; match face, hair and build exactly.",
     "path": "<bytes:905619>",
     "asset_id": "311223bc-085a-4ce1-938e-e30fb029fa64",
     "role": "character_ref"
    }
   ]
  },
  "shot_run_spend_attempt_count": 1,
  "judge_flip": {
   "forward_raw": {
    "winner": "B",
    "ranking": [
     "B",
     "A"
    ],
    "verdicts": [
     {
      "label": "B",
      "score": 7,
      "verdict_ko": "거꾸로 세워진 자전거, 렌치를 쥔 손, 작업대 뒤에 정확히 표기된 안내판 등 프롬프트의 지시사항을 훌륭하게 구현했습니다."
     },
     {
      "label": "A",
      "score": 4,
      "verdict_ko": "자전거가 똑바로 거치되어 있고 렌치를 들고 있지 않으며, 안내판의 위치가 작업대 뒤가 아닌 배경에 있어 주요 요구사항을 위반했습니다."
     }
    ],
    "readings": [
     {
      "label": "B",
      "direction": "민수의 시선은 아래쪽 자전거 체인을 향하고 있으며, 오른손은 렌치를 쥐고 부품을 향하고 있습니다.",
      "built_space": "화면 좌측 하단에 작업대가 있고, 그 위에 열린 공구 상자가 놓여 있습니다. 작업대 뒤쪽 벽면에 안내판이 위치하며, 천장에는 형광등이 보입니다.",
      "entities": "민수(남색 작업복, 지시된 외모)가 등장합니다. 안장이 바닥을 향해 거꾸로 세워진 자전거와 작업대 위의 공구 상자가 확인됩니다. 벽면 안내판 텍스트 '공구 사용 후 제자리에'가 정확합니다.",
      "hard_violations": [],
      "physics": "바닥에 서서 안정적으로 몸을 지탱하고 있으며, 오른손으로 렌치의 손잡이를 정확히 쥐고 작업하는 자세가 자연스럽습니다."
     },
     {
      "label": "A",
      "direction": "민수의 시선은 자전거 체인 쪽으로 고정되어 있고, 양손은 부품에 닿아 있습니다.",
      "built_space": "좌측에 작업대, 우측에 수리대가 있습니다. 지정된 문구의 안내판이 작업대 뒤가 아닌 배경의 문 위쪽에 위치해 있습니다.",
      "entities": "민수의 외모와 남색 작업복은 일치하나, 자전거가 거꾸로 세워져 있지 않고 수리대에 똑바로 거치되어 있습니다. 작업대 위 공구 상자는 존재하지만 렌치는 보이지 않습니다.",
      "hard_violations": [
       "거꾸로 세워진 자전거가 아님 (수리대에 똑바로 거치됨)",
       "렌치를 들고 있지 않음"
      ],
      "physics": "자연스럽게 서 있는 자세를 유지하고 있으나, 지시된 렌치 없이 맨손으로 부품을 잡고 있습니다."
     }
    ],
    "all_candidates_fail": false,
    "gq": {
     "route": "agree",
     "gap": 0.0,
     "per_model_winner": {
      "gemini-pro": "B",
      "openrouter:x-ai/grok-4.6": "B"
     },
     "models": [
      "gemini-pro",
      "openrouter:x-ai/grok-4.6"
     ]
    }
   },
   "forward_normalized": {
    "winner": "B",
    "ranking": [
     "B",
     "A"
    ],
    "verdicts": [
     {
      "label": "B",
      "score": 7,
      "verdict_ko": "거꾸로 세워진 자전거, 렌치를 쥔 손, 작업대 뒤에 정확히 표기된 안내판 등 프롬프트의 지시사항을 훌륭하게 구현했습니다."
     },
     {
      "label": "A",
      "score": 4,
      "verdict_ko": "자전거가 똑바로 거치되어 있고 렌치를 들고 있지 않으며, 안내판의 위치가 작업대 뒤가 아닌 배경에 있어 주요 요구사항을 위반했습니다."
     }
    ],
    "all_candidates_fail": false,
    "readings": [
     {
      "label": "B",
      "direction": "민수의 시선은 아래쪽 자전거 체인을 향하고 있으며, 오른손은 렌치를 쥐고 부품을 향하고 있습니다.",
      "built_space": "화면 좌측 하단에 작업대가 있고, 그 위에 열린 공구 상자가 놓여 있습니다. 작업대 뒤쪽 벽면에 안내판이 위치하며, 천장에는 형광등이 보입니다.",
      "entities": "민수(남색 작업복, 지시된 외모)가 등장합니다. 안장이 바닥을 향해 거꾸로 세워진 자전거와 작업대 위의 공구 상자가 확인됩니다. 벽면 안내판 텍스트 '공구 사용 후 제자리에'가 정확합니다.",
      "hard_violations": [],
      "physics": "바닥에 서서 안정적으로 몸을 지탱하고 있으며, 오른손으로 렌치의 손잡이를 정확히 쥐고 작업하는 자세가 자연스럽습니다."
     },
     {
      "label": "A",
      "direction": "민수의 시선은 자전거 체인 쪽으로 고정되어 있고, 양손은 부품에 닿아 있습니다.",
      "built_space": "좌측에 작업대, 우측에 수리대가 있습니다. 지정된 문구의 안내판이 작업대 뒤가 아닌 배경의 문 위쪽에 위치해 있습니다.",
      "entities": "민수의 외모와 남색 작업복은 일치하나, 자전거가 거꾸로 세워져 있지 않고 수리대에 똑바로 거치되어 있습니다. 작업대 위 공구 상자는 존재하지만 렌치는 보이지 않습니다.",
      "hard_violations": [
       "거꾸로 세워진 자전거가 아님 (수리대에 똑바로 거치됨)",
       "렌치를 들고 있지 않음"
      ],
      "physics": "자연스럽게 서 있는 자세를 유지하고 있으나, 지시된 렌치 없이 맨손으로 부품을 잡고 있습니다."
     }
    ]
   },
   "reverse_raw": {
    "winner": "A",
    "ranking": [
     "A",
     "B"
    ],
    "verdicts": [
     {
      "label": "A",
      "score": 7,
      "verdict_ko": "거꾸로 세워진 자전거, 정확한 위치의 안내판, 렌치를 든 손 등 프롬프트의 주요 요구사항을 매우 충실히 구현함."
     },
     {
      "label": "B",
      "score": 3,
      "verdict_ko": "자전거가 거꾸로 세워져 있지 않고 똑바로 거치되어 있으며 요구된 렌치를 들고 있지 않아 핵심 지시를 위반함."
     }
    ],
    "readings": [
     {
      "label": "A",
      "direction": "민수의 시선이 아래쪽 자전거 페달과 체인을 향함.",
      "built_space": "왼쪽 아래 작업대와 공구 상자, 상단 형광등, 우측 자전거 배치가 프레이밍 지시와 일치함.",
      "entities": "민수의 외모와 작업복, 거꾸로 세워진 자전거, 정확한 텍스트 표기, 렌치 등 모든 지시 요소가 포함됨.",
      "hard_violations": [],
      "physics": "안장이 바닥에 닿아 자전거가 거꾸로 지지되며 인물은 렌치와 페달을 안정적으로 쥐고 있음."
     },
     {
      "label": "B",
      "direction": "민수의 시선이 자전거 체인을 향함.",
      "built_space": "작업대와 자전거가 배치되었으나 지정된 안내판이 작업대 뒤가 아닌 먼 복도 쪽에 위치함.",
      "entities": "민수의 인상착의는 일치하나 자전거가 똑바로 서 있고 지정된 렌치를 들고 있지 않음.",
      "hard_violations": [
       "거꾸로 세워져야 할 자전거가 거치대에 똑바로 서 있어 상하 방향 구조 지시 위반"
      ],
      "physics": "자전거가 스탠드에 의해 똑바로 지지되어 있으며 인물은 맨손으로 체인을 잡고 있음."
     }
    ],
    "all_candidates_fail": false,
    "gq": {
     "route": "agree",
     "gap": 0.0,
     "per_model_winner": {
      "gemini-pro": "A",
      "openrouter:x-ai/grok-4.6": "A"
     },
     "models": [
      "gemini-pro",
      "openrouter:x-ai/grok-4.6"
     ]
    }
   },
   "reverse_normalized": {
    "winner": "B",
    "ranking": [
     "B",
     "A"
    ],
    "verdicts": [
     {
      "label": "B",
      "score": 7,
      "verdict_ko": "거꾸로 세워진 자전거, 정확한 위치의 안내판, 렌치를 든 손 등 프롬프트의 주요 요구사항을 매우 충실히 구현함."
     },
     {
      "label": "A",
      "score": 3,
      "verdict_ko": "자전거가 거꾸로 세워져 있지 않고 똑바로 거치되어 있으며 요구된 렌치를 들고 있지 않아 핵심 지시를 위반함."
     }
    ],
    "all_candidates_fail": false,
    "readings": [
     {
      "label": "B",
      "direction": "민수의 시선이 아래쪽 자전거 페달과 체인을 향함.",
      "built_space": "왼쪽 아래 작업대와 공구 상자, 상단 형광등, 우측 자전거 배치가 프레이밍 지시와 일치함.",
      "entities": "민수의 외모와 작업복, 거꾸로 세워진 자전거, 정확한 텍스트 표기, 렌치 등 모든 지시 요소가 포함됨.",
      "hard_violations": [],
      "physics": "안장이 바닥에 닿아 자전거가 거꾸로 지지되며 인물은 렌치와 페달을 안정적으로 쥐고 있음."
     },
     {
      "label": "A",
      "direction": "민수의 시선이 자전거 체인을 향함.",
      "built_space": "작업대와 자전거가 배치되었으나 지정된 안내판이 작업대 뒤가 아닌 먼 복도 쪽에 위치함.",
      "entities": "민수의 인상착의는 일치하나 자전거가 똑바로 서 있고 지정된 렌치를 들고 있지 않음.",
      "hard_violations": [
       "거꾸로 세워져야 할 자전거가 거치대에 똑바로 서 있어 상하 방향 구조 지시 위반"
      ],
      "physics": "자전거가 스탠드에 의해 똑바로 지지되어 있으며 인물은 맨손으로 체인을 잡고 있음."
     }
    ]
   },
   "combined": {
    "totals": {
     "A": 7,
     "B": 14
    },
    "ranking": [
     "B",
     "A"
    ],
    "agreement": true,
    "policy": 1
   }
  },
  "readings": [
   {
    "label": "B",
    "direction": "민수의 시선은 아래쪽 자전거 체인을 향하고 있으며, 오른손은 렌치를 쥐고 부품을 향하고 있습니다.",
    "built_space": "화면 좌측 하단에 작업대가 있고, 그 위에 열린 공구 상자가 놓여 있습니다. 작업대 뒤쪽 벽면에 안내판이 위치하며, 천장에는 형광등이 보입니다.",
    "entities": "민수(남색 작업복, 지시된 외모)가 등장합니다. 안장이 바닥을 향해 거꾸로 세워진 자전거와 작업대 위의 공구 상자가 확인됩니다. 벽면 안내판 텍스트 '공구 사용 후 제자리에'가 정확합니다.",
    "hard_violations": [],
    "physics": "바닥에 서서 안정적으로 몸을 지탱하고 있으며, 오른손으로 렌치의 손잡이를 정확히 쥐고 작업하는 자세가 자연스럽습니다."
   },
   {
    "label": "A",
    "direction": "민수의 시선은 자전거 체인 쪽으로 고정되어 있고, 양손은 부품에 닿아 있습니다.",
    "built_space": "좌측에 작업대, 우측에 수리대가 있습니다. 지정된 문구의 안내판이 작업대 뒤가 아닌 배경의 문 위쪽에 위치해 있습니다.",
    "entities": "민수의 외모와 남색 작업복은 일치하나, 자전거가 거꾸로 세워져 있지 않고 수리대에 똑바로 거치되어 있습니다. 작업대 위 공구 상자는 존재하지만 렌치는 보이지 않습니다.",
    "hard_violations": [
     "거꾸로 세워진 자전거가 아님 (수리대에 똑바로 거치됨)",
     "렌치를 들고 있지 않음"
    ],
    "physics": "자연스럽게 서 있는 자세를 유지하고 있으나, 지시된 렌치 없이 맨손으로 부품을 잡고 있습니다."
   }
  ],
  "totals": {
   "A": 7,
   "B": 14
  },
  "selected": "B",
  "ranking": [
   "B",
   "A"
  ],
  "verdicts": [
   {
    "label": "B",
    "score": 7,
    "verdict_ko": "거꾸로 세워진 자전거, 렌치를 쥔 손, 작업대 뒤에 정확히 표기된 안내판 등 프롬프트의 지시사항을 훌륭하게 구현했습니다."
   },
   {
    "label": "A",
    "score": 4,
    "verdict_ko": "자전거가 똑바로 거치되어 있고 렌치를 들고 있지 않으며, 안내판의 위치가 작업대 뒤가 아닌 배경에 있어 주요 요구사항을 위반했습니다."
   }
  ],
  "refs": [
   {
    "label": "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.",
    "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/episodes/fb7a883f-baac-4145-9131-732ce628d474/images/background_chain/L01B02.png",
    "asset_id": "d65c0c4e-6b9c-42f5-ba38-fafa617f13da",
    "role": "location_plate"
   },
   {
    "label": "CHARACTER REFERENCE — 민수: the exact person appearing in this shot; match face, hair and build exactly.",
    "path": "<bytes:905619>",
    "asset_id": "311223bc-085a-4ce1-938e-e30fb029fa64",
    "role": "character_ref"
   }
  ],
  "critique": {
   "issues": [
    {
     "issue_ko": "민수의 양손 사이 자전거 체인 부근 허공에 손잡이가 없는 렌치 머리 부품이 지지대 없이 떠 있습니다.",
     "fix_en": "Remove the floating wrench head suspended in the air near the bicycle chain between the hands, replacing it with the bicycle background. Maintain Minsu and his pose, his work clothes, the bicycle, the workbench with the toolbox, the lighting, and the framing.",
     "severity": "critical",
     "observation_index": 0,
     "needs_ref_indices": [],
     "adds_missing_entity": false,
     "missing_entity_name": ""
    },
    {
     "issue_ko": "민수의 오른손 손가락들이 쥐고 있는 렌치의 금속 손잡이와 기형적으로 융합되어 있습니다.",
     "fix_en": "Redraw the fingers gripping the lower wrench to be anatomically distinct from the metal handle, ensuring they wrap around it cleanly. Maintain Minsu and his pose, his work clothes, the bicycle, the workbench with the toolbox, the lighting, and the framing.",
     "severity": "critical",
     "observation_index": 1,
     "needs_ref_indices": [],
     "adds_missing_entity": false,
     "missing_entity_name": ""
    },
    {
     "issue_ko": "천장에 매달린 단일 형광등을 묘사해야 하나, 화면 좌측 상단 벽면에 거대한 발광 튜브가 비스듬하게 구조물처럼 박혀 있습니다.",
     "fix_en": "Replace the large diagonal light tube on the upper left wall with a single horizontal fluorescent tube hanging from the ceiling. Maintain Minsu and his pose, his work clothes, the bicycle, the workbench with the toolbox, the lighting, and the framing.",
     "severity": "major",
     "observation_index": 2,
     "needs_ref_indices": [
      1
     ],
     "adds_missing_entity": false,
     "missing_entity_name": ""
    },
    {
     "issue_ko": "화면 중앙의 낡은 자전거가 거꾸로 세워지지 않고 양쪽 바퀴가 바닥에 닿은 채 바로 서 있다.",
     "fix_en": "Invert the bicycle so its wheels point upward. Maintain Minsu and his pose, his work clothes, the workbench with the toolbox, the lighting, and the framing.",
     "severity": "critical",
     "observation_index": 3,
     "needs_ref_indices": [],
     "adds_missing_entity": false,
     "missing_entity_name": "",
     "needs_regeneration": true
    },
    {
     "issue_ko": "민수 작업복 가슴에 장면이 요구하지 않은 '민민수' 글자가 있다.",
     "fix_en": "Remove the text patch from the left chest of the navy work uniform, leaving plain fabric. Maintain Minsu and his pose, his work clothes, the bicycle, the workbench with the toolbox, the lighting, and the framing.",
     "severity": "major",
     "observation_index": 6,
     "needs_ref_indices": [],
     "adds_missing_entity": false,
     "missing_entity_name": ""
    }
   ],
   "observer_observations": [
    {
     "issue_ko": "민수의 양손 사이 자전거 체인 부근 허공에 손잡이가 없는 렌치 머리 부품이 지지대 없이 떠 있습니다.",
     "severity": "critical"
    },
    {
     "issue_ko": "민수의 오른손 손가락들이 쥐고 있는 렌치의 금속 손잡이와 기형적으로 융합되어 있습니다.",
     "severity": "critical"
    },
    {
     "issue_ko": "천장에 매달린 단일 형광등을 묘사해야 하나, 화면 좌측 상단 벽면에 거대한 발광 튜브가 비스듬하게 구조물처럼 박혀 있습니다.",
     "severity": "major"
    },
    {
     "issue_ko": "화면 중앙의 낡은 자전거가 거꾸로 세워지지 않고 양쪽 바퀴가 바닥에 닿은 채 바로 서 있다.",
     "severity": "critical"
    },
    {
     "issue_ko": "샷 텍스트가 민수의 상반신을 지정했는데 무릎 아래까지 전신이 프레임에 들어 있다.",
     "severity": "major"
    },
    {
     "issue_ko": "기름 묻은 손끝이 열린 공구 상자가 있는 작업대 위가 아니라 작업대에서 떨어진 자전거 위에 있다.",
     "severity": "major"
    },
    {
     "issue_ko": "민수 작업복 가슴에 장면이 요구하지 않은 '민민수' 글자가 있다.",
     "severity": "major"
    }
   ],
   "observer_models": [
    "gemini-pro",
    "openrouter:x-ai/grok-4.6"
   ],
   "observer_counts": {
    "gemini-pro": 3,
    "openrouter:x-ai/grok-4.6": 4
   }
  },
  "fix_severity_skipped_count": 2,
  "fix_severity_skipped": [
   {
    "issue_ko": "천장에 매달린 단일 형광등을 묘사해야 하나, 화면 좌측 상단 벽면에 거대한 발광 튜브가 비스듬하게 구조물처럼 박혀 있습니다.",
    "fix_en": "Replace the large diagonal light tube on the upper left wall with a single horizontal fluorescent tube hanging from the ceiling. Maintain Minsu and his pose, his work clothes, the bicycle, the workbench with the toolbox, the lighting, and the framing.",
    "severity": "major",
    "observation_index": 2,
    "needs_ref_indices": [
     1
    ],
    "adds_missing_entity": false,
    "missing_entity_name": ""
   },
   {
    "issue_ko": "민수 작업복 가슴에 장면이 요구하지 않은 '민민수' 글자가 있다.",
    "fix_en": "Remove the text patch from the left chest of the navy work uniform, leaving plain fabric. Maintain Minsu and his pose, his work clothes, the bicycle, the workbench with the toolbox, the lighting, and the framing.",
    "severity": "major",
    "observation_index": 6,
    "needs_ref_indices": [],
    "adds_missing_entity": false,
    "missing_entity_name": ""
   }
  ],
  "repair_mode": "edit",
  "fix_ref_gate": {
   "mode": "gated",
   "available": 2,
   "kept": 0,
   "requested_indices": [],
   "kept_labels": []
  },
  "fix_ref_count": 1,
  "fix_prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Remove the floating wrench head suspended in the air near the bicycle chain between the hands, replacing it with the bicycle background. Maintain Minsu and his pose, his work clothes, the bicycle, the workbench with the toolbox, the lighting, and the framing.\n- Redraw the fingers gripping the lower wrench to be anatomically distinct from the metal handle, ensuring they wrap around it cleanly. Maintain Minsu and his pose, his work clothes, the bicycle, the workbench with the toolbox, the lighting, and the framing.\n- Invert the bicycle so its wheels point upward. Maintain Minsu and his pose, his work clothes, the workbench with the toolbox, the lighting, and the framing.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. Real-world writing that belongs\nto the scene — signs, banners, documents — stays exactly as the\noriginal shows it; do not add captions, subtitles, watermarks or\nany overlay text.",
  "fix_rejudge": {
   "forward_raw": {
    "winner": "B",
    "ranking": [
     "B",
     "A"
    ],
    "verdicts": [
     {
      "label": "B",
      "score": 9,
      "verdict_ko": "레퍼런스와 완벽하게 일치하는 인물의 얼굴을 구현하였으며, A에 비해 손의 형태와 도구를 쥐는 모습이 한결 자연스러워 프롬프트를 가장 훌륭하게 완수했습니다."
     },
     {
      "label": "A",
      "score": 6,
      "verdict_ko": "지정된 앵글과 구성은 잘 따랐으나, 인물의 얼굴이 레퍼런스와 다르고 왼손 손가락이 자전거 부품과 융합되는 치명적인 해부학적 오류가 발생했습니다."
     }
    ],
    "readings": [
     {
      "label": "B",
      "direction": "민수의 시선과 양손 모두 거꾸로 세워진 자전거의 체인과 수리 부위를 향해 정확히 집중되어 있음.",
      "built_space": "참조 이미지와 동일한 좁은 정비소 내부. 좌측 하단에 작업대와 공구함이, 우측에 거꾸로 세워진 자전거가 배치되어 있으며 카메라의 로우 앵글 및 위치 조건이 정확함.",
      "entities": "레퍼런스와 완벽히 일치하는 얼굴의 민수, 네이비색 작업복, 열린 공구함, 낡은 자전거, 배경 벽면의 '공구 사용 후 제자리에' 텍스트 모두 정확히 묘사됨.",
      "hard_violations": [],
      "physics": "민수는 바닥에 서서 양손으로 렌치와 부품을 쥐고 있으며, 공구함과 자전거 등 모든 사물의 지지 및 물리적 상태가 자연스러움."
     },
     {
      "label": "A",
      "direction": "민수의 시선과 양손이 자전거 체인 부위를 향하고 있음.",
      "built_space": "좌측의 작업대 및 공구함, 우측의 자전거, 천장의 형광등 등 프롬프트가 요구한 공간 구성과 카메라 앵글을 잘 구현함.",
      "entities": "작업복, 공구함, 자전거, 안내판 텍스트는 정확하나, 민수의 얼굴이 레퍼런스 인물과 확연히 다르며 미세하게 나이가 더 들어 보임.",
      "hard_violations": [
       "왼손 손가락들이 자전거의 금속 부품과 융합되어 녹아내린 듯한 물리적으로 불가능한 해부학적 오류"
      ],
      "physics": "오른손으로 렌치를 쥐고 있으나, 왼손은 형체가 뭉개져 사물을 제대로 지지하거나 조작하는 모습이 성립되지 않음."
     }
    ],
    "all_candidates_fail": false,
    "gq": {
     "route": "agree",
     "gap": 0.0,
     "per_model_winner": {
      "gemini-pro": "B",
      "openrouter:x-ai/grok-4.6": "B"
     },
     "models": [
      "gemini-pro",
      "openrouter:x-ai/grok-4.6"
     ]
    }
   },
   "forward_normalized": {
    "winner": "B",
    "ranking": [
     "B",
     "A"
    ],
    "verdicts": [
     {
      "label": "B",
      "score": 9,
      "verdict_ko": "레퍼런스와 완벽하게 일치하는 인물의 얼굴을 구현하였으며, A에 비해 손의 형태와 도구를 쥐는 모습이 한결 자연스러워 프롬프트를 가장 훌륭하게 완수했습니다."
     },
     {
      "label": "A",
      "score": 6,
      "verdict_ko": "지정된 앵글과 구성은 잘 따랐으나, 인물의 얼굴이 레퍼런스와 다르고 왼손 손가락이 자전거 부품과 융합되는 치명적인 해부학적 오류가 발생했습니다."
     }
    ],
    "all_candidates_fail": false,
    "readings": [
     {
      "label": "B",
      "direction": "민수의 시선과 양손 모두 거꾸로 세워진 자전거의 체인과 수리 부위를 향해 정확히 집중되어 있음.",
      "built_space": "참조 이미지와 동일한 좁은 정비소 내부. 좌측 하단에 작업대와 공구함이, 우측에 거꾸로 세워진 자전거가 배치되어 있으며 카메라의 로우 앵글 및 위치 조건이 정확함.",
      "entities": "레퍼런스와 완벽히 일치하는 얼굴의 민수, 네이비색 작업복, 열린 공구함, 낡은 자전거, 배경 벽면의 '공구 사용 후 제자리에' 텍스트 모두 정확히 묘사됨.",
      "hard_violations": [],
      "physics": "민수는 바닥에 서서 양손으로 렌치와 부품을 쥐고 있으며, 공구함과 자전거 등 모든 사물의 지지 및 물리적 상태가 자연스러움."
     },
     {
      "label": "A",
      "direction": "민수의 시선과 양손이 자전거 체인 부위를 향하고 있음.",
      "built_space": "좌측의 작업대 및 공구함, 우측의 자전거, 천장의 형광등 등 프롬프트가 요구한 공간 구성과 카메라 앵글을 잘 구현함.",
      "entities": "작업복, 공구함, 자전거, 안내판 텍스트는 정확하나, 민수의 얼굴이 레퍼런스 인물과 확연히 다르며 미세하게 나이가 더 들어 보임.",
      "hard_violations": [
       "왼손 손가락들이 자전거의 금속 부품과 융합되어 녹아내린 듯한 물리적으로 불가능한 해부학적 오류"
      ],
      "physics": "오른손으로 렌치를 쥐고 있으나, 왼손은 형체가 뭉개져 사물을 제대로 지지하거나 조작하는 모습이 성립되지 않음."
     }
    ]
   },
   "reverse_raw": {
    "winner": "B",
    "ranking": [
     "B",
     "A"
    ],
    "verdicts": [
     {
      "label": "B",
      "score": 9,
      "verdict_ko": "자전거의 크랭크와 체인링 구조가 물리적으로 타당하게 수정되었으며, 지정된 프레이밍과 벽면의 텍스트까지 완벽하게 구현한 훌륭한 결과물입니다."
     },
     {
      "label": "A",
      "score": 4,
      "verdict_ko": "지정된 구도와 텍스트는 잘 구현했으나, 자전거의 핵심 부품인 크랭크가 누락되어 체인이 허공에서 끊어지는 치명적인 물리적 오류가 발생했습니다."
     }
    ],
    "readings": [
     {
      "label": "A",
      "direction": "시선은 자전거 체인 쪽을 향하며, 오른손이 쥔 렌치와 왼손이 잡은 금속 막대가 자전거 하단부를 향함.",
      "built_space": "정비소 내부. 왼쪽 하단에 작업대와 공구 상자, 상단에 형광등, 뒤쪽 벽면에 안내판이 정확한 구도로 배치됨.",
      "entities": "민수(참조 인물과 일치, 남색 작업복 착용), 뒤집힌 자전거, 열린 공구 상자. 안내판 텍스트('공구 사용 후 제자리에') 일치.",
      "hard_violations": [
       "자전거의 크랭크셋이 통째로 누락되어 체인이 허공에서 끊어지는 물리적으로 불가능한 구조"
      ],
      "physics": "오른손은 렌치를 쥐고 있으나, 왼손이 쥔 금속 막대는 자전거 본체와 연결되지 않고 떠 있으며 체인 역시 허공에서 끝남."
     },
     {
      "label": "B",
      "direction": "시선은 자전거의 크랭크와 체인을 향하며, 오른손의 렌치가 크랭크 부품을 향하고 왼손은 페달 축에 닿아 있음.",
      "built_space": "정비소 내부. 왼쪽 하단에 작업대와 공구 상자, 상단에 형광등, 뒤쪽 벽면에 안내판이 프롬프트의 구도대로 정확히 배치됨.",
      "entities": "민수(참조 인물과 일치, 남색 작업복 착용), 뒤집힌 자전거(크랭크, 페달 등 정상 형태), 열린 공구 상자. 안내판 텍스트('공구 사용 후 제자리에') 일치.",
      "hard_violations": [],
      "physics": "자전거 체인이 체인링에 올바르게 감겨 있으며, 오른손은 렌치를 단단히 쥐고 왼손은 페달 축을 자연스럽게 지지하고 있음."
     }
    ],
    "all_candidates_fail": false,
    "gq": {
     "route": "agree",
     "gap": 0.0,
     "per_model_winner": {
      "gemini-pro": "B",
      "openrouter:x-ai/grok-4.6": "B"
     },
     "models": [
      "gemini-pro",
      "openrouter:x-ai/grok-4.6"
     ]
    }
   },
   "reverse_normalized": {
    "winner": "A",
    "ranking": [
     "A",
     "B"
    ],
    "verdicts": [
     {
      "label": "A",
      "score": 9,
      "verdict_ko": "자전거의 크랭크와 체인링 구조가 물리적으로 타당하게 수정되었으며, 지정된 프레이밍과 벽면의 텍스트까지 완벽하게 구현한 훌륭한 결과물입니다."
     },
     {
      "label": "B",
      "score": 4,
      "verdict_ko": "지정된 구도와 텍스트는 잘 구현했으나, 자전거의 핵심 부품인 크랭크가 누락되어 체인이 허공에서 끊어지는 치명적인 물리적 오류가 발생했습니다."
     }
    ],
    "all_candidates_fail": false,
    "readings": [
     {
      "label": "B",
      "direction": "시선은 자전거 체인 쪽을 향하며, 오른손이 쥔 렌치와 왼손이 잡은 금속 막대가 자전거 하단부를 향함.",
      "built_space": "정비소 내부. 왼쪽 하단에 작업대와 공구 상자, 상단에 형광등, 뒤쪽 벽면에 안내판이 정확한 구도로 배치됨.",
      "entities": "민수(참조 인물과 일치, 남색 작업복 착용), 뒤집힌 자전거, 열린 공구 상자. 안내판 텍스트('공구 사용 후 제자리에') 일치.",
      "hard_violations": [
       "자전거의 크랭크셋이 통째로 누락되어 체인이 허공에서 끊어지는 물리적으로 불가능한 구조"
      ],
      "physics": "오른손은 렌치를 쥐고 있으나, 왼손이 쥔 금속 막대는 자전거 본체와 연결되지 않고 떠 있으며 체인 역시 허공에서 끝남."
     },
     {
      "label": "A",
      "direction": "시선은 자전거의 크랭크와 체인을 향하며, 오른손의 렌치가 크랭크 부품을 향하고 왼손은 페달 축에 닿아 있음.",
      "built_space": "정비소 내부. 왼쪽 하단에 작업대와 공구 상자, 상단에 형광등, 뒤쪽 벽면에 안내판이 프롬프트의 구도대로 정확히 배치됨.",
      "entities": "민수(참조 인물과 일치, 남색 작업복 착용), 뒤집힌 자전거(크랭크, 페달 등 정상 형태), 열린 공구 상자. 안내판 텍스트('공구 사용 후 제자리에') 일치.",
      "hard_violations": [],
      "physics": "자전거 체인이 체인링에 올바르게 감겨 있으며, 오른손은 렌치를 단단히 쥐고 왼손은 페달 축을 자연스럽게 지지하고 있음."
     }
    ]
   },
   "combined": {
    "totals": {
     "A": 15,
     "B": 13
    },
    "ranking": [
     "A",
     "B"
    ],
    "agreement": false,
    "policy": 1
   },
   "winner": "A",
   "fix_won": false,
   "all_candidates_fail": false,
   "policy": "fix_rejudge_v2_orig_on_tie"
  },
  "shot_run_produced": true,
  "shot_run_uid": "06a8ca3b-fa32-7713-99e4-a2fa51db6daf",
  "bgfirst": {
   "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/images/fb7a883f-baac-4145-9131-732ce628d474/scene/recipe/S1sh1__bgfirst_bg.png",
   "bg_asset_id": "42ea524e-ff35-4e4c-90cd-acf696b28bc2",
   "bg_record_key": "S1sh1::bgfirst_bg",
   "chain_winner": false,
   "authority": "plate"
  },
  "ref_mode": "플레이트+엔티티 (2택1: 무콘티 승)",
  "share_plan": {
   "ref_plan": "background"
  }
 },
 "S1sh1::cine": {
  "applied": true,
  "fingerprint": "36ed2c7f7ff6f044b69a2efd950356893407723d85d6791de8fd16c4ba77a108",
  "model": "x-ai/grok-imagine-image-2.0",
  "pack": "20.202608141300",
  "source_file": "S1sh1_sel.png",
  "source_sha256": "c74afbf5db16140adf23621f32d596e8994c11c450a404a259db177f41402c73",
  "file": "S1sh1_cine.png",
  "latency_ms": 18321
 },
 "S1sh2::signage": {
  "fp": "ab4e9181dc4d5116",
  "inscriptions": [
   {
    "surface_native": "유리문",
    "text_native": "자전거 수리",
    "reason_ko": "주인공이 들어서는 공간이 자전거 정비소임을 명확히 보여주는 전형적인 유리문 표기입니다."
   }
  ]
 },
 "S1sh2": {
  "input_fingerprint": "435debc80d10b9b9",
  "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean unless stated. TIME OF DAY (lock): evening.\n\nSHOT TEXT (authoritative, Korean): 어깨가 젖은 연희가 한 손에 손전등을 쥔 채 열린 정비소 문 안쪽으로 막 발을 디딘 순간.\n\nLOCATION (lock): Just inside the open entrance of the cramped bicycle repair shop, at the threshold leading in from outside. The interior is lit by the single overhead fluorescent tube. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At the end of the lateral track, settle just inside and to one side of the doorway at chest height, catching 연희 obliquely as her leading foot crosses the threshold and her yellow raincoat occupies the middle of the frame. Her wet shoulder turns toward the lens while her face and urgent gaze angle past the camera toward 민수 at the workbench; the open doorway remains behind her rather than becoming a frontal portrait backdrop.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 연희 in the middle-center of the frame, midground, moves toward garage interior; open workshop doorway in the middle-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: 열린 정비소 문 (open as 연희 enters) — The doorway is viewed from its interior side, with the opening receding behind 연희's entering body; used as Frames her hurried arrival and marks the direction of movement into the workshop; 손전등 (held in one hand; illumination state is unspecified) — Its front end remains visible beside 연희's moving hand without being aimed toward the camera; used as Provides a compact action detail along the lower side of her figure.\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: Established fluorescent illumination from inside the workshop catches 연희's wet shoulder in restrained, slightly desaturated contrast.\n- MATERIAL REALISM: every object and surface must read as a real,\n  physical material — correct texture, weight, wear and light response\n  (metal reflects, fabric drapes and creases, liquid is glossy and\n  pools, painted or drawn marks sit ON a surface and follow its\n  curvature and lighting). Nothing may look like a flat sticker, a\n  doodle or a graphic overlay pasted onto the frame.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established about the place — its fixed features, wear and lighting — persists. The people visible in that photo are NOT in this shot: never carry their faces, bodies or clothing onto anyone here. Each person in THIS shot is defined solely by the PEOPLE list, their own CHARACTER REFERENCE images and their wardrobe notes. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The toolbox stays open on the workbench and the old bicycle remains inverted; at the moment Yeonhui enters, Minsu is still in his navy work clothes with the wrench in hand. Yeonhui wears the wet-shouldered yellow raincoat and carries the flashlight.\n\nTHE HAND THAT IS DOING THIS: the object at the centre of this shot is being held, operated, read, aimed or handed over by 연희 right now, so 연희's hand — and as much of the wrist and forearm as the framing reaches — is in the frame, gripping or resting on that object exactly the way its real use requires. Match that hand to 연희: its size, build, skin, age, grooming, sleeve and anything worn on it belong to that person and to no one else. Nothing else of them needs to be in shot; the framing stays on the object.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 연희 (한국인 여성, 20대의 젊은 얼굴, 자연스러운 짙은색 머리, 단정한 머리 모양) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nSIGNAGE TEXT (authoritative — the scene itself calls for these inscriptions; render each on its surface as period-real physical lettering in the native script, exactly as written; add no other readable text anywhere):\n- 유리문: \"자전거 수리\"\n\nReal-world writing that this scene itself calls for — shop signs,\nbanners, posters, documents, vehicle or building markings — may appear,\nwritten naturally in the language this place and era establish; never\nsubstitute another language's lettering. Only writing the scene calls\nfor: do not invent signage or lettering the shot and location text do\nnot imply, and never print the shot description itself onto the image.\nNo captions, subtitles, watermarks, logos or any overlay text floating\noutside the physical scene. Where exact printed figures would decide\nthe shot — a banknote's denomination, a document's numbers — stage that\nface out of legibility (a hand across it, an oblique angle, shallow\nfocus): printed figures do not render to instruction.",
  "roll_prompts": {
   "A": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean unless stated. TIME OF DAY (lock): evening.\n\nSHOT TEXT (authoritative, Korean): 어깨가 젖은 연희가 한 손에 손전등을 쥔 채 열린 정비소 문 안쪽으로 막 발을 디딘 순간.\n\nLOCATION (lock): Just inside the open entrance of the cramped bicycle repair shop, at the threshold leading in from outside. The interior is lit by the single overhead fluorescent tube. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At the end of the lateral track, settle just inside and to one side of the doorway at chest height, catching 연희 obliquely as her leading foot crosses the threshold and her yellow raincoat occupies the middle of the frame. Her wet shoulder turns toward the lens while her face and urgent gaze angle past the camera toward 민수 at the workbench; the open doorway remains behind her rather than becoming a frontal portrait backdrop.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 연희 in the middle-center of the frame, midground, moves toward garage interior; open workshop doorway in the middle-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: 열린 정비소 문 (open as 연희 enters) — The doorway is viewed from its interior side, with the opening receding behind 연희's entering body; used as Frames her hurried arrival and marks the direction of movement into the workshop; 손전등 (held in one hand; illumination state is unspecified) — Its front end remains visible beside 연희's moving hand without being aimed toward the camera; used as Provides a compact action detail along the lower side of her figure.\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: Established fluorescent illumination from inside the workshop catches 연희's wet shoulder in restrained, slightly desaturated contrast.\n- MATERIAL REALISM: every object and surface must read as a real,\n  physical material — correct texture, weight, wear and light response\n  (metal reflects, fabric drapes and creases, liquid is glossy and\n  pools, painted or drawn marks sit ON a surface and follow its\n  curvature and lighting). Nothing may look like a flat sticker, a\n  doodle or a graphic overlay pasted onto the frame.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established about the place — its fixed features, wear and lighting — persists. The people visible in that photo are NOT in this shot: never carry their faces, bodies or clothing onto anyone here. Each person in THIS shot is defined solely by the PEOPLE list, their own CHARACTER REFERENCE images and their wardrobe notes. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The toolbox stays open on the workbench and the old bicycle remains inverted; at the moment Yeonhui enters, Minsu is still in his navy work clothes with the wrench in hand. Yeonhui wears the wet-shouldered yellow raincoat and carries the flashlight.\n\nTHE HAND THAT IS DOING THIS: the object at the centre of this shot is being held, operated, read, aimed or handed over by 연희 right now, so 연희's hand — and as much of the wrist and forearm as the framing reaches — is in the frame, gripping or resting on that object exactly the way its real use requires. Match that hand to 연희: its size, build, skin, age, grooming, sleeve and anything worn on it belong to that person and to no one else. Nothing else of them needs to be in shot; the framing stays on the object.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 연희 (한국인 여성, 20대의 젊은 얼굴, 자연스러운 짙은색 머리, 단정한 머리 모양) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nSIGNAGE TEXT (authoritative — the scene itself calls for these inscriptions; render each on its surface as period-real physical lettering in the native script, exactly as written; add no other readable text anywhere):\n- 유리문: \"자전거 수리\"\n\nReal-world writing that this scene itself calls for — shop signs,\nbanners, posters, documents, vehicle or building markings — may appear,\nwritten naturally in the language this place and era establish; never\nsubstitute another language's lettering. Only writing the scene calls\nfor: do not invent signage or lettering the shot and location text do\nnot imply, and never print the shot description itself onto the image.\nNo captions, subtitles, watermarks, logos or any overlay text floating\noutside the physical scene. Where exact printed figures would decide\nthe shot — a banknote's denomination, a document's numbers — stage that\nface out of legibility (a hand across it, an oblique angle, shallow\nfocus): printed figures do not render to instruction.",
   "B": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean unless stated. TIME OF DAY (lock): evening.\n\nSHOT TEXT (authoritative, Korean): 어깨가 젖은 연희가 한 손에 손전등을 쥔 채 열린 정비소 문 안쪽으로 막 발을 디딘 순간.\n\nLOCATION (lock): Just inside the open entrance of the cramped bicycle repair shop, at the threshold leading in from outside. The interior is lit by the single overhead fluorescent tube. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At the end of the lateral track, settle just inside and to one side of the doorway at chest height, catching 연희 obliquely as her leading foot crosses the threshold and her yellow raincoat occupies the middle of the frame. Her wet shoulder turns toward the lens while her face and urgent gaze angle past the camera toward 민수 at the workbench; the open doorway remains behind her rather than becoming a frontal portrait backdrop.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 연희 in the middle-center of the frame, midground, moves toward garage interior; open workshop doorway in the middle-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: 열린 정비소 문 (open as 연희 enters) — The doorway is viewed from its interior side, with the opening receding behind 연희's entering body; used as Frames her hurried arrival and marks the direction of movement into the workshop; 손전등 (held in one hand; illumination state is unspecified) — Its front end remains visible beside 연희's moving hand without being aimed toward the camera; used as Provides a compact action detail along the lower side of her figure.\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: Established fluorescent illumination from inside the workshop catches 연희's wet shoulder in restrained, slightly desaturated contrast.\n- MATERIAL REALISM: every object and surface must read as a real,\n  physical material — correct texture, weight, wear and light response\n  (metal reflects, fabric drapes and creases, liquid is glossy and\n  pools, painted or drawn marks sit ON a surface and follow its\n  curvature and lighting). Nothing may look like a flat sticker, a\n  doodle or a graphic overlay pasted onto the frame.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established about the place — its fixed features, wear and lighting — persists. The people visible in that photo are NOT in this shot: never carry their faces, bodies or clothing onto anyone here. Each person in THIS shot is defined solely by the PEOPLE list, their own CHARACTER REFERENCE images and their wardrobe notes. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The toolbox stays open on the workbench and the old bicycle remains inverted; at the moment Yeonhui enters, Minsu is still in his navy work clothes with the wrench in hand. Yeonhui wears the wet-shouldered yellow raincoat and carries the flashlight.\n\nTHE HAND THAT IS DOING THIS: the object at the centre of this shot is being held, operated, read, aimed or handed over by 연희 right now, so 연희's hand — and as much of the wrist and forearm as the framing reaches — is in the frame, gripping or resting on that object exactly the way its real use requires. Match that hand to 연희: its size, build, skin, age, grooming, sleeve and anything worn on it belong to that person and to no one else. Nothing else of them needs to be in shot; the framing stays on the object.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 연희 (한국인 여성, 20대의 젊은 얼굴, 자연스러운 짙은색 머리, 단정한 머리 모양) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nSIGNAGE TEXT (authoritative — the scene itself calls for these inscriptions; render each on its surface as period-real physical lettering in the native script, exactly as written; add no other readable text anywhere):\n- 유리문: \"자전거 수리\"\n\nReal-world writing that this scene itself calls for — shop signs,\nbanners, posters, documents, vehicle or building markings — may appear,\nwritten naturally in the language this place and era establish; never\nsubstitute another language's lettering. Only writing the scene calls\nfor: do not invent signage or lettering the shot and location text do\nnot imply, and never print the shot description itself onto the image.\nNo captions, subtitles, watermarks, logos or any overlay text floating\noutside the physical scene. Where exact printed figures would decide\nthe shot — a banknote's denomination, a document's numbers — stage that\nface out of legibility (a hand across it, an oblique angle, shallow\nfocus): printed figures do not render to instruction.\n\nCOMPOSITION VARIATION (this candidate only): keep the place, the people and the moment exactly as specified, but reframe like a film director choosing a different setup — a different angle, height, distance or foreground layer from the obvious one. For this candidate only, treat the CAMERA & FRAME contract above as a baseline to depart from, not a lock; the references and the shot text fix WHAT is seen, not WHERE the camera stands. Stay true to any explicit framing the SHOT TEXT itself dictates."
  },
  "shot_run_spend_attempt_count": 1,
  "readings": [
   {
    "label": "A",
    "direction": "연희의 시선은 왼쪽 작업대에 있는 민수를 향하고 있음. 손전등의 앞부분은 앞(왼쪽)을 가리킴. 민수는 아래에 있는 자전거를 내려다봄.",
    "built_space": "정비소 내부. 왼쪽에는 작업대와 공구 상자가, 오른쪽에는 외부로 이어지는 열린 유리문이 배치되어 공간의 깊이감을 보여줌.",
    "entities": "연희, 손전등, 민수 모두 레퍼런스 및 묘사와 일치함. 이전 샷의 요소(뒤집힌 자전거, 공구 상자, 벽면 텍스트)가 잘 유지됨. 유리문에 '자전거 수리'가 정확히 렌더링됨.",
    "hard_violations": [],
    "physics": "연희는 바닥을 딛고 정비소 안으로 발을 내디디고 있으며, 손전등을 정상적으로 쥐고 있음. 모든 인물과 사물의 지지와 중력 표현이 자연스러움."
   },
   {
    "label": "B",
    "direction": "연희는 왼쪽 어깨너머로 뒤를 돌아보고 있음. 손전등은 오른쪽 유리문 쪽을 향함. 민수는 배경에서 벽 쪽을 향해 서 있음.",
    "built_space": "정비소 내부. 왼쪽에 작업대가, 오른쪽에 유리문이 있음. 왼쪽 구석에 맥락에 맞지 않는 파란색 간판이 추가됨.",
    "entities": "연희와 손전등은 묘사에 부합하나, 작업대 위의 뒤집힌 자전거가 제대로 나타나지 않음. 유리문에 텍스트가 세로로 끊겨 적혀 있음.",
    "hard_violations": [
     "왼쪽 가장자리에 요구되지 않은 텍스트 문자가 포함된 파란색 간판이 임의로 생성됨 (텍스트 유출)"
    ],
    "physics": "연희는 바닥에 서서 한 손으로 문손잡이를, 다른 손으로 손전등을 쥐고 있음. 사물들의 물리적 지지 상태는 정상적임."
   }
  ],
  "gq": {
   "route": "agree",
   "gap": 0.0,
   "per_model_winner": {
    "gemini-pro": "A",
    "openrouter:x-ai/grok-4.6": "A"
   },
   "models": [
    "gemini-pro",
    "openrouter:x-ai/grok-4.6"
   ]
  },
  "totals": {
   "A": 8,
   "B": 3
  },
  "selected": "A",
  "ranking": [
   "A",
   "B"
  ],
  "verdicts": [
   {
    "label": "A",
    "score": 8,
    "verdict_ko": "지시된 구도와 이전 샷의 디테일(벽면 표지판, 뒤집힌 자전거 등)을 훌륭하게 재현했으나, 민수의 렌치가 누락된 점이 약간 아쉽습니다."
   },
   {
    "label": "B",
    "score": 3,
    "verdict_ko": "연희가 문을 등지지 않고 마주 보는 등 프레이밍 지시를 어겼으며, 요구되지 않은 텍스트가 유출되어 치명적 위반에 해당합니다."
   }
  ],
  "refs": [
   {
    "label": "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features and lighting mood are LOCKED to this photo; never copy its camera framing. The people visible in that photo are NOT in this shot: never carry their faces, bodies or clothing onto anyone here. Each person in THIS shot is defined solely by the PEOPLE list, their own CHARACTER REFERENCE images and their wardrobe notes. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.",
    "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/images/fb7a883f-baac-4145-9131-732ce628d474/scene/recipe/S1sh1_sel.png",
    "asset_id": "4b6626e0-34b6-4fb9-8883-4f772e6afeb5",
    "role": "prev_still"
   },
   {
    "label": "CHARACTER REFERENCE — 연희: the exact person appearing in this shot; match face, hair and build exactly.",
    "path": "<bytes:866991>",
    "asset_id": "2f7ec884-28aa-4c8d-aef4-b87cb69a9e2b",
    "role": "character_ref"
   },
   {
    "label": "PROP REFERENCE — 휴대용 손전등: the exact object appearing in this shot; match its look, material and wear exactly.",
    "path": "<bytes:948922>",
    "asset_id": "7ff21b78-a03e-4c4e-a9f1-ca6be32509d4",
    "role": "prop_ref"
   }
  ],
  "critique": {
   "issues": [
    {
     "issue_ko": "프롬프트의 인물 지침(PEOPLE)에서 연희 외의 인물은 등장하지 않아야 한다고 엄격히 명시했으나, 배경에 이전 샷의 인물(작업복을 입은 남성)이 등장함.",
     "fix_en": "Erase the man in the blue work clothes from the background, replacing him with the empty workbench area, tools, and background wall. Preserve Yeonhui, her yellow raincoat, the flashlight, the open doorway, and the rest of the workshop interior exactly as they are.",
     "severity": "critical",
     "observation_index": 0,
     "needs_ref_indices": [],
     "adds_missing_entity": false,
     "missing_entity_name": ""
    },
    {
     "issue_ko": "유지되어야 할 상태(CARRIED STATE) 지침에 자전거가 뒤집혀 있어야 한다(inverted)고 명시되었으나, 배경에 있는 자전거가 바퀴를 아래로 한 채 똑바로 세워져 있음.",
     "fix_en": "Invert the bicycle by the workbench so it rests upside down on its handlebars and saddle.",
     "severity": "major",
     "observation_index": 1,
     "needs_ref_indices": [
      1
     ],
     "adds_missing_entity": false,
     "missing_entity_name": ""
    },
    {
     "issue_ko": "연희가 문턱에 막 발을 들이는 위치가 아니라 이미 정비소 안쪽 중경까지 들어와 있다",
     "fix_en": "Relocate Yeonhui back to the threshold of the open doorway.",
     "severity": "major",
     "observation_index": 3,
     "needs_ref_indices": [],
     "adds_missing_entity": false,
     "missing_entity_name": "",
     "needs_regeneration": true
    },
    {
     "issue_ko": "연희의 얼굴과 시선이 작업대 쪽이 아니라 카메라·출입문 쪽을 향한다",
     "fix_en": "Turn Yeonhui's head and gaze to look past the camera toward the workbench on the left.",
     "severity": "major",
     "observation_index": 4,
     "needs_ref_indices": [],
     "adds_missing_entity": false,
     "missing_entity_name": ""
    },
    {
     "issue_ko": "연희가 화면 정중앙이 아닌 중우측에 놓여 있다",
     "fix_en": "Shift Yeonhui to the middle-center of the frame.",
     "severity": "major",
     "observation_index": 6,
     "needs_ref_indices": [],
     "adds_missing_entity": false,
     "missing_entity_name": "",
     "needs_regeneration": true
    },
    {
     "issue_ko": "화면 왼쪽 전경에 이전 장소 샷에 없던 자전거가 놓여 있다",
     "fix_en": "Remove the large bicycle in the left foreground, replacing it with the visible floor and lower wall behind it.",
     "severity": "major",
     "observation_index": 7,
     "needs_ref_indices": [],
     "adds_missing_entity": false,
     "missing_entity_name": ""
    }
   ],
   "observer_observations": [
    {
     "issue_ko": "프롬프트의 인물 지침(PEOPLE)에서 연희 외의 인물은 등장하지 않아야 한다고 엄격히 명시했으나, 배경에 이전 샷의 인물(작업복을 입은 남성)이 등장함.",
     "severity": "critical"
    },
    {
     "issue_ko": "유지되어야 할 상태(CARRIED STATE) 지침에 자전거가 뒤집혀 있어야 한다(inverted)고 명시되었으나, 배경에 있는 자전거가 바퀴를 아래로 한 채 똑바로 세워져 있음.",
     "severity": "major"
    },
    {
     "issue_ko": "화면 중경 왼쪽에 등장인물 목록·샷 텍스트에 없는 남성(민수)이 서 있다",
     "severity": "critical"
    },
    {
     "issue_ko": "연희가 문턱에 막 발을 들이는 위치가 아니라 이미 정비소 안쪽 중경까지 들어와 있다",
     "severity": "major"
    },
    {
     "issue_ko": "연희의 얼굴과 시선이 작업대 쪽이 아니라 카메라·출입문 쪽을 향한다",
     "severity": "major"
    },
    {
     "issue_ko": "작업대 앞 자전거가 뒤집혀 있지 않고 세워진 채로 들려 있다",
     "severity": "major"
    },
    {
     "issue_ko": "연희가 화면 정중앙이 아닌 중우측에 놓여 있다",
     "severity": "major"
    },
    {
     "issue_ko": "화면 왼쪽 전경에 이전 장소 샷에 없던 자전거가 놓여 있다",
     "severity": "major"
    }
   ],
   "observer_models": [
    "gemini-pro",
    "openrouter:x-ai/grok-4.6"
   ],
   "observer_counts": {
    "gemini-pro": 2,
    "openrouter:x-ai/grok-4.6": 6
   }
  },
  "fix_severity_skipped_count": 5,
  "fix_severity_skipped": [
   {
    "issue_ko": "유지되어야 할 상태(CARRIED STATE) 지침에 자전거가 뒤집혀 있어야 한다(inverted)고 명시되었으나, 배경에 있는 자전거가 바퀴를 아래로 한 채 똑바로 세워져 있음.",
    "fix_en": "Invert the bicycle by the workbench so it rests upside down on its handlebars and saddle.",
    "severity": "major",
    "observation_index": 1,
    "needs_ref_indices": [
     1
    ],
    "adds_missing_entity": false,
    "missing_entity_name": ""
   },
   {
    "issue_ko": "연희가 문턱에 막 발을 들이는 위치가 아니라 이미 정비소 안쪽 중경까지 들어와 있다",
    "fix_en": "Relocate Yeonhui back to the threshold of the open doorway.",
    "severity": "major",
    "observation_index": 3,
    "needs_ref_indices": [],
    "adds_missing_entity": false,
    "missing_entity_name": "",
    "needs_regeneration": true
   },
   {
    "issue_ko": "연희의 얼굴과 시선이 작업대 쪽이 아니라 카메라·출입문 쪽을 향한다",
    "fix_en": "Turn Yeonhui's head and gaze to look past the camera toward the workbench on the left.",
    "severity": "major",
    "observation_index": 4,
    "needs_ref_indices": [],
    "adds_missing_entity": false,
    "missing_entity_name": ""
   },
   {
    "issue_ko": "연희가 화면 정중앙이 아닌 중우측에 놓여 있다",
    "fix_en": "Shift Yeonhui to the middle-center of the frame.",
    "severity": "major",
    "observation_index": 6,
    "needs_ref_indices": [],
    "adds_missing_entity": false,
    "missing_entity_name": "",
    "needs_regeneration": true
   },
   {
    "issue_ko": "화면 왼쪽 전경에 이전 장소 샷에 없던 자전거가 놓여 있다",
    "fix_en": "Remove the large bicycle in the left foreground, replacing it with the visible floor and lower wall behind it.",
    "severity": "major",
    "observation_index": 7,
    "needs_ref_indices": [],
    "adds_missing_entity": false,
    "missing_entity_name": ""
   }
  ],
  "repair_mode": "edit",
  "fix_ref_gate": {
   "mode": "gated",
   "available": 3,
   "kept": 0,
   "requested_indices": [],
   "kept_labels": []
  },
  "fix_ref_count": 1,
  "fix_prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Erase the man in the blue work clothes from the background, replacing him with the empty workbench area, tools, and background wall. Preserve Yeonhui, her yellow raincoat, the flashlight, the open doorway, and the rest of the workshop interior exactly as they are.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. Real-world writing that belongs\nto the scene — signs, banners, documents — stays exactly as the\noriginal shows it; do not add captions, subtitles, watermarks or\nany overlay text.",
  "fix_rejudge": {
   "forward_raw": {
    "winner": "B",
    "ranking": [
     "B",
     "A"
    ],
    "verdicts": [
     {
      "label": "B",
      "score": 7,
      "verdict_ko": "프롬프트가 요구한 대로 금지된 인물을 화면에서 제거하고 연희 단독의 앵글을 정확히 구현하여 지시사항을 잘 따랐습니다."
     },
     {
      "label": "A",
      "score": 3,
      "verdict_ko": "PEOPLE 목록에 명시되지 않은 인물(이전 샷의 남자)이 배경에 추가되어 치명적인 제약 조건 위반이 발생했습니다."
     }
    ],
    "readings": [
     {
      "label": "B",
      "direction": "연희의 시선은 카메라 왼쪽 화면 밖을 향하고, 쥐고 있는 손전등은 앞을 향함.",
      "built_space": "정비소 내부로, 오른쪽에 '자전거 수리'가 적힌 열린 문이 있고 왼쪽에 작업대가 위치함.",
      "entities": "연희의 인상착의(노란 우비)와 손전등이 레퍼런스와 정확히 일치함.",
      "hard_violations": [],
      "physics": "연희의 발은 바닥을 지지하고 있으며, 왼손으로 손전등을 자연스럽게 쥐고 있음."
     },
     {
      "label": "A",
      "direction": "연희의 시선은 화면 밖을, 배경에 있는 남자의 시선은 자전거를 향함.",
      "built_space": "오른쪽에 열린 문과 왼쪽에 작업대가 배치된 정비소 안쪽 공간.",
      "entities": "연희와 손전등은 일치하지만, 지시문이 금지한 추가 인물이 배경에 등장함.",
      "hard_violations": [
       "PEOPLE 목록에 없는 인물(이전 샷의 남자)이 배경에 등장함"
      ],
      "physics": "두 인물 모두 바닥에 서서 각자의 도구를 안정적으로 쥐고 있음."
     }
    ],
    "all_candidates_fail": false,
    "gq": {
     "route": "agree",
     "gap": 0.0,
     "per_model_winner": {
      "gemini-pro": "B",
      "openrouter:x-ai/grok-4.6": "B"
     },
     "models": [
      "gemini-pro",
      "openrouter:x-ai/grok-4.6"
     ]
    }
   },
   "forward_normalized": {
    "winner": "B",
    "ranking": [
     "B",
     "A"
    ],
    "verdicts": [
     {
      "label": "B",
      "score": 7,
      "verdict_ko": "프롬프트가 요구한 대로 금지된 인물을 화면에서 제거하고 연희 단독의 앵글을 정확히 구현하여 지시사항을 잘 따랐습니다."
     },
     {
      "label": "A",
      "score": 3,
      "verdict_ko": "PEOPLE 목록에 명시되지 않은 인물(이전 샷의 남자)이 배경에 추가되어 치명적인 제약 조건 위반이 발생했습니다."
     }
    ],
    "all_candidates_fail": false,
    "readings": [
     {
      "label": "B",
      "direction": "연희의 시선은 카메라 왼쪽 화면 밖을 향하고, 쥐고 있는 손전등은 앞을 향함.",
      "built_space": "정비소 내부로, 오른쪽에 '자전거 수리'가 적힌 열린 문이 있고 왼쪽에 작업대가 위치함.",
      "entities": "연희의 인상착의(노란 우비)와 손전등이 레퍼런스와 정확히 일치함.",
      "hard_violations": [],
      "physics": "연희의 발은 바닥을 지지하고 있으며, 왼손으로 손전등을 자연스럽게 쥐고 있음."
     },
     {
      "label": "A",
      "direction": "연희의 시선은 화면 밖을, 배경에 있는 남자의 시선은 자전거를 향함.",
      "built_space": "오른쪽에 열린 문과 왼쪽에 작업대가 배치된 정비소 안쪽 공간.",
      "entities": "연희와 손전등은 일치하지만, 지시문이 금지한 추가 인물이 배경에 등장함.",
      "hard_violations": [
       "PEOPLE 목록에 없는 인물(이전 샷의 남자)이 배경에 등장함"
      ],
      "physics": "두 인물 모두 바닥에 서서 각자의 도구를 안정적으로 쥐고 있음."
     }
    ]
   },
   "reverse_raw": {
    "winner": "A",
    "ranking": [
     "A",
     "B"
    ],
    "verdicts": [
     {
      "label": "A",
      "score": 7,
      "verdict_ko": "지시된 구도와 샷 텍스트를 정확히 따랐으며, 허용된 인물(연희)만 프레임에 담아내어 프롬프트를 충실히 구현함."
     },
     {
      "label": "B",
      "score": 3,
      "verdict_ko": "샷 텍스트 및 인물 목록에서 허용하지 않은 인물을 화면에 임의로 추가하여 치명적 위반을 범함."
     }
    ],
    "readings": [
     {
      "label": "A",
      "direction": "연희의 시선은 카메라를 비껴가 프레임 밖 대상을 향하며, 손전등은 화면 앞쪽으로 향함.",
      "built_space": "정비소 내부로, 우측에 '자전거 수리'가 적힌 열린 유리문과 좌측에 작업대가 올바르게 위치함.",
      "entities": "연희의 인상착의, 노란 우의, 손전등 모두 레퍼런스 및 요구사항과 일치함.",
      "hard_violations": [],
      "physics": "연희의 발이 바닥을 딛고 몸을 지탱하며, 손전등은 손에 안정적으로 쥐어져 있음."
     },
     {
      "label": "B",
      "direction": "연희의 시선은 프레임 우측 밖을 향하고, 배경의 남성은 아래쪽 자전거를 향함.",
      "built_space": "정비소 내부와 열린 유리문, 작업대가 올바르게 배치되어 있음.",
      "entities": "연희의 모습은 레퍼런스와 일치하나, 프롬프트에 허용되지 않은 추가 인물이 배경에 등장함.",
      "hard_violations": [
       "샷 텍스트 및 인물 목록에 없는 인물(민수)이 프레임 내에 임의로 추가됨"
      ],
      "physics": "연희의 발이 바닥을 지탱하고 있으며, 손전등은 손에 정상적으로 쥐어져 있음."
     }
    ],
    "all_candidates_fail": false,
    "gq": {
     "route": "agree",
     "gap": 0.0,
     "per_model_winner": {
      "gemini-pro": "A",
      "openrouter:x-ai/grok-4.6": "A"
     },
     "models": [
      "gemini-pro",
      "openrouter:x-ai/grok-4.6"
     ]
    }
   },
   "reverse_normalized": {
    "winner": "B",
    "ranking": [
     "B",
     "A"
    ],
    "verdicts": [
     {
      "label": "B",
      "score": 7,
      "verdict_ko": "지시된 구도와 샷 텍스트를 정확히 따랐으며, 허용된 인물(연희)만 프레임에 담아내어 프롬프트를 충실히 구현함."
     },
     {
      "label": "A",
      "score": 3,
      "verdict_ko": "샷 텍스트 및 인물 목록에서 허용하지 않은 인물을 화면에 임의로 추가하여 치명적 위반을 범함."
     }
    ],
    "all_candidates_fail": false,
    "readings": [
     {
      "label": "B",
      "direction": "연희의 시선은 카메라를 비껴가 프레임 밖 대상을 향하며, 손전등은 화면 앞쪽으로 향함.",
      "built_space": "정비소 내부로, 우측에 '자전거 수리'가 적힌 열린 유리문과 좌측에 작업대가 올바르게 위치함.",
      "entities": "연희의 인상착의, 노란 우의, 손전등 모두 레퍼런스 및 요구사항과 일치함.",
      "hard_violations": [],
      "physics": "연희의 발이 바닥을 딛고 몸을 지탱하며, 손전등은 손에 안정적으로 쥐어져 있음."
     },
     {
      "label": "A",
      "direction": "연희의 시선은 프레임 우측 밖을 향하고, 배경의 남성은 아래쪽 자전거를 향함.",
      "built_space": "정비소 내부와 열린 유리문, 작업대가 올바르게 배치되어 있음.",
      "entities": "연희의 모습은 레퍼런스와 일치하나, 프롬프트에 허용되지 않은 추가 인물이 배경에 등장함.",
      "hard_violations": [
       "샷 텍스트 및 인물 목록에 없는 인물(민수)이 프레임 내에 임의로 추가됨"
      ],
      "physics": "연희의 발이 바닥을 지탱하고 있으며, 손전등은 손에 정상적으로 쥐어져 있음."
     }
    ]
   },
   "combined": {
    "totals": {
     "A": 6,
     "B": 14
    },
    "ranking": [
     "B",
     "A"
    ],
    "agreement": true,
    "policy": 1
   },
   "winner": "B",
   "fix_won": true,
   "all_candidates_fail": false,
   "policy": "fix_rejudge_v2_orig_on_tie"
  },
  "shot_run_produced": true,
  "shot_run_uid": "06a8ca8a-dd63-7ffe-9466-e911c3a6fdcb",
  "ref_mode": "prev+엔티티",
  "share_plan": {
   "ref_plan": "prev",
   "prev_anchor_tag": "S1sh1"
  }
 },
 "S1sh2::cine": {
  "applied": true,
  "fingerprint": "a85bfc5a1ddb99c0766032c4608f9db9cc7692c1574926d72aa6917b51b10662",
  "model": "x-ai/grok-imagine-image-2.0",
  "pack": "20.202608141300",
  "source_file": "S1sh2_sel.png",
  "source_sha256": "cd93b7377bf737bb4c1c01f625a9f6e3326f8ed9a96b07fcfca71cdee165fea1",
  "file": "S1sh2_cine.png",
  "latency_ms": 22657
 },
 "S2sh1::signage": {
  "fp": "78a9e6e5468a6f60",
  "inscriptions": [
   {
    "surface_native": "아스팔트 도로 바닥",
    "text_native": "천천히",
    "reason_ko": "현대 한국의 사거리 아스팔트 도로 바닥에 흔히 그려지는 교통 안전 문구로, 비 오는 밤 사고 현장의 쓸쓸하고 비극적인 분위기를 더해줍니다."
   }
  ]
 },
 "era_assess::d85043ae28cc7f89": {
  "subjects": [
   {
    "subject_native": "한국의 현대 골목길 사거리",
    "search_terms_native": [
     "골목길 사거리",
     "동네 골목길 전봇대",
     "야간 골목길 가로등",
     "한국 주택가 골목"
    ],
    "language_lock_native": "모든 검색어는 반드시 한국어로만 작성되어야 하며, 다른 언어로 번역하거나 추가하지 마십시오.",
    "reason_ko": "한국 골목길 특유의 복잡한 전선이 얽힌 전봇대, 빌라 건물 양식, 바닥의 도로 표식 등은 일반적인 서구식 골목길 이미지와 매우 다릅니다."
   }
  ]
 },
 "era_ref::ae2d4d155c10d3e3": {
  "subject": "한국의 현대 골목길 사거리",
  "terms": [
   "골목길 사거리",
   "동네 골목길 전봇대",
   "야간 골목길 가로등",
   "한국 주택가 골목"
  ],
  "queries": [
   [
    "한국 현대 주택가 골목길 사거리 전봇대 야간 가로등",
    "한국 동네 골목길 전봇대 야간 골목길 가로등"
   ]
  ],
  "candidates": 4,
  "picked_index": 2,
  "picked_url": "https://www.guro.go.kr/DATA/bbs/665/2022/09/02/27efd9ee-a89e-4e84-b187-3aee76550c7aA3481CC49GG27E67.jpg",
  "picked_reason_ko": "후보 중 유일하게 현대 한국 골목길의 교차 지점을 실제 생활 환경 속에서 식별할 수 있어 사거리 참고 자료로 가장 적합하다.",
  "sha256": "9db5ca6c4d7f2294dd531dd5bd365525a576a00d5c7eef6f1822fd7034791597",
  "file": "eraref_ae2d4d155c10d3e3.png"
 },
 "S2sh1::bgfirst_bg": {
  "input_fingerprint": "3f9a2f31d8b23776",
  "prompt": "Turn the attached storyboard sketch into a photorealistic film still of\nits LOCATION ONLY, keeping the figures exactly as they are.\n\nKEEP EXACTLY: the camera framing, the horizon, and where every element\nsits in the frame. Each mannequin figure stays a plain grey featureless\nmannequin standing in the very same spot, at the same size, in the same\npose, turned the same way — do not turn them into people, do not move,\nrotate, mirror or re-pose them, do not add or remove figures.\n\nBUILD PHOTOREALISTICALLY: everything that is not a figure — ground,\nsurfacing, structures, vegetation, sky, water, distance. The bare lines\nof the sketch are a layout guide; replace them with the real materials,\ndepth and lighting of the place described below.\n\nSHOT TEXT this background must serve (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\nLOCATION (lock): Outdoors on the wet pavement at the center of a four-way intersection, beneath a flickering streetlamp. The lamplight stretches across the rain-slick ground around the fallen man and his cane.\n\nTIME OF DAY (lock): evening.\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: 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- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 노인 in the middle-center of the frame, midground; streetlight reflection on wet ground in the lower-left of the frame, background.\n- KEY BACKGROUND ELEMENTS: 네 갈래 사거리 (four roads diverge from the central junction); used as Supplies the wide geometric structure around the isolated figure; 젖은 사거리 바닥 (wet with an elongated spread of light) — The visible surface reflects the streetlight as a long, separated streak beside the 노인 rather than over his body; used as Creates a reflective visual line through the wide overhead composition; 가로등 (positioned beside the intersection) — Its street-facing side is seen from above and at an oblique angle; used as Provides a fixed spatial counterpart to its reflection in the junction; 떨어진 지팡이 (lying beside the 노인) — Its length runs at a distinct angle from the 노인's body, preserving a visible gap between them; used as Acts as a readable evidence detail within the wide frame.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The flickering streetlight creates intermittent illumination and a long reflected spread across the wet intersection, rendered in restrained, slightly desaturated tones.\n- MATERIAL REALISM: every object and surface must read as a real,\n  physical material — correct texture, weight, wear and light response\n  (metal reflects, fabric drapes and creases, liquid is glossy and\n  pools, painted or drawn marks sit ON a surface and follow its\n  curvature and lighting). Nothing may look like a flat sticker, a\n  doodle or a graphic overlay pasted onto the frame.\n\nTHINGS AT THIS PLACE:\nThe site is organized around a narrow four-way intersection. One of its four branches is the connected alley approach; directly across the intersection center is the opposite road approach. Two additional road approaches meet the center from opposing lateral sides, completing the four-way configuration. A single fixed streetlight stands at the intersection perimeter beside the meeting roads. The intersection center and all four approaches form one continuous circulation surface, allowing movement from the alley through the center toward any of the other three branches.\n- intersection: narrow four-way intersection center\n- approach: road approach opposite the connected alley\n- approach: first lateral road approach\n- approach: second lateral road approach\n- streetlight: single intersection streetlight fixture\n- alley: connected alley approach\n\nWORLD FACTS (creator-confirmed — always true):\n- Region (real-world reference): 대한민국의 도시 생활권\n- Era: 동시대 현대\n- 현대적이되 과도하게 미래적인 디자인은 피하고, 시간 경과는 전체 명도와 대비의 점진적인 변화로 표현한다. 서로 이어지는 이미지에서는 공간 배치와 사물의 상태를 일관되게 유지한다.\n- 기계식 자전거와 수공구, 휴대용 손전등, 형광등, 일반적인 응급 운송 체계 등 현실적인 기술 수준을 유지한다. 미래형 인터페이스, 첨단 웨어러블, 자율 로봇이나 시대에 맞지 않는 이동 수단은 추가하지 않는다.\n\nTHINGS THAT LIVE AT THIS PLACE (what they are, not where they go): the\nlist above names what permanently belongs to this site. Where each one\nsits in this frame is decided by the attached sketch alone — do not add\nor reposition anything on the strength of the list, build only what the\nsketch already has lines for, and do not invent facilities that are not\nlisted.\n\nSignage and other writing that permanently belongs to this place may\nappear, in the place's native language and period style. No captions,\nwatermarks or overlay text, and none of the sketch's diagram symbols,\nlines or markers anywhere in the image.\n\nPERIOD REFERENCE — 대한민국의 현대식 사거리 도로 노면 표시 및 횡단보도: a researched photograph of the real\nthing. Copy its era-accurate form, proportions, materials, fittings\nand styling exactly. It decides ONLY what this thing looks like —\nnever the composition, framing, lighting, people or their placement.",
  "effective_prompt": "Turn the attached storyboard sketch into a photorealistic film still of\nits LOCATION ONLY, keeping the figures exactly as they are.\n\nKEEP EXACTLY: the camera framing, the horizon, and where every element\nsits in the frame. Each mannequin figure stays a plain grey featureless\nmannequin standing in the very same spot, at the same size, in the same\npose, turned the same way — do not turn them into people, do not move,\nrotate, mirror or re-pose them, do not add or remove figures.\n\nBUILD PHOTOREALISTICALLY: everything that is not a figure — ground,\nsurfacing, structures, vegetation, sky, water, distance. The bare lines\nof the sketch are a layout guide; replace them with the real materials,\ndepth and lighting of the place described below.\n\nSHOT TEXT this background must serve (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\nLOCATION (lock): Outdoors on the wet pavement at the center of a four-way intersection, beneath a flickering streetlamp. The lamplight stretches across the rain-slick ground around the fallen man and his cane.\n\nTIME OF DAY (lock): evening.\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: 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- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 노인 in the middle-center of the frame, midground; streetlight reflection on wet ground in the lower-left of the frame, background.\n- KEY BACKGROUND ELEMENTS: 네 갈래 사거리 (four roads diverge from the central junction); used as Supplies the wide geometric structure around the isolated figure; 젖은 사거리 바닥 (wet with an elongated spread of light) — The visible surface reflects the streetlight as a long, separated streak beside the 노인 rather than over his body; used as Creates a reflective visual line through the wide overhead composition; 가로등 (positioned beside the intersection) — Its street-facing side is seen from above and at an oblique angle; used as Provides a fixed spatial counterpart to its reflection in the junction; 떨어진 지팡이 (lying beside the 노인) — Its length runs at a distinct angle from the 노인's body, preserving a visible gap between them; used as Acts as a readable evidence detail within the wide frame.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The flickering streetlight creates intermittent illumination and a long reflected spread across the wet intersection, rendered in restrained, slightly desaturated tones.\n- MATERIAL REALISM: every object and surface must read as a real,\n  physical material — correct texture, weight, wear and light response\n  (metal reflects, fabric drapes and creases, liquid is glossy and\n  pools, painted or drawn marks sit ON a surface and follow its\n  curvature and lighting). Nothing may look like a flat sticker, a\n  doodle or a graphic overlay pasted onto the frame.\n\nTHINGS AT THIS PLACE:\nThe site is organized around a narrow four-way intersection. One of its four branches is the connected alley approach; directly across the intersection center is the opposite road approach. Two additional road approaches meet the center from opposing lateral sides, completing the four-way configuration. A single fixed streetlight stands at the intersection perimeter beside the meeting roads. The intersection center and all four approaches form one continuous circulation surface, allowing movement from the alley through the center toward any of the other three branches.\n- intersection: narrow four-way intersection center\n- approach: road approach opposite the connected alley\n- approach: first lateral road approach\n- approach: second lateral road approach\n- streetlight: single intersection streetlight fixture\n- alley: connected alley approach\n\nWORLD FACTS (creator-confirmed — always true):\n- Region (real-world reference): 대한민국의 도시 생활권\n- Era: 동시대 현대\n- 현대적이되 과도하게 미래적인 디자인은 피하고, 시간 경과는 전체 명도와 대비의 점진적인 변화로 표현한다. 서로 이어지는 이미지에서는 공간 배치와 사물의 상태를 일관되게 유지한다.\n- 기계식 자전거와 수공구, 휴대용 손전등, 형광등, 일반적인 응급 운송 체계 등 현실적인 기술 수준을 유지한다. 미래형 인터페이스, 첨단 웨어러블, 자율 로봇이나 시대에 맞지 않는 이동 수단은 추가하지 않는다.\n\nTHINGS THAT LIVE AT THIS PLACE (what they are, not where they go): the\nlist above names what permanently belongs to this site. Where each one\nsits in this frame is decided by the attached sketch alone — do not add\nor reposition anything on the strength of the list, build only what the\nsketch already has lines for, and do not invent facilities that are not\nlisted.\n\nSignage and other writing that permanently belongs to this place may\nappear, in the place's native language and period style. No captions,\nwatermarks or overlay text, and none of the sketch's diagram symbols,\nlines or markers anywhere in the image.\n\nPERIOD REFERENCE — 대한민국의 현대식 사거리 도로 노면 표시 및 횡단보도: a researched photograph of the real\nthing. Copy its era-accurate form, proportions, materials, fittings\nand styling exactly. It decides ONLY what this thing looks like —\nnever the composition, framing, lighting, people or their placement.",
  "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/images/fb7a883f-baac-4145-9131-732ce628d474/scene/recipe/S2sh1__bgfirst_bg.png",
  "asset_id": "8504c3bb-42c6-4ac7-83f2-5a3122766940",
  "input_asset_ids": [
   "50e7d22e-6213-40b1-97f7-adc902602902"
  ],
  "era_research": {
   "subject": "대한민국의 현대식 사거리 도로 노면 표시 및 횡단보도",
   "queries": [
    [
     "한국 도로 노면 표시 / 도시 사거리 횡단보도 / 야간 아스팔트 차선",
     "대한민국의 현대식 사거리 도로 노면 표시 및 횡단보도"
    ]
   ],
   "picked_url": "https://img8.yna.co.kr/etc/inner/KR/2025/11/17/AKR20251117152400004_01_i_P4.jpg",
   "sha256": "ed002e8980371aab39413a842c8b1cd32f0888e6eb5d8efff788de1fe3b7a419",
   "file": "eraref_de840c9ca2c8d05b.png"
  }
 },
 "S2sh1": {
  "input_fingerprint": "5453d8bf9fddf0fb",
  "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean unless stated. TIME OF DAY (lock): evening.\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\nLOCATION (lock): Outdoors on the wet pavement at the center of a four-way intersection, beneath a flickering streetlamp. The lamplight stretches across the rain-slick ground around the fallen man and his cane. The shot takes place here — the attached STORYBOARD SKETCH fixes the staging, camera and figure placement of this exact place. No location photograph is attached — build the location itself strictly from the location text above and the shot text, inventing nothing beyond them.\n\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The flickering streetlight creates intermittent illumination and a long reflected spread across the wet intersection, rendered in restrained, slightly desaturated tones.\n- MATERIAL REALISM: every object and surface must read as a real,\n  physical material — correct texture, weight, wear and light response\n  (metal reflects, fabric drapes and creases, liquid is glossy and\n  pools, painted or drawn marks sit ON a surface and follow its\n  curvature and lighting). Nothing may look like a flat sticker, a\n  doodle or a graphic overlay pasted onto the frame.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): The elderly man is positioned on his side on the wet pavement at the center of the intersection, with his eyes closed and his head, torso, arms, and legs resting in a side-recumbent posture. A cane rests on the ground beside him.\n\nIMMOBILE BODIES OBEY GRAVITY: a person who is dead or unconscious\nexerts NO muscular effort. Every part of their body — head, torso,\narms, hands, fingers, legs — rests fully on whatever supports it\n(floor, wall, furniture, their own lap) and hangs or slumps with\ngravity. NEVER show any part of an immobile person's body lifted,\nraised, held up in the air, or posed as if presenting something:\nan object in their grip stays clenched in a hand that itself lies\nfallen on a support — the hand does not hold the object up. If the\ncanonical pose leaves a body part unspecified, resolve it as the\nmost gravity-compliant, fully-supported position.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The elderly man is positioned on his side on the wet pavement at the center of the intersection, with his eyes closed and his head, torso, arms, and legs resting in a side-recumbent posture, wearing the gray coat. A cane rests on the ground beside him. Yeonhui still has her flashlight and wet yellow raincoat, while Minsu remains in his navy work clothes.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 노인 (한국인 남성, 70대 노년 얼굴, 희끗한 머리, 얼굴의 자연스러운 주름) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nSIGNAGE TEXT (authoritative — the scene itself calls for these inscriptions; render each on its surface as period-real physical lettering in the native script, exactly as written; add no other readable text anywhere):\n- 아스팔트 도로 바닥: \"천천히\"\n\nReal-world writing that this scene itself calls for — shop signs,\nbanners, posters, documents, vehicle or building markings — may appear,\nwritten naturally in the language this place and era establish; never\nsubstitute another language's lettering. Only writing the scene calls\nfor: do not invent signage or lettering the shot and location text do\nnot imply, and never print the shot description itself onto the image.\nNo captions, subtitles, watermarks, logos or any overlay text floating\noutside the physical scene. Where exact printed figures would decide\nthe shot — a banknote's denomination, a document's numbers — stage that\nface out of legibility (a hand across it, an oblique angle, shallow\nfocus): printed figures do not render to instruction.",
  "roll_prompts": {
   "A": "Replace every grey or outlined mannequin figure in the FIRST attached\nimage with the real people the CHARACTER REFERENCE images show, and\noutput a photorealistic film still. Each mannequin becomes the character\nwhose POSE CANON and the shot text match that figure's pose and\nposition; never repeat one person across two mannequins. If no CHARACTER\nREFERENCE image is attached for a figure, still replace it with a\nplausible real person consistent with the text. Every mannequin becomes\na person — erasing a figure, or leaving one out, is not a replacement,\nand the number of figures never changes.\n\nKEEP EXACTLY: the background of the first image, the camera framing,\nand each mannequin's position, size, pose and the direction it is\nturned. A person must be exactly where their mannequin was, at the same\nscale, in the same pose, facing the same way — never mirrored, never\nre-staged, never straightened up, stood upright or otherwise re-posed.\nNo mannequin, grey figure or sketch line may remain anywhere in the\noutput.\n\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean unless stated. TIME OF DAY (lock): evening.\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\nLOCATION (lock): Outdoors on the wet pavement at the center of a four-way intersection, beneath a flickering streetlamp. The lamplight stretches across the rain-slick ground around the fallen man and his cane. The shot takes place here — the FIRST attached image (SHOT BACKGROUND) is this exact place, already built: its ground, structures, horizon, materials and lighting are the finished truth of this location and must not be redesigned or replaced. No location photograph is attached — read the place from that image alone, and add no scenery, structure, vehicle or fixture that it does not already show. This lock governs the place only; the figures in the shot follow the staging and pose instructions.\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: 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- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 노인 in the middle-center of the frame, midground; streetlight reflection on wet ground in the lower-left of the frame, background.\n- KEY BACKGROUND ELEMENTS: 네 갈래 사거리 (four roads diverge from the central junction); used as Supplies the wide geometric structure around the isolated figure; 젖은 사거리 바닥 (wet with an elongated spread of light) — The visible surface reflects the streetlight as a long, separated streak beside the 노인 rather than over his body; used as Creates a reflective visual line through the wide overhead composition; 가로등 (positioned beside the intersection) — Its street-facing side is seen from above and at an oblique angle; used as Provides a fixed spatial counterpart to its reflection in the junction; 떨어진 지팡이 (lying beside the 노인) — Its length runs at a distinct angle from the 노인's body, preserving a visible gap between them; used as Acts as a readable evidence detail within the wide frame.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The flickering streetlight creates intermittent illumination and a long reflected spread across the wet intersection, rendered in restrained, slightly desaturated tones.\n- MATERIAL REALISM: every object and surface must read as a real,\n  physical material — correct texture, weight, wear and light response\n  (metal reflects, fabric drapes and creases, liquid is glossy and\n  pools, painted or drawn marks sit ON a surface and follow its\n  curvature and lighting). Nothing may look like a flat sticker, a\n  doodle or a graphic overlay pasted onto the frame.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): The elderly man is positioned on his side on the wet pavement at the center of the intersection, with his eyes closed and his head, torso, arms, and legs resting in a side-recumbent posture. A cane rests on the ground beside him.\n\nIMMOBILE BODIES OBEY GRAVITY: a person who is dead or unconscious\nexerts NO muscular effort. Every part of their body — head, torso,\narms, hands, fingers, legs — rests fully on whatever supports it\n(floor, wall, furniture, their own lap) and hangs or slumps with\ngravity. NEVER show any part of an immobile person's body lifted,\nraised, held up in the air, or posed as if presenting something:\nan object in their grip stays clenched in a hand that itself lies\nfallen on a support — the hand does not hold the object up. If the\ncanonical pose leaves a body part unspecified, resolve it as the\nmost gravity-compliant, fully-supported position.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The elderly man is positioned on his side on the wet pavement at the center of the intersection, with his eyes closed and his head, torso, arms, and legs resting in a side-recumbent posture, wearing the gray coat. A cane rests on the ground beside him. Yeonhui still has her flashlight and wet yellow raincoat, while Minsu remains in his navy work clothes.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 노인 (한국인 남성, 70대 노년 얼굴, 희끗한 머리, 얼굴의 자연스러운 주름) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nReal-world writing that this scene itself calls for — shop signs,\nbanners, posters, documents, vehicle or building markings — may appear,\nwritten naturally in the language this place and era establish; never\nsubstitute another language's lettering. Only writing the scene calls\nfor: do not invent signage or lettering the shot and location text do\nnot imply, and never print the shot description itself onto the image.\nNo captions, subtitles, watermarks, logos or any overlay text floating\noutside the physical scene. Where exact printed figures would decide\nthe shot — a banknote's denomination, a document's numbers — stage that\nface out of legibility (a hand across it, an oblique angle, shallow\nfocus): printed figures do not render to instruction.",
   "B": "Replace every grey or outlined mannequin figure in the FIRST attached\nimage with the real people the CHARACTER REFERENCE images show, and\noutput a photorealistic film still. Each mannequin becomes the character\nwhose POSE CANON and the shot text match that figure's pose and\nposition; never repeat one person across two mannequins. If no CHARACTER\nREFERENCE image is attached for a figure, still replace it with a\nplausible real person consistent with the text. Every mannequin becomes\na person — erasing a figure, or leaving one out, is not a replacement,\nand the number of figures never changes.\n\nKEEP EXACTLY: the background of the first image, the camera framing,\nand each mannequin's position, size, pose and the direction it is\nturned. A person must be exactly where their mannequin was, at the same\nscale, in the same pose, facing the same way — never mirrored, never\nre-staged, never straightened up, stood upright or otherwise re-posed.\nNo mannequin, grey figure or sketch line may remain anywhere in the\noutput.\n\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean unless stated. TIME OF DAY (lock): evening.\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\nLOCATION (lock): Outdoors on the wet pavement at the center of a four-way intersection, beneath a flickering streetlamp. The lamplight stretches across the rain-slick ground around the fallen man and his cane. The shot takes place here — the FIRST attached image (SHOT BACKGROUND) is this exact place, already built: its ground, structures, horizon, materials and lighting are the finished truth of this location and must not be redesigned or replaced. No location photograph is attached — read the place from that image alone, and add no scenery, structure, vehicle or fixture that it does not already show. This lock governs the place only; the figures in the shot follow the staging and pose instructions.\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: 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- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 노인 in the middle-center of the frame, midground; streetlight reflection on wet ground in the lower-left of the frame, background.\n- KEY BACKGROUND ELEMENTS: 네 갈래 사거리 (four roads diverge from the central junction); used as Supplies the wide geometric structure around the isolated figure; 젖은 사거리 바닥 (wet with an elongated spread of light) — The visible surface reflects the streetlight as a long, separated streak beside the 노인 rather than over his body; used as Creates a reflective visual line through the wide overhead composition; 가로등 (positioned beside the intersection) — Its street-facing side is seen from above and at an oblique angle; used as Provides a fixed spatial counterpart to its reflection in the junction; 떨어진 지팡이 (lying beside the 노인) — Its length runs at a distinct angle from the 노인's body, preserving a visible gap between them; used as Acts as a readable evidence detail within the wide frame.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The flickering streetlight creates intermittent illumination and a long reflected spread across the wet intersection, rendered in restrained, slightly desaturated tones.\n- MATERIAL REALISM: every object and surface must read as a real,\n  physical material — correct texture, weight, wear and light response\n  (metal reflects, fabric drapes and creases, liquid is glossy and\n  pools, painted or drawn marks sit ON a surface and follow its\n  curvature and lighting). Nothing may look like a flat sticker, a\n  doodle or a graphic overlay pasted onto the frame.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): The elderly man is positioned on his side on the wet pavement at the center of the intersection, with his eyes closed and his head, torso, arms, and legs resting in a side-recumbent posture. A cane rests on the ground beside him.\n\nIMMOBILE BODIES OBEY GRAVITY: a person who is dead or unconscious\nexerts NO muscular effort. Every part of their body — head, torso,\narms, hands, fingers, legs — rests fully on whatever supports it\n(floor, wall, furniture, their own lap) and hangs or slumps with\ngravity. NEVER show any part of an immobile person's body lifted,\nraised, held up in the air, or posed as if presenting something:\nan object in their grip stays clenched in a hand that itself lies\nfallen on a support — the hand does not hold the object up. If the\ncanonical pose leaves a body part unspecified, resolve it as the\nmost gravity-compliant, fully-supported position.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The elderly man is positioned on his side on the wet pavement at the center of the intersection, with his eyes closed and his head, torso, arms, and legs resting in a side-recumbent posture, wearing the gray coat. A cane rests on the ground beside him. Yeonhui still has her flashlight and wet yellow raincoat, while Minsu remains in his navy work clothes.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 노인 (한국인 남성, 70대 노년 얼굴, 희끗한 머리, 얼굴의 자연스러운 주름) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nReal-world writing that this scene itself calls for — shop signs,\nbanners, posters, documents, vehicle or building markings — may appear,\nwritten naturally in the language this place and era establish; never\nsubstitute another language's lettering. Only writing the scene calls\nfor: do not invent signage or lettering the shot and location text do\nnot imply, and never print the shot description itself onto the image.\nNo captions, subtitles, watermarks, logos or any overlay text floating\noutside the physical scene. Where exact printed figures would decide\nthe shot — a banknote's denomination, a document's numbers — stage that\nface out of legibility (a hand across it, an oblique angle, shallow\nfocus): printed figures do not render to instruction.\n\nCOMPOSITION VARIATION (this candidate only): keep the place, the people and the moment exactly as specified, but reframe like a film director choosing a different setup — a different angle, height, distance or foreground layer from the obvious one. For this candidate only, treat the CAMERA & FRAME contract above as a baseline to depart from, not a lock; the references and the shot text fix WHAT is seen, not WHERE the camera stands. Stay true to any explicit framing the SHOT TEXT itself dictates."
  },
  "roll_refs": {
   "A": [
    {
     "label": "SHOT BACKGROUND",
     "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/images/fb7a883f-baac-4145-9131-732ce628d474/scene/recipe/S2sh1__bgfirst_bg.png",
     "asset_id": "8504c3bb-42c6-4ac7-83f2-5a3122766940",
     "role": "bgfirst_bg"
    },
    {
     "label": "CHARACTER REFERENCE — 노인: the exact person appearing in this shot; match face, hair and build exactly.",
     "path": "<bytes:1288366>",
     "asset_id": "178c42d7-2c64-43ea-90f8-403b2ee6651f",
     "role": "character_ref"
    }
   ],
   "B": [
    {
     "label": "SHOT BACKGROUND",
     "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/images/fb7a883f-baac-4145-9131-732ce628d474/scene/recipe/S2sh1__bgfirst_bg.png",
     "asset_id": "8504c3bb-42c6-4ac7-83f2-5a3122766940",
     "role": "bgfirst_bg"
    },
    {
     "label": "CHARACTER REFERENCE — 노인: the exact person appearing in this shot; match face, hair and build exactly.",
     "path": "<bytes:1288366>",
     "asset_id": "178c42d7-2c64-43ea-90f8-403b2ee6651f",
     "role": "character_ref"
    }
   ]
  },
  "shot_run_spend_attempt_count": 1,
  "readings": [
   {
    "label": "A",
    "direction": "카메라는 사거리를 부감으로 비추며, 노인은 머리를 왼쪽으로 둔 채 우측으로 누워 있음. 지팡이는 노인의 우측 바닥에 위치함.",
    "built_space": "젖은 아스팔트 사거리 교차로와 네 모서리의 인도. 왼쪽 도로 표면에 가로등 빛이 길게 반사됨.",
    "entities": "회색 코트를 입고 눈을 감은 노인, 바닥에 놓인 지팡이가 확인됨. 요구된 '천천히' 노면 텍스트는 보이지 않음.",
    "hard_violations": [],
    "physics": "노인의 머리, 몸통, 팔다리와 지팡이 모두 젖은 아스팔트 바닥에 자연스럽게 닿아 지탱되고 있음."
   },
   {
    "label": "B",
    "direction": "카메라는 사거리를 부감으로 비추며, 노인은 머리를 왼쪽으로 둔 채 우측으로 누워 있음. 지팡이는 노인의 우측 바닥에 위치함.",
    "built_space": "젖은 아스팔트 사거리 교차로와 네 모서리의 인도. 왼쪽 도로 표면에 가로등 빛이 길게 반사됨.",
    "entities": "회색 코트를 입고 눈을 감은 노인, 바닥에 놓인 지팡이가 확인됨. 요구된 '천천히' 노면 텍스트는 보이지 않음.",
    "hard_violations": [],
    "physics": "노인의 몸과 지팡이는 아스팔트 바닥에 지탱되어 있으나, 지팡이의 휘어진 형태가 다소 부자연스러움."
   }
  ],
  "gq": {
   "route": "agree",
   "gap": 0.0,
   "per_model_winner": {
    "gemini-pro": "A",
    "openrouter:x-ai/grok-4.6": "A"
   },
   "models": [
    "gemini-pro",
    "openrouter:x-ai/grok-4.6"
   ]
  },
  "totals": {
   "A": 6,
   "B": 5
  },
  "selected": "A",
  "ranking": [
   "A",
   "B"
  ],
  "verdicts": [
   {
    "label": "A",
    "score": 6,
    "verdict_ko": "스토리보드의 구도와 노인의 자세를 자연스럽게 잘 재현했으나, 지정된 노면 텍스트('천천히')가 누락되었습니다."
   },
   {
    "label": "B",
    "score": 5,
    "verdict_ko": "구도와 톤은 지시를 따랐으나 지정된 노면 텍스트가 누락되었고, 지팡이의 형태와 인물의 자세가 A에 비해 어색합니다."
   }
  ],
  "refs": [
   {
    "label": "SHOT BACKGROUND",
    "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/images/fb7a883f-baac-4145-9131-732ce628d474/scene/recipe/S2sh1__bgfirst_bg.png",
    "asset_id": "8504c3bb-42c6-4ac7-83f2-5a3122766940",
    "role": "bgfirst_bg"
   },
   {
    "label": "CHARACTER REFERENCE — 노인: the exact person appearing in this shot; match face, hair and build exactly.",
    "path": "<bytes:1288366>",
    "asset_id": "178c42d7-2c64-43ea-90f8-403b2ee6651f",
    "role": "character_ref"
   }
  ],
  "critique": {
   "issues": [
    {
     "issue_ko": "노인이 눈을 감고 있어야 한다는 프롬프트 지시와 달리 눈을 뜨고 있습니다.",
     "fix_en": "Close the old man's eyes completely. Keep the old man, his pose, clothing, the wet street, lighting, and framing exactly as they are.",
     "severity": "critical",
     "observation_index": 0,
     "needs_ref_indices": [],
     "adds_missing_entity": false,
     "missing_entity_name": "",
     "needs_regeneration": false,
     "unfixable": false
    },
    {
     "issue_ko": "캐릭터 레퍼런스 이미지에서 노인이 착용하고 있는 털모자(비니)가 누락되었습니다.",
     "fix_en": "Put the reference striped knit beanie on the old man's head.",
     "severity": "major",
     "observation_index": 1,
     "needs_ref_indices": [
      2
     ],
     "adds_missing_entity": true,
     "missing_entity_name": "striped knit beanie",
     "needs_regeneration": false,
     "unfixable": false
    },
    {
     "issue_ko": "마네킹은 왼팔을 굽혀 가슴 앞에 두고 있으나, 생성된 이미지의 노인은 왼팔을 다리 쪽으로 뻗어 포즈가 일치하지 않습니다.",
     "fix_en": "Bend the old man's left arm up to place his hand near his face as in the reference mannequin, restoring the hidden part of his coat and legs.",
     "severity": "major",
     "observation_index": 2,
     "needs_ref_indices": [
      1
     ],
     "adds_missing_entity": false,
     "missing_entity_name": "",
     "needs_regeneration": false,
     "unfixable": false
    },
    {
     "issue_ko": "원본 배경에 없던 밝은 원형 빛 반사가 노인 다리와 지팡이 옆에 생겼다.",
     "fix_en": "Erase the circular bright reflection on the ground near the old man's legs, restoring the dark wet pavement.",
     "severity": "major",
     "observation_index": 4,
     "needs_ref_indices": [
      1
     ],
     "adds_missing_entity": false,
     "missing_entity_name": "",
     "needs_regeneration": false,
     "unfixable": false
    }
   ],
   "observer_observations": [
    {
     "issue_ko": "노인이 눈을 감고 있어야 한다는 프롬프트 지시와 달리 눈을 뜨고 있습니다.",
     "severity": "critical"
    },
    {
     "issue_ko": "캐릭터 레퍼런스 이미지에서 노인이 착용하고 있는 털모자(비니)가 누락되었습니다.",
     "severity": "major"
    },
    {
     "issue_ko": "마네킹은 왼팔을 굽혀 가슴 앞에 두고 있으나, 생성된 이미지의 노인은 왼팔을 다리 쪽으로 뻗어 포즈가 일치하지 않습니다.",
     "severity": "major"
    },
    {
     "issue_ko": "노인 머리에 캐릭터 레퍼런스의 줄무늬 니트 비니가 없다.",
     "severity": "major"
    },
    {
     "issue_ko": "원본 배경에 없던 밝은 원형 빛 반사가 노인 다리와 지팡이 옆에 생겼다.",
     "severity": "major"
    },
    {
     "issue_ko": "마네킹은 양손을 머리 곁에 모았는데 사진의 노인 팔·다리 굽힘과 상체 자세가 다르다.",
     "severity": "major"
    }
   ],
   "observer_models": [
    "gemini-pro",
    "openrouter:x-ai/grok-4.6"
   ],
   "observer_counts": {
    "gemini-pro": 3,
    "openrouter:x-ai/grok-4.6": 3
   }
  },
  "fix_severity_skipped_count": 3,
  "fix_severity_skipped": [
   {
    "issue_ko": "캐릭터 레퍼런스 이미지에서 노인이 착용하고 있는 털모자(비니)가 누락되었습니다.",
    "fix_en": "Put the reference striped knit beanie on the old man's head.",
    "severity": "major",
    "observation_index": 1,
    "needs_ref_indices": [
     2
    ],
    "adds_missing_entity": true,
    "missing_entity_name": "striped knit beanie",
    "needs_regeneration": false,
    "unfixable": false
   },
   {
    "issue_ko": "마네킹은 왼팔을 굽혀 가슴 앞에 두고 있으나, 생성된 이미지의 노인은 왼팔을 다리 쪽으로 뻗어 포즈가 일치하지 않습니다.",
    "fix_en": "Bend the old man's left arm up to place his hand near his face as in the reference mannequin, restoring the hidden part of his coat and legs.",
    "severity": "major",
    "observation_index": 2,
    "needs_ref_indices": [
     1
    ],
    "adds_missing_entity": false,
    "missing_entity_name": "",
    "needs_regeneration": false,
    "unfixable": false
   },
   {
    "issue_ko": "원본 배경에 없던 밝은 원형 빛 반사가 노인 다리와 지팡이 옆에 생겼다.",
    "fix_en": "Erase the circular bright reflection on the ground near the old man's legs, restoring the dark wet pavement.",
    "severity": "major",
    "observation_index": 4,
    "needs_ref_indices": [
     1
    ],
    "adds_missing_entity": false,
    "missing_entity_name": "",
    "needs_regeneration": false,
    "unfixable": false
   }
  ],
  "repair_mode": "edit",
  "fix_ref_gate": {
   "mode": "gated",
   "available": 2,
   "kept": 0,
   "requested_indices": [],
   "kept_labels": []
  },
  "fix_ref_count": 1,
  "fix_prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Close the old man's eyes completely. Keep the old man, his pose, clothing, the wet street, lighting, and framing exactly as they are.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. Real-world writing that belongs\nto the scene — signs, banners, documents — stays exactly as the\noriginal shows it; do not add captions, subtitles, watermarks or\nany overlay text.",
  "fix_rejudge": {
   "forward_raw": {
    "winner": "A",
    "ranking": [
     "A",
     "B"
    ],
    "verdicts": [
     {
      "label": "A",
      "score": 10,
      "verdict_ko": "프롬프트가 요구한 노인의 외양, 바닥에 떨어진 지팡이, 그리고 배경 원본의 젖은 바닥 질감과 빛 반사 등을 완벽하게 유지하며 성공적으로 구현했습니다."
     },
     {
      "label": "B",
      "score": 4,
      "verdict_ko": "노인의 모습은 잘 구현되었으나, 프롬프트와 원본 이미지에 명시된 지팡이를 완전히 누락시켰으며 배경 바닥에 원본에 없던 빛 반사를 임의로 추가하여 감점되었습니다."
     }
    ],
    "readings": [
     {
      "label": "A",
      "direction": "노인이 눈을 감고 누워 있어 특정 대상을 향한 시선은 없음.",
      "built_space": "네 갈래 사거리 교차로, 주변 건물, 가로등이 배경 원본의 위치와 정확히 일치함.",
      "entities": "회색 코트를 입고 누워 있는 70대 노인과 그 옆에 떨어진 지팡이가 프롬프트 및 레퍼런스와 일치함.",
      "hard_violations": [],
      "physics": "노인의 몸 전체와 지팡이가 젖은 바닥면에 안정적으로 닿아 지지를 받고 있음."
     },
     {
      "label": "B",
      "direction": "노인이 눈을 감고 누워 있어 특정 대상을 향한 시선은 없음.",
      "built_space": "네 갈래 사거리 구조는 유지되었으나, 우측 바닥에 원본에 없는 가로등 빛 반사가 임의로 추가됨.",
      "entities": "회색 코트를 입은 70대 노인은 존재하나, 명시된 지팡이 객체가 프레임 안에서 완전히 누락됨.",
      "hard_violations": [],
      "physics": "노인의 몸이 젖은 바닥면에 안정적으로 닿아 지지를 받고 있음."
     }
    ],
    "all_candidates_fail": false,
    "gq": {
     "route": "agree",
     "gap": 0.0,
     "per_model_winner": {
      "gemini-pro": "A",
      "openrouter:x-ai/grok-4.6": "A"
     },
     "models": [
      "gemini-pro",
      "openrouter:x-ai/grok-4.6"
     ]
    }
   },
   "forward_normalized": {
    "winner": "A",
    "ranking": [
     "A",
     "B"
    ],
    "verdicts": [
     {
      "label": "A",
      "score": 10,
      "verdict_ko": "프롬프트가 요구한 노인의 외양, 바닥에 떨어진 지팡이, 그리고 배경 원본의 젖은 바닥 질감과 빛 반사 등을 완벽하게 유지하며 성공적으로 구현했습니다."
     },
     {
      "label": "B",
      "score": 4,
      "verdict_ko": "노인의 모습은 잘 구현되었으나, 프롬프트와 원본 이미지에 명시된 지팡이를 완전히 누락시켰으며 배경 바닥에 원본에 없던 빛 반사를 임의로 추가하여 감점되었습니다."
     }
    ],
    "all_candidates_fail": false,
    "readings": [
     {
      "label": "A",
      "direction": "노인이 눈을 감고 누워 있어 특정 대상을 향한 시선은 없음.",
      "built_space": "네 갈래 사거리 교차로, 주변 건물, 가로등이 배경 원본의 위치와 정확히 일치함.",
      "entities": "회색 코트를 입고 누워 있는 70대 노인과 그 옆에 떨어진 지팡이가 프롬프트 및 레퍼런스와 일치함.",
      "hard_violations": [],
      "physics": "노인의 몸 전체와 지팡이가 젖은 바닥면에 안정적으로 닿아 지지를 받고 있음."
     },
     {
      "label": "B",
      "direction": "노인이 눈을 감고 누워 있어 특정 대상을 향한 시선은 없음.",
      "built_space": "네 갈래 사거리 구조는 유지되었으나, 우측 바닥에 원본에 없는 가로등 빛 반사가 임의로 추가됨.",
      "entities": "회색 코트를 입은 70대 노인은 존재하나, 명시된 지팡이 객체가 프레임 안에서 완전히 누락됨.",
      "hard_violations": [],
      "physics": "노인의 몸이 젖은 바닥면에 안정적으로 닿아 지지를 받고 있음."
     }
    ]
   },
   "reverse_raw": {
    "winner": "B",
    "ranking": [
     "B",
     "A"
    ],
    "verdicts": [
     {
      "label": "B",
      "score": 10,
      "verdict_ko": "프롬프트와 레퍼런스 이미지에 명시된 떨어진 지팡이와 노인의 인상착의, 배경 및 구도를 모두 정확하게 구현한 훌륭한 결과물입니다."
     },
     {
      "label": "A",
      "score": 4,
      "verdict_ko": "배경과 노인의 자세는 잘 구현되었으나, 프롬프트와 구도 레퍼런스에 명시된 핵심 소품인 지팡이를 완전히 누락하여 지시사항을 심각하게 위반했습니다."
     }
    ],
    "readings": [
     {
      "label": "A",
      "direction": "노인이 왼쪽을 향해 누워 눈을 감고 있음.",
      "built_space": "젖은 4거리 교차로, 우측 상단 가로등, 좌측 바닥의 길쭉한 빛 반사 등 레퍼런스의 공간 구성을 정확히 유지함.",
      "entities": "노인의 회색 코트와 얼굴 등 인상착의는 레퍼런스와 일치하나, 프롬프트와 레퍼런스에 명시된 지팡이가 화면에서 완전히 사라짐.",
      "hard_violations": [],
      "physics": "노인의 몸 전체가 아스팔트 바닥에 자연스럽게 닿아 지탱되고 있음."
     },
     {
      "label": "B",
      "direction": "노인이 왼쪽을 향해 누워 눈을 감고 있음.",
      "built_space": "젖은 4거리 교차로, 우측 상단 가로등, 좌측 바닥의 길쭉한 빛 반사 등 레퍼런스의 공간 구성을 정확히 유지함.",
      "entities": "노인의 인상착의가 레퍼런스와 일치하며, 프롬프트가 요구한 지팡이 역시 지정된 위치에 정확히 존재함.",
      "hard_violations": [],
      "physics": "노인의 몸과 지팡이 모두 젖은 바닥면에 안정적으로 놓여 중력의 영향을 받고 있음."
     }
    ],
    "all_candidates_fail": false,
    "gq": {
     "route": "agree",
     "gap": 0.0,
     "per_model_winner": {
      "gemini-pro": "B",
      "openrouter:x-ai/grok-4.6": "B"
     },
     "models": [
      "gemini-pro",
      "openrouter:x-ai/grok-4.6"
     ]
    }
   },
   "reverse_normalized": {
    "winner": "A",
    "ranking": [
     "A",
     "B"
    ],
    "verdicts": [
     {
      "label": "A",
      "score": 10,
      "verdict_ko": "프롬프트와 레퍼런스 이미지에 명시된 떨어진 지팡이와 노인의 인상착의, 배경 및 구도를 모두 정확하게 구현한 훌륭한 결과물입니다."
     },
     {
      "label": "B",
      "score": 4,
      "verdict_ko": "배경과 노인의 자세는 잘 구현되었으나, 프롬프트와 구도 레퍼런스에 명시된 핵심 소품인 지팡이를 완전히 누락하여 지시사항을 심각하게 위반했습니다."
     }
    ],
    "all_candidates_fail": false,
    "readings": [
     {
      "label": "B",
      "direction": "노인이 왼쪽을 향해 누워 눈을 감고 있음.",
      "built_space": "젖은 4거리 교차로, 우측 상단 가로등, 좌측 바닥의 길쭉한 빛 반사 등 레퍼런스의 공간 구성을 정확히 유지함.",
      "entities": "노인의 회색 코트와 얼굴 등 인상착의는 레퍼런스와 일치하나, 프롬프트와 레퍼런스에 명시된 지팡이가 화면에서 완전히 사라짐.",
      "hard_violations": [],
      "physics": "노인의 몸 전체가 아스팔트 바닥에 자연스럽게 닿아 지탱되고 있음."
     },
     {
      "label": "A",
      "direction": "노인이 왼쪽을 향해 누워 눈을 감고 있음.",
      "built_space": "젖은 4거리 교차로, 우측 상단 가로등, 좌측 바닥의 길쭉한 빛 반사 등 레퍼런스의 공간 구성을 정확히 유지함.",
      "entities": "노인의 인상착의가 레퍼런스와 일치하며, 프롬프트가 요구한 지팡이 역시 지정된 위치에 정확히 존재함.",
      "hard_violations": [],
      "physics": "노인의 몸과 지팡이 모두 젖은 바닥면에 안정적으로 놓여 중력의 영향을 받고 있음."
     }
    ]
   },
   "combined": {
    "totals": {
     "A": 20,
     "B": 8
    },
    "ranking": [
     "A",
     "B"
    ],
    "agreement": true,
    "policy": 1
   },
   "winner": "A",
   "fix_won": false,
   "all_candidates_fail": false,
   "policy": "fix_rejudge_v2_orig_on_tie"
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  "shot_run_produced": true,
  "shot_run_uid": "06a8cabc-e954-7e6e-8ff0-021ed27a6e25",
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  "ref_mode": "lane(map_marker): 스케치+엔티티",
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 "S2sh3": {
  "input_fingerprint": "cc0288928e9c4a68",
  "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean unless stated. TIME OF DAY (lock): evening.\n\nSHOT TEXT (authoritative, Korean): 손전등을 든 연희가 빛을 아래로 향한 자세. 빛줄기가 바닥에 누운 노인의 얼굴을 비춘다.\n\nLOCATION (lock): Outdoors beside the fallen man at the center of the wet four-way intersection. A handheld flashlight beam is aimed down onto his face while the nearby streetlamp flickers. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\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 a low position beside 노인's head, look upward on a three-quarter axis so 연희 occupies the upper-right portion while 노인's illuminated face remains in the lower-left foreground. 연희 leans carefully into the flashlight's downward aim, her gaze fixed on 노인's face, and the visible beam path joins her hand to him without obscuring either expression.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 연희 in the upper-right of the frame, midground, looks toward 노인의 얼굴; 노인 in the lower-left of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: 손전등 (switched on and held downward) — Its front end points diagonally from 연희's upper position toward 노인's face in the lower foreground; used as Creates the principal visual connection between the two characters; 젖은 사거리 바닥 (wet beneath and around the figures) — The surface catches the established streetlight reflection around the figures without replacing the flashlight's facial emphasis; used as Keeps the low-angle shot grounded in the intersection setting; 떨어진 지팡이 (lying near the 노인) — Its side is partially visible beyond the lower figure and does not intersect the flashlight beam; used as Preserves continuity with the earlier wide view.\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The switched-on flashlight concentrates light on 노인's face while the intersection retains the established intermittent streetlight illumination and restrained color.\n- MATERIAL REALISM: every object and surface must read as a real,\n  physical material — correct texture, weight, wear and light response\n  (metal reflects, fabric drapes and creases, liquid is glossy and\n  pools, painted or drawn marks sit ON a surface and follow its\n  curvature and lighting). Nothing may look like a flat sticker, a\n  doodle or a graphic overlay pasted onto the frame.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established about the place — its fixed features, wear and lighting — persists. The clothing, hair and overall look of 노인 — who appear both in that photo and in this shot — are LOCKED to that photo. Anyone else visible in that photo is NOT in this shot: never carry their face, body or clothing onto anyone here. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the wet intersection, the streetlamp illumination and reflections, and the prone elderly man in the gray coat with the fallen cane beside him. Preserve his position and orientation on the road. Exclude the prior wide establishing composition and its momentary emphasis on the flickering streetlamp; frame the flashlight-bearing young woman and her beam as required by the new shot.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): The elderly man is positioned on his side on the wet pavement at the center of the intersection, with his eyes closed and his head, torso, arms, and legs resting in a side-recumbent posture. A cane rests on the ground beside him.\n\nIMMOBILE BODIES OBEY GRAVITY: a person who is dead or unconscious\nexerts NO muscular effort. Every part of their body — head, torso,\narms, hands, fingers, legs — rests fully on whatever supports it\n(floor, wall, furniture, their own lap) and hangs or slumps with\ngravity. NEVER show any part of an immobile person's body lifted,\nraised, held up in the air, or posed as if presenting something:\nan object in their grip stays clenched in a hand that itself lies\nfallen on a support — the hand does not hold the object up. If the\ncanonical pose leaves a body part unspecified, resolve it as the\nmost gravity-compliant, fully-supported position.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The old man must remain positioned on his side with his eyes closed and his head, torso, arms, and legs resting in a side-recumbent posture, in his gray coat, with the cane still on the ground beside him. Yeonhui retains the flashlight and directs its switched-on beam onto his face.\n\nTHE HAND THAT IS DOING THIS: the object at the centre of this shot is being held, operated, read, aimed or handed over by 연희 right now, so 연희's hand — and as much of the wrist and forearm as the framing reaches — is in the frame, gripping or resting on that object exactly the way its real use requires. Match that hand to 연희: its size, build, skin, age, grooming, sleeve and anything worn on it belong to that person and to no one else. Nothing else of them needs to be in shot; the framing stays on the object.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 연희 (한국인 여성, 20대의 젊은 얼굴, 자연스러운 짙은색 머리, 단정한 머리 모양); 노인 (한국인 남성, 70대 노년 얼굴, 희끗한 머리, 얼굴의 자연스러운 주름) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nReal-world writing that this scene itself calls for — shop signs,\nbanners, posters, documents, vehicle or building markings — may appear,\nwritten naturally in the language this place and era establish; never\nsubstitute another language's lettering. Only writing the scene calls\nfor: do not invent signage or lettering the shot and location text do\nnot imply, and never print the shot description itself onto the image.\nNo captions, subtitles, watermarks, logos or any overlay text floating\noutside the physical scene. Where exact printed figures would decide\nthe shot — a banknote's denomination, a document's numbers — stage that\nface out of legibility (a hand across it, an oblique angle, shallow\nfocus): printed figures do not render to instruction.",
  "roll_prompts": {
   "A": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean unless stated. TIME OF DAY (lock): evening.\n\nSHOT TEXT (authoritative, Korean): 손전등을 든 연희가 빛을 아래로 향한 자세. 빛줄기가 바닥에 누운 노인의 얼굴을 비춘다.\n\nLOCATION (lock): Outdoors beside the fallen man at the center of the wet four-way intersection. A handheld flashlight beam is aimed down onto his face while the nearby streetlamp flickers. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\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 a low position beside 노인's head, look upward on a three-quarter axis so 연희 occupies the upper-right portion while 노인's illuminated face remains in the lower-left foreground. 연희 leans carefully into the flashlight's downward aim, her gaze fixed on 노인's face, and the visible beam path joins her hand to him without obscuring either expression.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 연희 in the upper-right of the frame, midground, looks toward 노인의 얼굴; 노인 in the lower-left of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: 손전등 (switched on and held downward) — Its front end points diagonally from 연희's upper position toward 노인's face in the lower foreground; used as Creates the principal visual connection between the two characters; 젖은 사거리 바닥 (wet beneath and around the figures) — The surface catches the established streetlight reflection around the figures without replacing the flashlight's facial emphasis; used as Keeps the low-angle shot grounded in the intersection setting; 떨어진 지팡이 (lying near the 노인) — Its side is partially visible beyond the lower figure and does not intersect the flashlight beam; used as Preserves continuity with the earlier wide view.\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The switched-on flashlight concentrates light on 노인's face while the intersection retains the established intermittent streetlight illumination and restrained color.\n- MATERIAL REALISM: every object and surface must read as a real,\n  physical material — correct texture, weight, wear and light response\n  (metal reflects, fabric drapes and creases, liquid is glossy and\n  pools, painted or drawn marks sit ON a surface and follow its\n  curvature and lighting). Nothing may look like a flat sticker, a\n  doodle or a graphic overlay pasted onto the frame.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established about the place — its fixed features, wear and lighting — persists. The clothing, hair and overall look of 노인 — who appear both in that photo and in this shot — are LOCKED to that photo. Anyone else visible in that photo is NOT in this shot: never carry their face, body or clothing onto anyone here. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the wet intersection, the streetlamp illumination and reflections, and the prone elderly man in the gray coat with the fallen cane beside him. Preserve his position and orientation on the road. Exclude the prior wide establishing composition and its momentary emphasis on the flickering streetlamp; frame the flashlight-bearing young woman and her beam as required by the new shot.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): The elderly man is positioned on his side on the wet pavement at the center of the intersection, with his eyes closed and his head, torso, arms, and legs resting in a side-recumbent posture. A cane rests on the ground beside him.\n\nIMMOBILE BODIES OBEY GRAVITY: a person who is dead or unconscious\nexerts NO muscular effort. Every part of their body — head, torso,\narms, hands, fingers, legs — rests fully on whatever supports it\n(floor, wall, furniture, their own lap) and hangs or slumps with\ngravity. NEVER show any part of an immobile person's body lifted,\nraised, held up in the air, or posed as if presenting something:\nan object in their grip stays clenched in a hand that itself lies\nfallen on a support — the hand does not hold the object up. If the\ncanonical pose leaves a body part unspecified, resolve it as the\nmost gravity-compliant, fully-supported position.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The old man must remain positioned on his side with his eyes closed and his head, torso, arms, and legs resting in a side-recumbent posture, in his gray coat, with the cane still on the ground beside him. Yeonhui retains the flashlight and directs its switched-on beam onto his face.\n\nTHE HAND THAT IS DOING THIS: the object at the centre of this shot is being held, operated, read, aimed or handed over by 연희 right now, so 연희's hand — and as much of the wrist and forearm as the framing reaches — is in the frame, gripping or resting on that object exactly the way its real use requires. Match that hand to 연희: its size, build, skin, age, grooming, sleeve and anything worn on it belong to that person and to no one else. Nothing else of them needs to be in shot; the framing stays on the object.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 연희 (한국인 여성, 20대의 젊은 얼굴, 자연스러운 짙은색 머리, 단정한 머리 모양); 노인 (한국인 남성, 70대 노년 얼굴, 희끗한 머리, 얼굴의 자연스러운 주름) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nReal-world writing that this scene itself calls for — shop signs,\nbanners, posters, documents, vehicle or building markings — may appear,\nwritten naturally in the language this place and era establish; never\nsubstitute another language's lettering. Only writing the scene calls\nfor: do not invent signage or lettering the shot and location text do\nnot imply, and never print the shot description itself onto the image.\nNo captions, subtitles, watermarks, logos or any overlay text floating\noutside the physical scene. Where exact printed figures would decide\nthe shot — a banknote's denomination, a document's numbers — stage that\nface out of legibility (a hand across it, an oblique angle, shallow\nfocus): printed figures do not render to instruction.",
   "B": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean unless stated. TIME OF DAY (lock): evening.\n\nSHOT TEXT (authoritative, Korean): 손전등을 든 연희가 빛을 아래로 향한 자세. 빛줄기가 바닥에 누운 노인의 얼굴을 비춘다.\n\nLOCATION (lock): Outdoors beside the fallen man at the center of the wet four-way intersection. A handheld flashlight beam is aimed down onto his face while the nearby streetlamp flickers. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\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 a low position beside 노인's head, look upward on a three-quarter axis so 연희 occupies the upper-right portion while 노인's illuminated face remains in the lower-left foreground. 연희 leans carefully into the flashlight's downward aim, her gaze fixed on 노인's face, and the visible beam path joins her hand to him without obscuring either expression.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 연희 in the upper-right of the frame, midground, looks toward 노인의 얼굴; 노인 in the lower-left of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: 손전등 (switched on and held downward) — Its front end points diagonally from 연희's upper position toward 노인's face in the lower foreground; used as Creates the principal visual connection between the two characters; 젖은 사거리 바닥 (wet beneath and around the figures) — The surface catches the established streetlight reflection around the figures without replacing the flashlight's facial emphasis; used as Keeps the low-angle shot grounded in the intersection setting; 떨어진 지팡이 (lying near the 노인) — Its side is partially visible beyond the lower figure and does not intersect the flashlight beam; used as Preserves continuity with the earlier wide view.\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The switched-on flashlight concentrates light on 노인's face while the intersection retains the established intermittent streetlight illumination and restrained color.\n- MATERIAL REALISM: every object and surface must read as a real,\n  physical material — correct texture, weight, wear and light response\n  (metal reflects, fabric drapes and creases, liquid is glossy and\n  pools, painted or drawn marks sit ON a surface and follow its\n  curvature and lighting). Nothing may look like a flat sticker, a\n  doodle or a graphic overlay pasted onto the frame.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established about the place — its fixed features, wear and lighting — persists. The clothing, hair and overall look of 노인 — who appear both in that photo and in this shot — are LOCKED to that photo. Anyone else visible in that photo is NOT in this shot: never carry their face, body or clothing onto anyone here. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the wet intersection, the streetlamp illumination and reflections, and the prone elderly man in the gray coat with the fallen cane beside him. Preserve his position and orientation on the road. Exclude the prior wide establishing composition and its momentary emphasis on the flickering streetlamp; frame the flashlight-bearing young woman and her beam as required by the new shot.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): The elderly man is positioned on his side on the wet pavement at the center of the intersection, with his eyes closed and his head, torso, arms, and legs resting in a side-recumbent posture. A cane rests on the ground beside him.\n\nIMMOBILE BODIES OBEY GRAVITY: a person who is dead or unconscious\nexerts NO muscular effort. Every part of their body — head, torso,\narms, hands, fingers, legs — rests fully on whatever supports it\n(floor, wall, furniture, their own lap) and hangs or slumps with\ngravity. NEVER show any part of an immobile person's body lifted,\nraised, held up in the air, or posed as if presenting something:\nan object in their grip stays clenched in a hand that itself lies\nfallen on a support — the hand does not hold the object up. If the\ncanonical pose leaves a body part unspecified, resolve it as the\nmost gravity-compliant, fully-supported position.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The old man must remain positioned on his side with his eyes closed and his head, torso, arms, and legs resting in a side-recumbent posture, in his gray coat, with the cane still on the ground beside him. Yeonhui retains the flashlight and directs its switched-on beam onto his face.\n\nTHE HAND THAT IS DOING THIS: the object at the centre of this shot is being held, operated, read, aimed or handed over by 연희 right now, so 연희's hand — and as much of the wrist and forearm as the framing reaches — is in the frame, gripping or resting on that object exactly the way its real use requires. Match that hand to 연희: its size, build, skin, age, grooming, sleeve and anything worn on it belong to that person and to no one else. Nothing else of them needs to be in shot; the framing stays on the object.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 연희 (한국인 여성, 20대의 젊은 얼굴, 자연스러운 짙은색 머리, 단정한 머리 모양); 노인 (한국인 남성, 70대 노년 얼굴, 희끗한 머리, 얼굴의 자연스러운 주름) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nReal-world writing that this scene itself calls for — shop signs,\nbanners, posters, documents, vehicle or building markings — may appear,\nwritten naturally in the language this place and era establish; never\nsubstitute another language's lettering. Only writing the scene calls\nfor: do not invent signage or lettering the shot and location text do\nnot imply, and never print the shot description itself onto the image.\nNo captions, subtitles, watermarks, logos or any overlay text floating\noutside the physical scene. Where exact printed figures would decide\nthe shot — a banknote's denomination, a document's numbers — stage that\nface out of legibility (a hand across it, an oblique angle, shallow\nfocus): printed figures do not render to instruction.\n\nCOMPOSITION VARIATION (this candidate only): keep the place, the people and the moment exactly as specified, but reframe like a film director choosing a different setup — a different angle, height, distance or foreground layer from the obvious one. For this candidate only, treat the CAMERA & FRAME contract above as a baseline to depart from, not a lock; the references and the shot text fix WHAT is seen, not WHERE the camera stands. Stay true to any explicit framing the SHOT TEXT itself dictates."
  },
  "shot_run_spend_attempt_count": 1,
  "readings": [
   {
    "label": "A",
    "direction": "연희의 시선과 손전등 불빛이 바닥에 누운 노인을 향하고 있음.",
    "built_space": "젖은 사거리 바닥, 배경에 가로등과 한국어 간판이 보이는 야외 거리.",
    "entities": "연희(노란 우비)와 손전등은 레퍼런스와 일치함. 노인(회색 코트)의 외형은 맞으나 옆으로 눕지 않고 똑바로 누워 있음. 노인 위쪽 배경에 지팡이가 놓여 있음.",
    "hard_violations": [
     "노인이 이전 샷에서 지정된 '옆으로 누운 자세(side-recumbent posture)'가 아닌 '등을 대고 똑바로 누운 자세'를 취함 (고정된 캐릭터 자세 위반)."
    ],
    "physics": "노인은 바닥에 평평하게 누워 있고, 연희는 웅크린 채 바닥에 몸을 지탱하고 있음."
   },
   {
    "label": "B",
    "direction": "연희가 아래를 내려다보며 손전등 불빛이 노인의 상체와 얼굴 쪽을 비추고 있음.",
    "built_space": "젖은 사거리 바닥과 배경의 가로등이 있는 야외 거리.",
    "entities": "연희, 손전등, 노인의 외형 및 복장이 레퍼런스와 일치함. 노인이 이전 샷과 동일하게 옆으로 누운 자세를 정확히 유지함. 우측에 지팡이 일부가 보임.",
    "hard_violations": [],
    "physics": "노인은 바닥에 옆으로 누워 체중을 지탱하고 있으며, 연희는 무릎을 굽히고 안정적인 자세를 취함."
   }
  ],
  "gq": {
   "route": "agree",
   "gap": 0.0,
   "per_model_winner": {
    "gemini-pro": "B",
    "openrouter:x-ai/grok-4.6": "B"
   },
   "models": [
    "gemini-pro",
    "openrouter:x-ai/grok-4.6"
   ]
  },
  "totals": {
   "B": 7,
   "A": 3
  },
  "selected": "B",
  "ranking": [
   "B",
   "A"
  ],
  "verdicts": [
   {
    "label": "B",
    "score": 7,
    "verdict_ko": "이전 샷의 노인 자세(옆으로 누움)를 정확히 유지하며 프롬프트가 요구한 로우 앵글 구도와 조명 연출을 충실히 구현했습니다."
   },
   {
    "label": "A",
    "score": 3,
    "verdict_ko": "노인이 옆으로 누워 있어야 한다는 이전 샷의 고정된 자세를 어기고 등을 대고 똑바로 누워 있어 결정적인 규정 위반입니다."
   }
  ],
  "refs": [
   {
    "label": "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features and lighting mood are LOCKED to this photo; never copy its camera framing. The clothing, hair and overall look of 노인 — who appear both in that photo and in this shot — are LOCKED to that photo. Anyone else visible in that photo is NOT in this shot: never carry their face, body or clothing onto anyone here. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.",
    "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/images/fb7a883f-baac-4145-9131-732ce628d474/scene/recipe/S2sh1_sel.png",
    "asset_id": "68c0324d-5f8e-4b8d-8270-d0c3db55d08c",
    "role": "prev_still"
   },
   {
    "label": "CHARACTER REFERENCE — 연희: the exact person appearing in this shot; match face, hair and build exactly.",
    "path": "<bytes:866991>",
    "asset_id": "2f7ec884-28aa-4c8d-aef4-b87cb69a9e2b",
    "role": "character_ref"
   },
   {
    "label": "PROP REFERENCE — 휴대용 손전등: the exact object appearing in this shot; match its look, material and wear exactly.",
    "path": "<bytes:948922>",
    "asset_id": "7ff21b78-a03e-4c4e-a9f1-ca6be32509d4",
    "role": "prop_ref"
   }
  ],
  "critique": {
   "issues": [
    {
     "issue_ko": "손전등의 빛줄기가 노인의 얼굴이 아닌 어깨와 등 부위를 향해 잘못 비추고 있습니다.",
     "fix_en": "Reposition the visible flashlight beam so that it extends diagonally from the flashlight to directly strike the old man's face, completely removing the beam and intense light patch currently landing on his shoulder and upper back, while strictly preserving the woman, the old man, their clothing, their poses, and the entire wet street environment.",
     "severity": "critical",
     "observation_index": 0,
     "needs_ref_indices": [],
     "adds_missing_entity": false,
     "missing_entity_name": "",
     "needs_regeneration": false,
     "unfixable": false
    },
    {
     "issue_ko": "노인의 얼굴을 밝히는 강한 조명이 손전등이 아닌 화면 밖 왼쪽 아래의 존재하지 않는 광원에서 비춰지고 있습니다.",
     "fix_en": "Erase the bright, unnatural spotlight coming from the bottom left off-screen that currently illuminates the old man's face and collar from below, leaving only the lighting cast by the flashlight and ambient street lamps, without altering the old man's exact facial features, pose, or any other elements in the frame.",
     "severity": "critical",
     "observation_index": 1,
     "needs_ref_indices": [],
     "adds_missing_entity": false,
     "missing_entity_name": "",
     "needs_regeneration": false,
     "unfixable": false
    },
    {
     "issue_ko": "연희가 들고 있는 손전등이 참조 이미지의 형태(넓은 헤드와 요철이 있는 손잡이)와 달리 밋밋한 원통형으로 다르게 렌더링되었습니다.",
     "fix_en": "Change the flashlight held by the woman to match the reference prop, replacing the plain cylinder with one featuring a wider black head and a textured metallic gray handle, while keeping her hand grip, the characters, and the background exactly the same.",
     "severity": "major",
     "observation_index": 2,
     "needs_ref_indices": [
      3
     ],
     "adds_missing_entity": false,
     "missing_entity_name": "",
     "needs_regeneration": false,
     "unfixable": false
    },
    {
     "issue_ko": "배경이 참조 스틸의 젖은 사거리가 아니라 일자로 뻗은 다른 골목으로 바뀌어 있다",
     "fix_en": "Rebuild the background architecture and street layout to show the curved corners and intersecting roads of the established four-way intersection instead of a straight street.",
     "severity": "major",
     "observation_index": 4,
     "needs_ref_indices": [
      1
     ],
     "adds_missing_entity": false,
     "missing_entity_name": "",
     "needs_regeneration": true,
     "unfixable": false
    }
   ],
   "observer_observations": [
    {
     "issue_ko": "손전등의 빛줄기가 노인의 얼굴이 아닌 어깨와 등 부위를 향해 잘못 비추고 있습니다.",
     "severity": "critical"
    },
    {
     "issue_ko": "노인의 얼굴을 밝히는 강한 조명이 손전등이 아닌 화면 밖 왼쪽 아래의 존재하지 않는 광원에서 비춰지고 있습니다.",
     "severity": "critical"
    },
    {
     "issue_ko": "연희가 들고 있는 손전등이 참조 이미지의 형태(넓은 헤드와 요철이 있는 손잡이)와 달리 밋밋한 원통형으로 다르게 렌더링되었습니다.",
     "severity": "major"
    },
    {
     "issue_ko": "손전등 빛기둥이 노인의 얼굴이 아니라 화면 중앙 코트 어깨·윗등에 떨어져 있다",
     "severity": "major"
    },
    {
     "issue_ko": "배경이 참조 스틸의 젖은 사거리가 아니라 일자로 뻗은 다른 골목으로 바뀌어 있다",
     "severity": "major"
    }
   ],
   "observer_models": [
    "gemini-pro",
    "openrouter:x-ai/grok-4.6"
   ],
   "observer_counts": {
    "gemini-pro": 3,
    "openrouter:x-ai/grok-4.6": 2
   }
  },
  "fix_severity_skipped_count": 2,
  "fix_severity_skipped": [
   {
    "issue_ko": "연희가 들고 있는 손전등이 참조 이미지의 형태(넓은 헤드와 요철이 있는 손잡이)와 달리 밋밋한 원통형으로 다르게 렌더링되었습니다.",
    "fix_en": "Change the flashlight held by the woman to match the reference prop, replacing the plain cylinder with one featuring a wider black head and a textured metallic gray handle, while keeping her hand grip, the characters, and the background exactly the same.",
    "severity": "major",
    "observation_index": 2,
    "needs_ref_indices": [
     3
    ],
    "adds_missing_entity": false,
    "missing_entity_name": "",
    "needs_regeneration": false,
    "unfixable": false
   },
   {
    "issue_ko": "배경이 참조 스틸의 젖은 사거리가 아니라 일자로 뻗은 다른 골목으로 바뀌어 있다",
    "fix_en": "Rebuild the background architecture and street layout to show the curved corners and intersecting roads of the established four-way intersection instead of a straight street.",
    "severity": "major",
    "observation_index": 4,
    "needs_ref_indices": [
     1
    ],
    "adds_missing_entity": false,
    "missing_entity_name": "",
    "needs_regeneration": true,
    "unfixable": false
   }
  ],
  "repair_mode": "edit",
  "fix_ref_gate": {
   "mode": "gated",
   "available": 3,
   "kept": 0,
   "requested_indices": [],
   "kept_labels": []
  },
  "fix_ref_count": 1,
  "fix_prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Reposition the visible flashlight beam so that it extends diagonally from the flashlight to directly strike the old man's face, completely removing the beam and intense light patch currently landing on his shoulder and upper back, while strictly preserving the woman, the old man, their clothing, their poses, and the entire wet street environment.\n- Erase the bright, unnatural spotlight coming from the bottom left off-screen that currently illuminates the old man's face and collar from below, leaving only the lighting cast by the flashlight and ambient street lamps, without altering the old man's exact facial features, pose, or any other elements in the frame.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. Real-world writing that belongs\nto the scene — signs, banners, documents — stays exactly as the\noriginal shows it; do not add captions, subtitles, watermarks or\nany overlay text.",
  "fix_rejudge": {
   "forward_raw": {
    "winner": "B",
    "ranking": [
     "B",
     "A"
    ],
    "verdicts": [
     {
      "label": "B",
      "score": 4,
      "verdict_ko": "A 후보에서 과하게 타들어갔던 노인 얼굴의 하이라이트를 다소 완화하여 보다 자연스럽게 수정했으나, 여전히 손전등 빛줄기가 어깨를 향하는데 얼굴이 밝게 빛나는 물리적 모순을 해결하지 못했습니다."
     },
     {
      "label": "A",
      "score": 3,
      "verdict_ko": "손전등 빛줄기는 노인의 어깨를 향하고 있음에도 얼굴에 출처를 알 수 없는 강렬한 조명이 비춰져 물리적으로 불가능한 연출이며, 노출이 과도하게 타들어갔습니다."
     }
    ],
    "readings": [
     {
      "label": "B",
      "direction": "연희의 시선은 노인의 얼굴을 향합니다. 손전등과 뻗어나가는 빛줄기는 지시문(노인의 얼굴)과 달리 노인의 어깨와 등 부위를 향해 잘못 조준되어 있습니다.",
      "built_space": "젖은 사거리 교차로 환경이며, 배경의 건물, 가로등, 그리고 바닥의 빛 반사가 올바르게 묘사되어 있습니다.",
      "entities": "연희(20대 여성, 노란 우비), 노인(70대 남성, 회색 코트), 손전등, 바닥에 놓인 지팡이 모두 지정된 레퍼런스와 일치하게 나타납니다.",
      "hard_violations": [
       "물리적으로 불가능한 조명 및 연출: 손전등의 물리적 방향과 빛줄기가 노인의 어깨에 닿고 있음에도, 노인의 얼굴이 화면 좌측에서 오는 알 수 없는 광원에 의해 별도로 밝게 조명됨."
      ],
      "physics": "연희는 하체로 몸을 지탱하며 손전등을 쥐고 있고, 노인은 바닥에 누워 중력에 맞게 완전히 지지된 상태입니다."
     },
     {
      "label": "A",
      "direction": "연희의 시선은 노인의 얼굴을 향합니다. 손전등과 뻗어나가는 빛줄기는 지시문(노인의 얼굴)과 달리 노인의 어깨와 등 부위를 향해 잘못 조준되어 있습니다.",
      "built_space": "젖은 사거리 교차로 환경이며, 배경의 건물, 가로등, 그리고 바닥의 빛 반사가 올바르게 묘사되어 있습니다.",
      "entities": "연희(20대 여성, 노란 우비), 노인(70대 남성, 회색 코트), 손전등, 바닥에 놓인 지팡이 모두 지정된 레퍼런스와 일치하게 나타납니다.",
      "hard_violations": [
       "물리적으로 불가능한 조명 및 연출: 손전등의 물리적 방향과 빛줄기가 노인의 어깨에 닿고 있음에도, 노인의 얼굴이 화면 좌측에서 오는 알 수 없는 광원에 의해 비정상적으로 밝게 조명됨."
      ],
      "physics": "연희는 하체로 몸을 지탱하며 손전등을 쥐고 있고, 노인은 바닥에 누워 중력에 맞게 완전히 지지된 상태입니다."
     }
    ],
    "all_candidates_fail": true,
    "gq": {
     "route": "agree",
     "gap": 0.0,
     "per_model_winner": {
      "gemini-pro": "B",
      "openrouter:x-ai/grok-4.6": "B"
     },
     "models": [
      "gemini-pro",
      "openrouter:x-ai/grok-4.6"
     ]
    }
   },
   "forward_normalized": {
    "winner": "B",
    "ranking": [
     "B",
     "A"
    ],
    "verdicts": [
     {
      "label": "B",
      "score": 4,
      "verdict_ko": "A 후보에서 과하게 타들어갔던 노인 얼굴의 하이라이트를 다소 완화하여 보다 자연스럽게 수정했으나, 여전히 손전등 빛줄기가 어깨를 향하는데 얼굴이 밝게 빛나는 물리적 모순을 해결하지 못했습니다."
     },
     {
      "label": "A",
      "score": 3,
      "verdict_ko": "손전등 빛줄기는 노인의 어깨를 향하고 있음에도 얼굴에 출처를 알 수 없는 강렬한 조명이 비춰져 물리적으로 불가능한 연출이며, 노출이 과도하게 타들어갔습니다."
     }
    ],
    "all_candidates_fail": true,
    "readings": [
     {
      "label": "B",
      "direction": "연희의 시선은 노인의 얼굴을 향합니다. 손전등과 뻗어나가는 빛줄기는 지시문(노인의 얼굴)과 달리 노인의 어깨와 등 부위를 향해 잘못 조준되어 있습니다.",
      "built_space": "젖은 사거리 교차로 환경이며, 배경의 건물, 가로등, 그리고 바닥의 빛 반사가 올바르게 묘사되어 있습니다.",
      "entities": "연희(20대 여성, 노란 우비), 노인(70대 남성, 회색 코트), 손전등, 바닥에 놓인 지팡이 모두 지정된 레퍼런스와 일치하게 나타납니다.",
      "hard_violations": [
       "물리적으로 불가능한 조명 및 연출: 손전등의 물리적 방향과 빛줄기가 노인의 어깨에 닿고 있음에도, 노인의 얼굴이 화면 좌측에서 오는 알 수 없는 광원에 의해 별도로 밝게 조명됨."
      ],
      "physics": "연희는 하체로 몸을 지탱하며 손전등을 쥐고 있고, 노인은 바닥에 누워 중력에 맞게 완전히 지지된 상태입니다."
     },
     {
      "label": "A",
      "direction": "연희의 시선은 노인의 얼굴을 향합니다. 손전등과 뻗어나가는 빛줄기는 지시문(노인의 얼굴)과 달리 노인의 어깨와 등 부위를 향해 잘못 조준되어 있습니다.",
      "built_space": "젖은 사거리 교차로 환경이며, 배경의 건물, 가로등, 그리고 바닥의 빛 반사가 올바르게 묘사되어 있습니다.",
      "entities": "연희(20대 여성, 노란 우비), 노인(70대 남성, 회색 코트), 손전등, 바닥에 놓인 지팡이 모두 지정된 레퍼런스와 일치하게 나타납니다.",
      "hard_violations": [
       "물리적으로 불가능한 조명 및 연출: 손전등의 물리적 방향과 빛줄기가 노인의 어깨에 닿고 있음에도, 노인의 얼굴이 화면 좌측에서 오는 알 수 없는 광원에 의해 비정상적으로 밝게 조명됨."
      ],
      "physics": "연희는 하체로 몸을 지탱하며 손전등을 쥐고 있고, 노인은 바닥에 누워 중력에 맞게 완전히 지지된 상태입니다."
     }
    ]
   },
   "reverse_raw": {
    "winner": "A",
    "ranking": [
     "A",
     "B"
    ],
    "verdicts": [
     {
      "label": "B",
      "score": 1625,
      "verdict_ko": "노인이 눈을 감고 있는 지정된 포즈를 올바르게 수정하여 조건을 충족했으나, 손전등 빛줄기가 얼굴이 아닌 어깨를 향하는 공통된 결함이 남아있습니다."
     },
     {
      "label": "A",
      "score": 1750,
      "verdict_ko": "노인의 눈이 살짝 떠진 것처럼 묘사되어 '눈을 감고 있는' 필수 포즈 조건을 명백히 위반했습니다."
     }
    ],
    "all_candidates_fail": false,
    "dual": {
     "models": [
      "gemini-pro",
      "openrouter:x-ai/grok-4.6"
     ],
     "normalized": {
      "A": 1.75,
      "B": 1.625
     },
     "adjusted": {
      "A": 1.75,
      "B": 1.625
     },
     "violations": {},
     "per_model_winner": {
      "gemini-pro": "B",
      "openrouter:x-ai/grok-4.6": "A"
     },
     "agreed": false
    },
    "gq": {
     "route": "combined",
     "gap": 0.375,
     "per_model_winner": {
      "gemini-pro": "B",
      "openrouter:x-ai/grok-4.6": "A"
     },
     "models": [
      "gemini-pro",
      "openrouter:x-ai/grok-4.6"
     ]
    }
   },
   "reverse_normalized": {
    "winner": "B",
    "ranking": [
     "B",
     "A"
    ],
    "verdicts": [
     {
      "label": "A",
      "score": 1625,
      "verdict_ko": "노인이 눈을 감고 있는 지정된 포즈를 올바르게 수정하여 조건을 충족했으나, 손전등 빛줄기가 얼굴이 아닌 어깨를 향하는 공통된 결함이 남아있습니다."
     },
     {
      "label": "B",
      "score": 1750,
      "verdict_ko": "노인의 눈이 살짝 떠진 것처럼 묘사되어 '눈을 감고 있는' 필수 포즈 조건을 명백히 위반했습니다."
     }
    ],
    "all_candidates_fail": false
   },
   "combined": {
    "totals": {
     "A": 1628,
     "B": 1754
    },
    "ranking": [
     "B",
     "A"
    ],
    "agreement": true,
    "policy": 1
   },
   "winner": "B",
   "fix_won": true,
   "all_candidates_fail": false,
   "policy": "fix_rejudge_v2_orig_on_tie"
  },
  "shot_run_produced": true,
  "shot_run_uid": "06a8caec-3213-7aa3-b1a6-bed710fbe4d7",
  "ref_mode": "prev+엔티티",
  "share_plan": {
   "ref_plan": "prev",
   "prev_anchor_tag": "S2sh1"
  },
  "locked_char_refs_excluded": [
   "노인(C03)"
  ]
 },
 "S2sh3::cine": {
  "applied": true,
  "fingerprint": "bc40040c673a187827e8345462f24d11f2727e159a88e4d536ec390bf076d930",
  "model": "x-ai/grok-imagine-image-2.0",
  "pack": "20.202608141300",
  "source_file": "S2sh3_sel.png",
  "source_sha256": "28267a7ceca738acd97afa5108244a090fcdda09a84a09bf24e25715840c199a",
  "file": "S2sh3_cine.png",
  "latency_ms": 11286
 },
 "S3sh1::signage": {
  "fp": "cd958b1dc21c1422",
  "inscriptions": [
   {
    "surface_native": "작업대 뒤편 벽면의 아크릴 판",
    "text_native": "자전거 수리 공임표",
    "reason_ko": "사건이 일어나는 공간이 한국의 평범한 자전거 수리점 내부임을 사실적으로 묘사하기 위해 벽면에 부착된 안내판이 필요합니다."
   }
  ]
 },
 "era_assess::a3111a0a1d0f78cb": {
  "subjects": [
   {
    "subject_native": "대한민국의 동네 자전거 수리점 내부 (2020년대)",
    "search_terms_native": [
     "자전거포 내부",
     "자전거 수리점 내부",
     "삼천리자전거 매장 내부",
     "동네 자전거 대리점"
    ],
    "language_lock_native": "모든 검색어는 한국어로만 작성되어야 하며, 다른 언어로 번역하거나 추가해서는 안 됩니다.",
    "reason_ko": "일반적인 이미지 모델은 서구식의 넓고 정돈된 자전거 정비소를 그리기 쉬우나, 한국의 동네 자전거포는 특유의 좁고 조밀한 부품 배치, 한국식 바닥재 및 조명 구조를 가지고 있어 고유의 실내 분위기를 참고해야 합니다."
   }
  ]
 },
 "era_ref::a2e06728c183668a": {
  "subject": "대한민국의 동네 자전거 수리점 내부 (2020년대)",
  "terms": [
   "자전거포 내부",
   "자전거 수리점 내부",
   "삼천리자전거 매장 내부",
   "동네 자전거 대리점"
  ],
  "queries": [
   [
    "대한민국 동네 자전거 수리점 내부 2020년대",
    "삼천리자전거 대리점 매장 내부 자전거포"
   ]
  ],
  "candidates": 4,
  "picked_index": 4,
  "picked_url": "https://www.ujeil.com/news/photo/202107/279654_116529_5358.jpg",
  "picked_reason_ko": "사진 4는 자전거 수리가 이루어지는 핵심 작업 구역과 통상적인 설비·재료·배치를 가장 선명하고 구체적으로 보여주는 일상적 사례다.",
  "sha256": "70e03f1360db05cfb28b753cefcef7f5d601e2244560d3a0e8f021a57f9aef61",
  "file": "eraref_a2e06728c183668a.png"
 },
 "S3sh1::bgfirst_bg": {
  "input_fingerprint": "9a1359f603b97168",
  "prompt": "Create the EMPTY BACKGROUND PLATE for one film shot — NO PEOPLE, no figures, no body parts, no sketch lines, no arrows anywhere.\n\"Empty\" means no people only: KEEP the location's inherent occupants and stock that define the place — animals in an animal shelter, pen or farm, goods in a market, moored boats in a harbour — unless the shot text explicitly removes them.\nThe FIRST attached image is a thin-line storyboard sketch: use ONLY its camera angle, horizon, perspective and the placement/size of buildings and set masses — ignore the sketched people and arrows entirely. The SECOND attached image (LOCATION PHOTOGRAPH) is the real place: take its architecture, materials, signage and fixed features, and RE-PROJECT them into the sketch's camera. If the photograph's camera differs from the sketch's, the sketch's camera wins.\nHUMAN-SCALE CALIBRATION: derive every structure's true size from human-scale elements — a door ≈ 2m, a window ≈ 1–1.5m wide, one storey ≈ 2.5–3m; never inflate a small structure or shrink a large one.\n\nSHOT TEXT this background must serve (Korean): 형광등 불빛 아래 한쪽으로 밀린 작업대 옆 바닥. 담요가 덮인 채 눈을 감고 누워 있는 노인과 그 곁에 쪼그려 앉아 있는 민수.\n\nLOCATION (lock): 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\nTIME OF DAY (lock): night.\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The workshop's fluorescent illumination provides restrained, slightly desaturated light over the cleared floor with modest low-key contrast.\n- MATERIAL REALISM: every object and surface must read as a real,\n  physical material — correct texture, weight, wear and light response\n  (metal reflects, fabric drapes and creases, liquid is glossy and\n  pools, painted or drawn marks sit ON a surface and follow its\n  curvature and lighting). Nothing may look like a flat sticker, a\n  doodle or a graphic overlay pasted onto the frame.\n\nRender ONE photorealistic empty location photograph, 16:9, that this shot can be staged inside later. Signage and other writing that permanently belongs to this place may appear, in the place's native language and period style; no captions, watermarks or overlay text.\n\nPERIOD REFERENCE — 대한민국의 현대식 동네 자전거 수리점 내부: a researched photograph of the real\nthing. Copy its era-accurate form, proportions, materials, fittings\nand styling exactly. It decides ONLY what this thing looks like —\nnever the composition, framing, lighting, people or their placement.",
  "effective_prompt": "Create the EMPTY BACKGROUND PLATE for one film shot — NO PEOPLE, no figures, no body parts, no sketch lines, no arrows anywhere.\n\"Empty\" means no people only: KEEP the location's inherent occupants and stock that define the place — animals in an animal shelter, pen or farm, goods in a market, moored boats in a harbour — unless the shot text explicitly removes them.\nThe FIRST attached image is a thin-line storyboard sketch: use ONLY its camera angle, horizon, perspective and the placement/size of buildings and set masses — ignore the sketched people and arrows entirely. The SECOND attached image (LOCATION PHOTOGRAPH) is the real place: take its architecture, materials, signage and fixed features, and RE-PROJECT them into the sketch's camera. If the photograph's camera differs from the sketch's, the sketch's camera wins.\nHUMAN-SCALE CALIBRATION: derive every structure's true size from human-scale elements — a door ≈ 2m, a window ≈ 1–1.5m wide, one storey ≈ 2.5–3m; never inflate a small structure or shrink a large one.\n\nSHOT TEXT this background must serve (Korean): 형광등 불빛 아래 한쪽으로 밀린 작업대 옆 바닥. 담요가 덮인 채 눈을 감고 누워 있는 노인과 그 곁에 쪼그려 앉아 있는 민수.\n\nLOCATION (lock): 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\nTIME OF DAY (lock): night.\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The workshop's fluorescent illumination provides restrained, slightly desaturated light over the cleared floor with modest low-key contrast.\n- MATERIAL REALISM: every object and surface must read as a real,\n  physical material — correct texture, weight, wear and light response\n  (metal reflects, fabric drapes and creases, liquid is glossy and\n  pools, painted or drawn marks sit ON a surface and follow its\n  curvature and lighting). Nothing may look like a flat sticker, a\n  doodle or a graphic overlay pasted onto the frame.\n\nRender ONE photorealistic empty location photograph, 16:9, that this shot can be staged inside later. Signage and other writing that permanently belongs to this place may appear, in the place's native language and period style; no captions, watermarks or overlay text.\n\nPERIOD REFERENCE — 대한민국의 현대식 동네 자전거 수리점 내부: a researched photograph of the real\nthing. Copy its era-accurate form, proportions, materials, fittings\nand styling exactly. It decides ONLY what this thing looks like —\nnever the composition, framing, lighting, people or their placement.",
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  "era_research": {
   "subject": "대한민국의 현대식 동네 자전거 수리점 내부",
   "queries": [
    [
     "자전거 수리점 내부",
     "자전거포 내부"
    ]
   ],
   "picked_url": "https://cdn.welfarehello.com/naver-blog/production/seocho88/2023-08/223195344874/seocho88_223195344874_15.jpg?f=webp&q=80&w=800",
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 "S3sh1": {
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  "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean unless stated. TIME OF DAY (lock): night.\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\nLOCATION (lock): 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. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The workshop's fluorescent illumination provides restrained, slightly desaturated light over the cleared floor with modest low-key contrast.\n- MATERIAL REALISM: every object and surface must read as a real,\n  physical material — correct texture, weight, wear and light response\n  (metal reflects, fabric drapes and creases, liquid is glossy and\n  pools, painted or drawn marks sit ON a surface and follow its\n  curvature and lighting). Nothing may look like a flat sticker, a\n  doodle or a graphic overlay pasted onto the frame.\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\nIMMOBILE BODIES OBEY GRAVITY: a person who is dead or unconscious\nexerts NO muscular effort. Every part of their body — head, torso,\narms, hands, fingers, legs — rests fully on whatever supports it\n(floor, wall, furniture, their own lap) and hangs or slumps with\ngravity. NEVER show any part of an immobile person's body lifted,\nraised, held up in the air, or posed as if presenting something:\nan object in their grip stays clenched in a hand that itself lies\nfallen on a support — the hand does not hold the object up. If the\ncanonical pose leaves a body part unspecified, resolve it as the\nmost gravity-compliant, fully-supported position.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): 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\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민수 (한국인 남성, 40대 중년 얼굴, 짧은 머리, 자연스러운 짙은색 머리); 노인 (한국인 남성, 70대 노년 얼굴, 희끗한 머리, 얼굴의 자연스러운 주름) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nSIGNAGE TEXT (authoritative — the scene itself calls for these inscriptions; render each on its surface as period-real physical lettering in the native script, exactly as written; add no other readable text anywhere):\n- 작업대 뒤편 벽면의 아크릴 판: \"자전거 수리 공임표\"\n\nReal-world writing that this scene itself calls for — shop signs,\nbanners, posters, documents, vehicle or building markings — may appear,\nwritten naturally in the language this place and era establish; never\nsubstitute another language's lettering. Only writing the scene calls\nfor: do not invent signage or lettering the shot and location text do\nnot imply, and never print the shot description itself onto the image.\nNo captions, subtitles, watermarks, logos or any overlay text floating\noutside the physical scene. Where exact printed figures would decide\nthe shot — a banknote's denomination, a document's numbers — stage that\nface out of legibility (a hand across it, an oblique angle, shallow\nfocus): printed figures do not render to instruction.",
  "roll_prompts": {
   "A": "Stage the shot. The FIRST attached image (SHOT BACKGROUND) is the finished empty background of this shot — keep it EXACTLY: its camera, perspective, architecture, lighting and every fixed feature stay untouched. The SECOND attached image (LAYOUT SKETCH) tells you ONLY where the people go: each sketched person's position, screen size, pose and the gaze/motion arrows. Ignore the sketch's background lines. The CHARACTER REFERENCE photographs show the real people.\nPlace the real people into the background at exactly the sketched positions, sizes and poses, following the arrow directions. No sketch lines or arrows may remain.\n\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean unless stated. TIME OF DAY (lock): night.\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\nLOCATION (lock): 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. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The workshop's fluorescent illumination provides restrained, slightly desaturated light over the cleared floor with modest low-key contrast.\n- MATERIAL REALISM: every object and surface must read as a real,\n  physical material — correct texture, weight, wear and light response\n  (metal reflects, fabric drapes and creases, liquid is glossy and\n  pools, painted or drawn marks sit ON a surface and follow its\n  curvature and lighting). Nothing may look like a flat sticker, a\n  doodle or a graphic overlay pasted onto the frame.\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\nIMMOBILE BODIES OBEY GRAVITY: a person who is dead or unconscious\nexerts NO muscular effort. Every part of their body — head, torso,\narms, hands, fingers, legs — rests fully on whatever supports it\n(floor, wall, furniture, their own lap) and hangs or slumps with\ngravity. NEVER show any part of an immobile person's body lifted,\nraised, held up in the air, or posed as if presenting something:\nan object in their grip stays clenched in a hand that itself lies\nfallen on a support — the hand does not hold the object up. If the\ncanonical pose leaves a body part unspecified, resolve it as the\nmost gravity-compliant, fully-supported position.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): 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\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민수 (한국인 남성, 40대 중년 얼굴, 짧은 머리, 자연스러운 짙은색 머리); 노인 (한국인 남성, 70대 노년 얼굴, 희끗한 머리, 얼굴의 자연스러운 주름) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nSIGNAGE TEXT (authoritative — the scene itself calls for these inscriptions; render each on its surface as period-real physical lettering in the native script, exactly as written; add no other readable text anywhere):\n- 작업대 뒤편 벽면의 아크릴 판: \"자전거 수리 공임표\"\n\nReal-world writing that this scene itself calls for — shop signs,\nbanners, posters, documents, vehicle or building markings — may appear,\nwritten naturally in the language this place and era establish; never\nsubstitute another language's lettering. Only writing the scene calls\nfor: do not invent signage or lettering the shot and location text do\nnot imply, and never print the shot description itself onto the image.\nNo captions, subtitles, watermarks, logos or any overlay text floating\noutside the physical scene. Where exact printed figures would decide\nthe shot — a banknote's denomination, a document's numbers — stage that\nface out of legibility (a hand across it, an oblique angle, shallow\nfocus): printed figures do not render to instruction.",
   "B": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean unless stated. TIME OF DAY (lock): night.\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\nLOCATION (lock): 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. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: The workshop's fluorescent illumination provides restrained, slightly desaturated light over the cleared floor with modest low-key contrast.\n- MATERIAL REALISM: every object and surface must read as a real,\n  physical material — correct texture, weight, wear and light response\n  (metal reflects, fabric drapes and creases, liquid is glossy and\n  pools, painted or drawn marks sit ON a surface and follow its\n  curvature and lighting). Nothing may look like a flat sticker, a\n  doodle or a graphic overlay pasted onto the frame.\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\nIMMOBILE BODIES OBEY GRAVITY: a person who is dead or unconscious\nexerts NO muscular effort. Every part of their body — head, torso,\narms, hands, fingers, legs — rests fully on whatever supports it\n(floor, wall, furniture, their own lap) and hangs or slumps with\ngravity. NEVER show any part of an immobile person's body lifted,\nraised, held up in the air, or posed as if presenting something:\nan object in their grip stays clenched in a hand that itself lies\nfallen on a support — the hand does not hold the object up. If the\ncanonical pose leaves a body part unspecified, resolve it as the\nmost gravity-compliant, fully-supported position.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): 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\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민수 (한국인 남성, 40대 중년 얼굴, 짧은 머리, 자연스러운 짙은색 머리); 노인 (한국인 남성, 70대 노년 얼굴, 희끗한 머리, 얼굴의 자연스러운 주름) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nSIGNAGE TEXT (authoritative — the scene itself calls for these inscriptions; render each on its surface as period-real physical lettering in the native script, exactly as written; add no other readable text anywhere):\n- 작업대 뒤편 벽면의 아크릴 판: \"자전거 수리 공임표\"\n\nReal-world writing that this scene itself calls for — shop signs,\nbanners, posters, documents, vehicle or building markings — may appear,\nwritten naturally in the language this place and era establish; never\nsubstitute another language's lettering. Only writing the scene calls\nfor: do not invent signage or lettering the shot and location text do\nnot imply, and never print the shot description itself onto the image.\nNo captions, subtitles, watermarks, logos or any overlay text floating\noutside the physical scene. Where exact printed figures would decide\nthe shot — a banknote's denomination, a document's numbers — stage that\nface out of legibility (a hand across it, an oblique angle, shallow\nfocus): printed figures do not render to instruction.\n\nCOMPOSITION VARIATION (this candidate only): keep the place, the people and the moment exactly as specified, but reframe like a film director choosing a different setup — a different angle, height, distance or foreground layer from the obvious one. For this candidate only, treat the CAMERA & FRAME contract above as a baseline to depart from, not a lock; the references and the shot text fix WHAT is seen, not WHERE the camera stands. Stay true to any explicit framing the SHOT TEXT itself dictates."
  },
  "roll_refs": {
   "A": [
    {
     "label": "SHOT BACKGROUND",
     "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/images/fb7a883f-baac-4145-9131-732ce628d474/scene/recipe/S3sh1__bgfirst_bg.png",
     "asset_id": "2ccf3abb-3b1f-4508-9709-e3d3a06b54e9",
     "role": "bgfirst_bg"
    },
    {
     "label": "LAYOUT SKETCH (people placement only)",
     "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/images/fb7a883f-baac-4145-9131-732ce628d474/conti/conti_S3sh1.png",
     "asset_id": "3fb40a68-6d0e-4196-9ec4-83b2d1b91a37",
     "role": "conti_light"
    },
    {
     "label": "CHARACTER REFERENCE — 민수: the exact person appearing in this shot; match face, hair and build exactly.",
     "path": "<bytes:905619>",
     "asset_id": "311223bc-085a-4ce1-938e-e30fb029fa64",
     "role": "character_ref"
    },
    {
     "label": "CHARACTER REFERENCE — 노인: the exact person appearing in this shot; match face, hair and build exactly.",
     "path": "<bytes:1288366>",
     "asset_id": "178c42d7-2c64-43ea-90f8-403b2ee6651f",
     "role": "character_ref"
    }
   ],
   "B": [
    {
     "label": "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.",
     "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/episodes/fb7a883f-baac-4145-9131-732ce628d474/images/background_chain/L01B04.png",
     "asset_id": "6b038158-2102-4daf-aea2-6741b62f54a2",
     "role": "location_plate"
    },
    {
     "label": "CHARACTER REFERENCE — 민수: the exact person appearing in this shot; match face, hair and build exactly.",
     "path": "<bytes:905619>",
     "asset_id": "311223bc-085a-4ce1-938e-e30fb029fa64",
     "role": "character_ref"
    },
    {
     "label": "CHARACTER REFERENCE — 노인: the exact person appearing in this shot; match face, hair and build exactly.",
     "path": "<bytes:1288366>",
     "asset_id": "178c42d7-2c64-43ea-90f8-403b2ee6651f",
     "role": "character_ref"
    }
   ]
  },
  "shot_run_spend_attempt_count": 1,
  "judge_flip": {
   "forward_raw": {
    "winner": "B",
    "ranking": [
     "B",
     "A"
    ],
    "verdicts": [
     {
      "label": "B",
      "score": 9,
      "verdict_ko": "작업대를 인물들 뒤로 배치하고 그 뒤 벽면에 지정된 안내판 텍스트('자전거 수리 공임표')를 정확하게 구현하여 프롬프트의 주요 요구사항을 훌륭히 충족했습니다."
     },
     {
      "label": "A",
      "score": 5,
      "verdict_ko": "작업대를 인물 뒤가 아닌 측면에 배치하고, 안내판을 지정된 위치(작업대 뒤편 벽면)가 아닌 반대쪽 벽에 렌더링하여 공간 배치 및 관계 지시를 명백히 위반했습니다."
     }
    ],
    "readings": [
     {
      "label": "A",
      "direction": "민수는 바닥에 누워 있는 노인을 향해 시선을 던지고 있다.",
      "built_space": "작업대는 화면 왼쪽에 세로로 길게 배치되어 있으며, 프롬프트에서 요구한 안내판은 작업대 뒤가 아닌 화면 오른쪽 벽면에 붙어 있어 공간 구조가 어긋난다.",
      "entities": "민수와 노인 모두 주어진 레퍼런스와 일치하며, 노인은 지시대로 담요를 덮고 눈을 감은 채 누워 있다.",
      "hard_violations": [],
      "physics": "민수는 쪼그려 앉은 자세로 바닥에 잘 지지되어 있고, 노인 역시 바닥에 안정적으로 누워 있어 물리적 오류는 없다."
     },
     {
      "label": "B",
      "direction": "민수는 바닥에 누운 노인의 얼굴을 주의 깊게 바라보고 있다.",
      "built_space": "작업대가 두 인물의 뒤편에 가로로 배치되어 있으며, 지시된 텍스트가 적힌 아크릴 안내판이 작업대 바로 뒤쪽 벽면에 정확하게 위치해 있다.",
      "entities": "민수와 노인의 외모, 복장, 연령대가 레퍼런스와 잘 일치하며, 담요가 노인을 덮고 있다.",
      "hard_violations": [],
      "physics": "두 인물 모두 중력에 맞게 바닥에 자연스럽게 지지되어 있으며, 쪼그려 앉거나 누워 있는 자세에 무리가 없다."
     }
    ],
    "all_candidates_fail": false,
    "gq": {
     "route": "agree",
     "gap": 0.0,
     "per_model_winner": {
      "gemini-pro": "B",
      "openrouter:x-ai/grok-4.6": "B"
     },
     "models": [
      "gemini-pro",
      "openrouter:x-ai/grok-4.6"
     ]
    }
   },
   "forward_normalized": {
    "winner": "B",
    "ranking": [
     "B",
     "A"
    ],
    "verdicts": [
     {
      "label": "B",
      "score": 9,
      "verdict_ko": "작업대를 인물들 뒤로 배치하고 그 뒤 벽면에 지정된 안내판 텍스트('자전거 수리 공임표')를 정확하게 구현하여 프롬프트의 주요 요구사항을 훌륭히 충족했습니다."
     },
     {
      "label": "A",
      "score": 5,
      "verdict_ko": "작업대를 인물 뒤가 아닌 측면에 배치하고, 안내판을 지정된 위치(작업대 뒤편 벽면)가 아닌 반대쪽 벽에 렌더링하여 공간 배치 및 관계 지시를 명백히 위반했습니다."
     }
    ],
    "all_candidates_fail": false,
    "readings": [
     {
      "label": "A",
      "direction": "민수는 바닥에 누워 있는 노인을 향해 시선을 던지고 있다.",
      "built_space": "작업대는 화면 왼쪽에 세로로 길게 배치되어 있으며, 프롬프트에서 요구한 안내판은 작업대 뒤가 아닌 화면 오른쪽 벽면에 붙어 있어 공간 구조가 어긋난다.",
      "entities": "민수와 노인 모두 주어진 레퍼런스와 일치하며, 노인은 지시대로 담요를 덮고 눈을 감은 채 누워 있다.",
      "hard_violations": [],
      "physics": "민수는 쪼그려 앉은 자세로 바닥에 잘 지지되어 있고, 노인 역시 바닥에 안정적으로 누워 있어 물리적 오류는 없다."
     },
     {
      "label": "B",
      "direction": "민수는 바닥에 누운 노인의 얼굴을 주의 깊게 바라보고 있다.",
      "built_space": "작업대가 두 인물의 뒤편에 가로로 배치되어 있으며, 지시된 텍스트가 적힌 아크릴 안내판이 작업대 바로 뒤쪽 벽면에 정확하게 위치해 있다.",
      "entities": "민수와 노인의 외모, 복장, 연령대가 레퍼런스와 잘 일치하며, 담요가 노인을 덮고 있다.",
      "hard_violations": [],
      "physics": "두 인물 모두 중력에 맞게 바닥에 자연스럽게 지지되어 있으며, 쪼그려 앉거나 누워 있는 자세에 무리가 없다."
     }
    ]
   },
   "reverse_raw": {
    "winner": "A",
    "ranking": [
     "A",
     "B"
    ],
    "verdicts": [
     {
      "label": "A",
      "score": 10,
      "verdict_ko": "카메라 앵글, 밀려난 작업대와 인물의 위치 관계, 지정된 표지판 텍스트와 캐릭터의 외형까지 프롬프트의 모든 지시를 정확하게 구현함."
     },
     {
      "label": "B",
      "score": 6,
      "verdict_ko": "레퍼런스 사진의 구도를 그대로 복사하여 작업대가 인물 뒤가 아닌 측면에 배치되었고, 표지판의 위치도 지정된 곳과 어긋남."
     }
    ],
    "readings": [
     {
      "label": "A",
      "direction": "민수의 시선이 바닥에 눈을 감고 누워 있는 노인의 얼굴을 정확히 향하고 있음.",
      "built_space": "자전거 수리점 내부. 카메라가 측면 벽을 향하게 구성되어, 프롬프트 지시대로 작업대가 두 인물 뒤편에 비스듬히 배치되었으며 그 뒤 벽면에 아크릴 판이 위치함.",
      "entities": "민수(40대 남성, 남색 작업복)와 노인(70대 남성, 얼굴 주름, 덮인 담요) 모두 캐릭터 레퍼런스와 일치함. 벽면에 '자전거 수리 공임표' 텍스트가 정확히 렌더링됨.",
      "hard_violations": [],
      "physics": "노인의 몸은 바닥에 완전히 밀착되어 지지받고 있으며, 민수는 두 발을 바닥에 딛고 자연스럽게 쪼그려 앉아 있음."
     },
     {
      "label": "B",
      "direction": "민수의 시선이 바닥에 누워 있는 노인의 얼굴을 향하고 있음.",
      "built_space": "자전거 수리점 내부. 프롬프트의 앵글 지시를 무시하고 레퍼런스 사진의 복도 뷰 구도를 그대로 차용하여, 작업대가 인물들 뒤가 아닌 왼쪽에 배치됨. 또한 표지판이 작업대 뒤가 아닌 우측 벽면에 있음.",
      "entities": "민수와 노인의 외형 및 복장이 레퍼런스와 잘 일치함. 우측 벽면에 '자전거 수리 공임표' 텍스트가 나타남.",
      "hard_violations": [],
      "physics": "노인은 바닥에 등을 대고 누워 있으며, 민수는 바닥에 안정적으로 쪼그려 앉아 있음."
     }
    ],
    "all_candidates_fail": false,
    "gq": {
     "route": "agree",
     "gap": 0.0,
     "per_model_winner": {
      "gemini-pro": "A",
      "openrouter:x-ai/grok-4.6": "A"
     },
     "models": [
      "gemini-pro",
      "openrouter:x-ai/grok-4.6"
     ]
    }
   },
   "reverse_normalized": {
    "winner": "B",
    "ranking": [
     "B",
     "A"
    ],
    "verdicts": [
     {
      "label": "B",
      "score": 10,
      "verdict_ko": "카메라 앵글, 밀려난 작업대와 인물의 위치 관계, 지정된 표지판 텍스트와 캐릭터의 외형까지 프롬프트의 모든 지시를 정확하게 구현함."
     },
     {
      "label": "A",
      "score": 6,
      "verdict_ko": "레퍼런스 사진의 구도를 그대로 복사하여 작업대가 인물 뒤가 아닌 측면에 배치되었고, 표지판의 위치도 지정된 곳과 어긋남."
     }
    ],
    "all_candidates_fail": false,
    "readings": [
     {
      "label": "B",
      "direction": "민수의 시선이 바닥에 눈을 감고 누워 있는 노인의 얼굴을 정확히 향하고 있음.",
      "built_space": "자전거 수리점 내부. 카메라가 측면 벽을 향하게 구성되어, 프롬프트 지시대로 작업대가 두 인물 뒤편에 비스듬히 배치되었으며 그 뒤 벽면에 아크릴 판이 위치함.",
      "entities": "민수(40대 남성, 남색 작업복)와 노인(70대 남성, 얼굴 주름, 덮인 담요) 모두 캐릭터 레퍼런스와 일치함. 벽면에 '자전거 수리 공임표' 텍스트가 정확히 렌더링됨.",
      "hard_violations": [],
      "physics": "노인의 몸은 바닥에 완전히 밀착되어 지지받고 있으며, 민수는 두 발을 바닥에 딛고 자연스럽게 쪼그려 앉아 있음."
     },
     {
      "label": "A",
      "direction": "민수의 시선이 바닥에 누워 있는 노인의 얼굴을 향하고 있음.",
      "built_space": "자전거 수리점 내부. 프롬프트의 앵글 지시를 무시하고 레퍼런스 사진의 복도 뷰 구도를 그대로 차용하여, 작업대가 인물들 뒤가 아닌 왼쪽에 배치됨. 또한 표지판이 작업대 뒤가 아닌 우측 벽면에 있음.",
      "entities": "민수와 노인의 외형 및 복장이 레퍼런스와 잘 일치함. 우측 벽면에 '자전거 수리 공임표' 텍스트가 나타남.",
      "hard_violations": [],
      "physics": "노인은 바닥에 등을 대고 누워 있으며, 민수는 바닥에 안정적으로 쪼그려 앉아 있음."
     }
    ]
   },
   "combined": {
    "totals": {
     "A": 11,
     "B": 19
    },
    "ranking": [
     "B",
     "A"
    ],
    "agreement": true,
    "policy": 1
   }
  },
  "readings": [
   {
    "label": "A",
    "direction": "민수는 바닥에 누워 있는 노인을 향해 시선을 던지고 있다.",
    "built_space": "작업대는 화면 왼쪽에 세로로 길게 배치되어 있으며, 프롬프트에서 요구한 안내판은 작업대 뒤가 아닌 화면 오른쪽 벽면에 붙어 있어 공간 구조가 어긋난다.",
    "entities": "민수와 노인 모두 주어진 레퍼런스와 일치하며, 노인은 지시대로 담요를 덮고 눈을 감은 채 누워 있다.",
    "hard_violations": [],
    "physics": "민수는 쪼그려 앉은 자세로 바닥에 잘 지지되어 있고, 노인 역시 바닥에 안정적으로 누워 있어 물리적 오류는 없다."
   },
   {
    "label": "B",
    "direction": "민수는 바닥에 누운 노인의 얼굴을 주의 깊게 바라보고 있다.",
    "built_space": "작업대가 두 인물의 뒤편에 가로로 배치되어 있으며, 지시된 텍스트가 적힌 아크릴 안내판이 작업대 바로 뒤쪽 벽면에 정확하게 위치해 있다.",
    "entities": "민수와 노인의 외모, 복장, 연령대가 레퍼런스와 잘 일치하며, 담요가 노인을 덮고 있다.",
    "hard_violations": [],
    "physics": "두 인물 모두 중력에 맞게 바닥에 자연스럽게 지지되어 있으며, 쪼그려 앉거나 누워 있는 자세에 무리가 없다."
   }
  ],
  "totals": {
   "A": 11,
   "B": 19
  },
  "selected": "B",
  "ranking": [
   "B",
   "A"
  ],
  "verdicts": [
   {
    "label": "B",
    "score": 9,
    "verdict_ko": "작업대를 인물들 뒤로 배치하고 그 뒤 벽면에 지정된 안내판 텍스트('자전거 수리 공임표')를 정확하게 구현하여 프롬프트의 주요 요구사항을 훌륭히 충족했습니다."
   },
   {
    "label": "A",
    "score": 5,
    "verdict_ko": "작업대를 인물 뒤가 아닌 측면에 배치하고, 안내판을 지정된 위치(작업대 뒤편 벽면)가 아닌 반대쪽 벽에 렌더링하여 공간 배치 및 관계 지시를 명백히 위반했습니다."
   }
  ],
  "refs": [
   {
    "label": "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.",
    "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/episodes/fb7a883f-baac-4145-9131-732ce628d474/images/background_chain/L01B04.png",
    "asset_id": "6b038158-2102-4daf-aea2-6741b62f54a2",
    "role": "location_plate"
   },
   {
    "label": "CHARACTER REFERENCE — 민수: the exact person appearing in this shot; match face, hair and build exactly.",
    "path": "<bytes:905619>",
    "asset_id": "311223bc-085a-4ce1-938e-e30fb029fa64",
    "role": "character_ref"
   },
   {
    "label": "CHARACTER REFERENCE — 노인: the exact person appearing in this shot; match face, hair and build exactly.",
    "path": "<bytes:1288366>",
    "asset_id": "178c42d7-2c64-43ea-90f8-403b2ee6651f",
    "role": "character_ref"
   }
  ],
  "critique": {
   "issues": [
    {
     "issue_ko": "벽면 아크릴 판의 지정된 텍스트가 '자전거 수위 공임표'로 잘못 기재되었으며, 그 아래로 지시되지 않은 형태가 뭉개진 한글 문장들이 다수 추가되어 있음.",
     "fix_en": "Change the top text on the acrylic board to exactly '자전거 수리 공임표' and erase all other text, prices, and garbled characters below it, leaving that lower area of the board blank white. Preserve the two men, their poses and clothing, the blanket, the workbench, and the rest of the shop's background and lighting.",
     "severity": "critical",
     "observation_index": 0,
     "needs_ref_indices": [],
     "adds_missing_entity": false,
     "missing_entity_name": "",
     "needs_regeneration": false,
     "unfixable": false
    },
    {
     "issue_ko": "한쪽으로 밀린 작업대가 아니라 벽면에 붙은 작업대 앞에 누워 있어 비워진 바닥 공간이 보이지 않는다.",
     "fix_en": "Rotate the workbench so its long side faces the camera obliquely to show it has been pushed aside. Preserve the figures, their poses, and the room's overall layout and lighting.",
     "severity": "major",
     "observation_index": 1,
     "needs_ref_indices": [],
     "adds_missing_entity": false,
     "missing_entity_name": "",
     "needs_regeneration": true,
     "unfixable": false
    },
    {
     "issue_ko": "민수가 노인 얼굴 곁으로 몸을 굽히지 않고 화면 오른쪽 담요 발치에서 떨어져 쪼그리고 있다.",
     "fix_en": "Move Minsu to crouch closely beside the old man's head instead of at his feet. Preserve the old man's pose, the blanket, the workbench, and the shop interior.",
     "severity": "major",
     "observation_index": 2,
     "needs_ref_indices": [],
     "adds_missing_entity": false,
     "missing_entity_name": "",
     "needs_regeneration": true,
     "unfixable": false
    },
    {
     "issue_ko": "민수가 레퍼런스 의상의 파란색 모자와 갈색 벨트를 착용하지 않았다.",
     "fix_en": "Add a blue cap to Minsu's head and a brown belt around his waist. Preserve Minsu's pose and face, his blue coveralls, the old man, the blanket, the workbench, and the shop interior.",
     "severity": "major",
     "observation_index": 3,
     "needs_ref_indices": [
      2
     ],
     "adds_missing_entity": true,
     "missing_entity_name": "blue cap and brown belt",
     "needs_regeneration": false,
     "unfixable": false
    },
    {
     "issue_ko": "노인이 레퍼런스의 비니를 쓰지 않은 채 머리가 바닥에 완전히 드러나 있다.",
     "fix_en": "Add a grey patterned beanie to the old man's head. Preserve the old man's face and pose, the blanket, Minsu, the workbench, and the shop interior.",
     "severity": "minor",
     "observation_index": 5,
     "needs_ref_indices": [
      3
     ],
     "adds_missing_entity": true,
     "missing_entity_name": "beanie",
     "needs_regeneration": false,
     "unfixable": false
    }
   ],
   "observer_observations": [
    {
     "issue_ko": "벽면 아크릴 판의 지정된 텍스트가 '자전거 수위 공임표'로 잘못 기재되었으며, 그 아래로 지시되지 않은 형태가 뭉개진 한글 문장들이 다수 추가되어 있음.",
     "severity": "critical"
    },
    {
     "issue_ko": "한쪽으로 밀린 작업대가 아니라 벽면에 붙은 작업대 앞에 누워 있어 비워진 바닥 공간이 보이지 않는다.",
     "severity": "major"
    },
    {
     "issue_ko": "민수가 노인 얼굴 곁으로 몸을 굽히지 않고 화면 오른쪽 담요 발치에서 떨어져 쪼그리고 있다.",
     "severity": "major"
    },
    {
     "issue_ko": "민수가 레퍼런스 의상의 파란색 모자와 갈색 벨트를 착용하지 않았다.",
     "severity": "major"
    },
    {
     "issue_ko": "작업대 뒤 아크릴판에 지정된 ‘자전거 수리 공임표’ 외에 가격 목록 글자와 숫자가 추가로 읽힌다.",
     "severity": "major"
    },
    {
     "issue_ko": "노인이 레퍼런스의 비니를 쓰지 않은 채 머리가 바닥에 완전히 드러나 있다.",
     "severity": "minor"
    }
   ],
   "observer_models": [
    "gemini-pro",
    "openrouter:x-ai/grok-4.6"
   ],
   "observer_counts": {
    "gemini-pro": 1,
    "openrouter:x-ai/grok-4.6": 5
   }
  },
  "fix_severity_skipped_count": 4,
  "fix_severity_skipped": [
   {
    "issue_ko": "한쪽으로 밀린 작업대가 아니라 벽면에 붙은 작업대 앞에 누워 있어 비워진 바닥 공간이 보이지 않는다.",
    "fix_en": "Rotate the workbench so its long side faces the camera obliquely to show it has been pushed aside. Preserve the figures, their poses, and the room's overall layout and lighting.",
    "severity": "major",
    "observation_index": 1,
    "needs_ref_indices": [],
    "adds_missing_entity": false,
    "missing_entity_name": "",
    "needs_regeneration": true,
    "unfixable": false
   },
   {
    "issue_ko": "민수가 노인 얼굴 곁으로 몸을 굽히지 않고 화면 오른쪽 담요 발치에서 떨어져 쪼그리고 있다.",
    "fix_en": "Move Minsu to crouch closely beside the old man's head instead of at his feet. Preserve the old man's pose, the blanket, the workbench, and the shop interior.",
    "severity": "major",
    "observation_index": 2,
    "needs_ref_indices": [],
    "adds_missing_entity": false,
    "missing_entity_name": "",
    "needs_regeneration": true,
    "unfixable": false
   },
   {
    "issue_ko": "민수가 레퍼런스 의상의 파란색 모자와 갈색 벨트를 착용하지 않았다.",
    "fix_en": "Add a blue cap to Minsu's head and a brown belt around his waist. Preserve Minsu's pose and face, his blue coveralls, the old man, the blanket, the workbench, and the shop interior.",
    "severity": "major",
    "observation_index": 3,
    "needs_ref_indices": [
     2
    ],
    "adds_missing_entity": true,
    "missing_entity_name": "blue cap and brown belt",
    "needs_regeneration": false,
    "unfixable": false
   },
   {
    "issue_ko": "노인이 레퍼런스의 비니를 쓰지 않은 채 머리가 바닥에 완전히 드러나 있다.",
    "fix_en": "Add a grey patterned beanie to the old man's head. Preserve the old man's face and pose, the blanket, Minsu, the workbench, and the shop interior.",
    "severity": "minor",
    "observation_index": 5,
    "needs_ref_indices": [
     3
    ],
    "adds_missing_entity": true,
    "missing_entity_name": "beanie",
    "needs_regeneration": false,
    "unfixable": false
   }
  ],
  "repair_mode": "edit",
  "fix_ref_gate": {
   "mode": "gated",
   "available": 3,
   "kept": 0,
   "requested_indices": [],
   "kept_labels": []
  },
  "fix_ref_count": 1,
  "fix_prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Change the top text on the acrylic board to exactly '자전거 수리 공임표' and erase all other text, prices, and garbled characters below it, leaving that lower area of the board blank white. Preserve the two men, their poses and clothing, the blanket, the workbench, and the rest of the shop's background and lighting.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. Real-world writing that belongs\nto the scene — signs, banners, documents — stays exactly as the\noriginal shows it; do not add captions, subtitles, watermarks or\nany overlay text.",
  "fix_rejudge": {
   "forward_raw": {
    "winner": "B",
    "ranking": [
     "B",
     "A"
    ],
    "verdicts": [
     {
      "label": "B",
      "score": 7,
      "verdict_ko": "요구되지 않은 임의의 문구들을 성공적으로 제거하고 지시된 '자전거 수리 공임표' 텍스트만 정확하게 묘사하여 간판 제약 조건을 완벽히 이행했습니다."
     },
     {
      "label": "A",
      "score": 5,
      "verdict_ko": "인물과 배경의 구성은 좋으나, 아크릴 판에 지시되지 않은 의미 불명의 텍스트와 숫자를 다수 추가하여 텍스트 제약 조건을 위반했습니다."
     }
    ],
    "readings": [
     {
      "label": "B",
      "direction": "민수의 시선이 바닥에 누운 노인의 얼굴을 향하고 있음.",
      "built_space": "자전거 수리점 내부로, 인물들 뒤로 작업대가 밀려나 빈 바닥 공간이 확보되었으며 뒤쪽 벽면에 아크릴 판이 위치함.",
      "entities": "민수와 노인 모두 참조 이미지의 인상착의와 정확히 일치하며, 노인은 눈을 감고 담요를 덮은 채 누워 있음.",
      "hard_violations": [],
      "physics": "노인의 몸은 바닥에 완전히 밀착되어 지지를 받고 있으며, 민수는 두 발로 바닥을 딛고 안정적으로 쪼그려 앉아 있음."
     },
     {
      "label": "A",
      "direction": "민수의 시선이 바닥에 누운 노인의 얼굴을 향하고 있음.",
      "built_space": "자전거 수리점 내부로, 인물들 뒤로 작업대가 밀려나 빈 바닥 공간이 확보되었으며 뒤쪽 벽면에 아크릴 판이 위치함.",
      "entities": "민수와 노인 모두 참조 이미지의 인상착의와 정확히 일치하며, 노인은 눈을 감고 담요를 덮은 채 누워 있음.",
      "hard_violations": [],
      "physics": "노인의 몸은 바닥에 완전히 밀착되어 지지를 받고 있으며, 민수는 두 발로 바닥을 딛고 안정적으로 쪼그려 앉아 있음."
     }
    ],
    "all_candidates_fail": false,
    "gq": {
     "route": "agree",
     "gap": 0.0,
     "per_model_winner": {
      "gemini-pro": "B",
      "openrouter:x-ai/grok-4.6": "B"
     },
     "models": [
      "gemini-pro",
      "openrouter:x-ai/grok-4.6"
     ]
    }
   },
   "forward_normalized": {
    "winner": "B",
    "ranking": [
     "B",
     "A"
    ],
    "verdicts": [
     {
      "label": "B",
      "score": 7,
      "verdict_ko": "요구되지 않은 임의의 문구들을 성공적으로 제거하고 지시된 '자전거 수리 공임표' 텍스트만 정확하게 묘사하여 간판 제약 조건을 완벽히 이행했습니다."
     },
     {
      "label": "A",
      "score": 5,
      "verdict_ko": "인물과 배경의 구성은 좋으나, 아크릴 판에 지시되지 않은 의미 불명의 텍스트와 숫자를 다수 추가하여 텍스트 제약 조건을 위반했습니다."
     }
    ],
    "all_candidates_fail": false,
    "readings": [
     {
      "label": "B",
      "direction": "민수의 시선이 바닥에 누운 노인의 얼굴을 향하고 있음.",
      "built_space": "자전거 수리점 내부로, 인물들 뒤로 작업대가 밀려나 빈 바닥 공간이 확보되었으며 뒤쪽 벽면에 아크릴 판이 위치함.",
      "entities": "민수와 노인 모두 참조 이미지의 인상착의와 정확히 일치하며, 노인은 눈을 감고 담요를 덮은 채 누워 있음.",
      "hard_violations": [],
      "physics": "노인의 몸은 바닥에 완전히 밀착되어 지지를 받고 있으며, 민수는 두 발로 바닥을 딛고 안정적으로 쪼그려 앉아 있음."
     },
     {
      "label": "A",
      "direction": "민수의 시선이 바닥에 누운 노인의 얼굴을 향하고 있음.",
      "built_space": "자전거 수리점 내부로, 인물들 뒤로 작업대가 밀려나 빈 바닥 공간이 확보되었으며 뒤쪽 벽면에 아크릴 판이 위치함.",
      "entities": "민수와 노인 모두 참조 이미지의 인상착의와 정확히 일치하며, 노인은 눈을 감고 담요를 덮은 채 누워 있음.",
      "hard_violations": [],
      "physics": "노인의 몸은 바닥에 완전히 밀착되어 지지를 받고 있으며, 민수는 두 발로 바닥을 딛고 안정적으로 쪼그려 앉아 있음."
     }
    ]
   },
   "reverse_raw": {
    "winner": "A",
    "ranking": [
     "A",
     "B"
    ],
    "verdicts": [
     {
      "label": "A",
      "score": 8,
      "verdict_ko": "지정된 간판 텍스트만 표기하고 추가 문구를 넣지 말라는 지시를 완벽히 준수했으며, 인물의 위치와 시선 처리도 매우 충실합니다."
     },
     {
      "label": "B",
      "score": 6,
      "verdict_ko": "전반적인 연출은 우수하나, 아크릴 판에 지정되지 않은 임의의 가격표 텍스트를 다수 추가하여 '다른 텍스트를 넣지 말라'는 엄격한 지시를 위반했습니다."
     }
    ],
    "readings": [
     {
      "label": "A",
      "direction": "민수의 시선이 바닥에 누워 있는 노인의 얼굴을 향해 정확히 고정되어 있음.",
      "built_space": "자전거 수리점 내부로, 밀려난 작업대와 벽면의 공구들, 지시된 텍스트만 적힌 아크릴 판이 공간적 맥락에 맞게 배치됨.",
      "entities": "민수(40대, 짙은 머리, 파란 작업복)와 노인(70대, 희끗한 머리, 눈을 감음) 모두 참조 이미지 및 요구사항과 일치하며, 노인을 덮은 담요도 명확함.",
      "hard_violations": [],
      "physics": "노인은 바닥에 완전히 밀착되어 중력에 맞게 누워 있고, 민수 역시 두 발로 바닥을 딛고 안정적으로 쭈그려 앉아 체중을 지지함."
     },
     {
      "label": "B",
      "direction": "민수의 시선이 바닥에 누워 있는 노인의 얼굴을 향해 정확히 고정되어 있음.",
      "built_space": "자전거 수리점 내부로, 뒤편에 밀려난 작업대와 공구들이 보이며, 벽면 아크릴 판에 지시되지 않은 항목들이 채워져 있음.",
      "entities": "민수와 노인의 인상착의 및 복장이 참조와 일치하며, 지시된 소품(담요)도 잘 표현됨.",
      "hard_violations": [],
      "physics": "노인은 바닥에 자연스럽게 누워 지지받고 있으며, 민수는 쭈그려 앉은 자세로 두 발이 바닥에 안정적으로 닿아 있음."
     }
    ],
    "all_candidates_fail": false,
    "gq": {
     "route": "agree",
     "gap": 0.0,
     "per_model_winner": {
      "gemini-pro": "A",
      "openrouter:x-ai/grok-4.6": "A"
     },
     "models": [
      "gemini-pro",
      "openrouter:x-ai/grok-4.6"
     ]
    }
   },
   "reverse_normalized": {
    "winner": "B",
    "ranking": [
     "B",
     "A"
    ],
    "verdicts": [
     {
      "label": "B",
      "score": 8,
      "verdict_ko": "지정된 간판 텍스트만 표기하고 추가 문구를 넣지 말라는 지시를 완벽히 준수했으며, 인물의 위치와 시선 처리도 매우 충실합니다."
     },
     {
      "label": "A",
      "score": 6,
      "verdict_ko": "전반적인 연출은 우수하나, 아크릴 판에 지정되지 않은 임의의 가격표 텍스트를 다수 추가하여 '다른 텍스트를 넣지 말라'는 엄격한 지시를 위반했습니다."
     }
    ],
    "all_candidates_fail": false,
    "readings": [
     {
      "label": "B",
      "direction": "민수의 시선이 바닥에 누워 있는 노인의 얼굴을 향해 정확히 고정되어 있음.",
      "built_space": "자전거 수리점 내부로, 밀려난 작업대와 벽면의 공구들, 지시된 텍스트만 적힌 아크릴 판이 공간적 맥락에 맞게 배치됨.",
      "entities": "민수(40대, 짙은 머리, 파란 작업복)와 노인(70대, 희끗한 머리, 눈을 감음) 모두 참조 이미지 및 요구사항과 일치하며, 노인을 덮은 담요도 명확함.",
      "hard_violations": [],
      "physics": "노인은 바닥에 완전히 밀착되어 중력에 맞게 누워 있고, 민수 역시 두 발로 바닥을 딛고 안정적으로 쭈그려 앉아 체중을 지지함."
     },
     {
      "label": "A",
      "direction": "민수의 시선이 바닥에 누워 있는 노인의 얼굴을 향해 정확히 고정되어 있음.",
      "built_space": "자전거 수리점 내부로, 뒤편에 밀려난 작업대와 공구들이 보이며, 벽면 아크릴 판에 지시되지 않은 항목들이 채워져 있음.",
      "entities": "민수와 노인의 인상착의 및 복장이 참조와 일치하며, 지시된 소품(담요)도 잘 표현됨.",
      "hard_violations": [],
      "physics": "노인은 바닥에 자연스럽게 누워 지지받고 있으며, 민수는 쭈그려 앉은 자세로 두 발이 바닥에 안정적으로 닿아 있음."
     }
    ]
   },
   "combined": {
    "totals": {
     "A": 11,
     "B": 15
    },
    "ranking": [
     "B",
     "A"
    ],
    "agreement": true,
    "policy": 1
   },
   "winner": "B",
   "fix_won": true,
   "all_candidates_fail": false,
   "policy": "fix_rejudge_v2_orig_on_tie"
  },
  "shot_run_produced": true,
  "shot_run_uid": "06a8cb18-a1ae-7ee9-b259-9c6802c74ac0",
  "bgfirst": {
   "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/images/fb7a883f-baac-4145-9131-732ce628d474/scene/recipe/S3sh1__bgfirst_bg.png",
   "bg_asset_id": "2ccf3abb-3b1f-4508-9709-e3d3a06b54e9",
   "bg_record_key": "S3sh1::bgfirst_bg",
   "chain_winner": false,
   "authority": "plate"
  },
  "ref_mode": "플레이트+엔티티 (2택1: 무콘티 승)",
  "share_plan": {
   "ref_plan": "background"
  }
 },
 "S3sh1::cine": {
  "applied": true,
  "fingerprint": "534c8a71ca5559221c3c60771d61cc3dab00720992a85727630e27ff4e52d2e8",
  "model": "x-ai/grok-imagine-image-2.0",
  "pack": "20.202608141300",
  "source_file": "S3sh1_sel.png",
  "source_sha256": "fb093d209316a32bad2a658a3262662078a9c70a08ea0b1a104fcbbd2d52962f",
  "file": "S3sh1_cine.png",
  "latency_ms": 14139
 },
 "S3sh5::signage": {
  "fp": "494baf6a688fff9c",
  "inscriptions": [
   {
    "surface_native": "벽면 표지판",
    "text_native": "자전거 수리",
    "reason_ko": "자전거 정비소 내부라는 공간의 정체성을 직관적으로 나타내기 위해 벽면에 부착된 수리 안내 표지판이 필요합니다."
   }
  ]
 },
 "S3sh5": {
  "input_fingerprint": "ff5af801b6831dbc",
  "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean-speaking unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 천장의 형광등 불빛이 꺼져 일순간 어두워진 좁은 정비소 실내 전경. 바닥의 노인, 쪼그려 앉은 민수, 문가의 연희가 희미하게 보인다.\n\nLOCATION (lock): The full cramped interior of the bicycle repair shop, spanning the cleared floor, the shifted workbench, and the entrance doorway. The ceiling fluorescent light has momentarily gone out, leaving the occupants only faintly visible in the darkened room. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Complete the crane withdrawal high near an interior corner and hold a steep oblique wide view across the entire narrow workshop: the old man lies low near center, Minsu remains folded beside him, and Yeonhee is separated at the doorway. At the instant the fluorescent light goes out, the changed lighting is the single emphasized axis; the three figures retain their established positions, with Minsu attending to the old man and Yeonhee looking out toward the alley.\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 노인; 연희 in the upper-left of the frame, background, looks toward 골목.\n- KEY BACKGROUND ELEMENTS: 한쪽으로 밀린 작업대 (한쪽에 옮겨져 있음) — Its top and long side are visible from above along the room's edge; used as Clarifies the cleared floor layout in the high wide composition; 정비소 문 (연희가 문가에서 골목 쪽을 내다봄) — The doorway is viewed diagonally from the opposite interior corner, with its opening beyond Yeonhee; used as Anchors Yeonhee at the far edge of the room and establishes her outward attention; 손전등 (연희가 껐다 켰다 하는 중) — Its body is faintly visible in Yeonhee's hand, angled toward the doorway area; used as Remains a small readable prop associated with Yeonhee without becoming the dominant light cue; 담요 (바닥의 노인을 덮고 있음); used as Keeps the old man's prone position distinguishable in the dim wide view.\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: As the fluorescent light goes out, the workshop falls abruptly into restrained low-key darkness with all three figures only faintly legible.\n- MATERIAL REALISM: every object and surface must read as a real,\n  physical material — correct texture, weight, wear and light response\n  (metal reflects, fabric drapes and creases, liquid is glossy and\n  pools, painted or drawn marks sit ON a surface and follow its\n  curvature and lighting). Nothing may look like a flat sticker, a\n  doodle or a graphic overlay pasted onto the frame.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established about the place — its fixed features, wear and lighting — persists. The clothing, hair and overall look of 노인, 민수 — who appear both in that photo and in this shot — are LOCKED to that photo. Anyone else visible in that photo is NOT in this shot: never carry their face, body or clothing onto anyone here. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the cramped workshop layout, the workbench shifted to one side, and the established floor positions of the blanket-covered elderly figure and the crouching mechanic. Preserve the room’s materials and the doorway area, with the raincoat-wearing young woman standing there. Exclude the previously bright fluorescent illumination; show the ceiling light switched off and the entire room only faintly visible.\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\nIMMOBILE BODIES OBEY GRAVITY: a person who is dead or unconscious\nexerts NO muscular effort. Every part of their body — head, torso,\narms, hands, fingers, legs — rests fully on whatever supports it\n(floor, wall, furniture, their own lap) and hangs or slumps with\ngravity. NEVER show any part of an immobile person's body lifted,\nraised, held up in the air, or posed as if presenting something:\nan object in their grip stays clenched in a hand that itself lies\nfallen on a support — the hand does not hold the object up. If the\ncanonical pose leaves a body part unspecified, resolve it as the\nmost gravity-compliant, fully-supported position.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): During the fluorescent light’s momentary blackout, the old man remains positioned horizontally on the repair-shop floor with his eyes closed and a blanket covering his body, Minsu remains crouched beside him, and Yeonhui remains at the doorway holding the flashlight. The workbench stays pushed aside, with the previously established inverted bicycle, open toolbox, and wrench otherwise undisturbed.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민수 (한국인 남성, 40대 중년 얼굴, 자연스러운 검은 머리); 연희 (한국인 여성, 20대 젊은 얼굴, 자연스러운 검은 머리); 노인 (한국인 남성, 70대 노년 얼굴, 자연스러운 얼굴 주름, 희끗한 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nSIGNAGE TEXT (authoritative — the scene itself calls for these inscriptions; render each on its surface as period-real physical lettering in the native script, exactly as written; add no other readable text anywhere):\n- 벽면 표지판: \"자전거 수리\"\n\nReal-world writing that this scene itself calls for — shop signs,\nbanners, posters, documents, vehicle or building markings — may appear,\nwritten naturally in the language this place and era establish; never\nsubstitute another language's lettering. Only writing the scene calls\nfor: do not invent signage or lettering the shot and location text do\nnot imply, and never print the shot description itself onto the image.\nNo captions, subtitles, watermarks, logos or any overlay text floating\noutside the physical scene. Where exact printed figures would decide\nthe shot — a banknote's denomination, a document's numbers — stage that\nface out of legibility (a hand across it, an oblique angle, shallow\nfocus): printed figures do not render to instruction.",
  "roll_prompts": {
   "A": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean-speaking unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 천장의 형광등 불빛이 꺼져 일순간 어두워진 좁은 정비소 실내 전경. 바닥의 노인, 쪼그려 앉은 민수, 문가의 연희가 희미하게 보인다.\n\nLOCATION (lock): The full cramped interior of the bicycle repair shop, spanning the cleared floor, the shifted workbench, and the entrance doorway. The ceiling fluorescent light has momentarily gone out, leaving the occupants only faintly visible in the darkened room. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Complete the crane withdrawal high near an interior corner and hold a steep oblique wide view across the entire narrow workshop: the old man lies low near center, Minsu remains folded beside him, and Yeonhee is separated at the doorway. At the instant the fluorescent light goes out, the changed lighting is the single emphasized axis; the three figures retain their established positions, with Minsu attending to the old man and Yeonhee looking out toward the alley.\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 노인; 연희 in the upper-left of the frame, background, looks toward 골목.\n- KEY BACKGROUND ELEMENTS: 한쪽으로 밀린 작업대 (한쪽에 옮겨져 있음) — Its top and long side are visible from above along the room's edge; used as Clarifies the cleared floor layout in the high wide composition; 정비소 문 (연희가 문가에서 골목 쪽을 내다봄) — The doorway is viewed diagonally from the opposite interior corner, with its opening beyond Yeonhee; used as Anchors Yeonhee at the far edge of the room and establishes her outward attention; 손전등 (연희가 껐다 켰다 하는 중) — Its body is faintly visible in Yeonhee's hand, angled toward the doorway area; used as Remains a small readable prop associated with Yeonhee without becoming the dominant light cue; 담요 (바닥의 노인을 덮고 있음); used as Keeps the old man's prone position distinguishable in the dim wide view.\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: As the fluorescent light goes out, the workshop falls abruptly into restrained low-key darkness with all three figures only faintly legible.\n- MATERIAL REALISM: every object and surface must read as a real,\n  physical material — correct texture, weight, wear and light response\n  (metal reflects, fabric drapes and creases, liquid is glossy and\n  pools, painted or drawn marks sit ON a surface and follow its\n  curvature and lighting). Nothing may look like a flat sticker, a\n  doodle or a graphic overlay pasted onto the frame.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established about the place — its fixed features, wear and lighting — persists. The clothing, hair and overall look of 노인, 민수 — who appear both in that photo and in this shot — are LOCKED to that photo. Anyone else visible in that photo is NOT in this shot: never carry their face, body or clothing onto anyone here. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the cramped workshop layout, the workbench shifted to one side, and the established floor positions of the blanket-covered elderly figure and the crouching mechanic. Preserve the room’s materials and the doorway area, with the raincoat-wearing young woman standing there. Exclude the previously bright fluorescent illumination; show the ceiling light switched off and the entire room only faintly visible.\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\nIMMOBILE BODIES OBEY GRAVITY: a person who is dead or unconscious\nexerts NO muscular effort. Every part of their body — head, torso,\narms, hands, fingers, legs — rests fully on whatever supports it\n(floor, wall, furniture, their own lap) and hangs or slumps with\ngravity. NEVER show any part of an immobile person's body lifted,\nraised, held up in the air, or posed as if presenting something:\nan object in their grip stays clenched in a hand that itself lies\nfallen on a support — the hand does not hold the object up. If the\ncanonical pose leaves a body part unspecified, resolve it as the\nmost gravity-compliant, fully-supported position.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): During the fluorescent light’s momentary blackout, the old man remains positioned horizontally on the repair-shop floor with his eyes closed and a blanket covering his body, Minsu remains crouched beside him, and Yeonhui remains at the doorway holding the flashlight. The workbench stays pushed aside, with the previously established inverted bicycle, open toolbox, and wrench otherwise undisturbed.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민수 (한국인 남성, 40대 중년 얼굴, 자연스러운 검은 머리); 연희 (한국인 여성, 20대 젊은 얼굴, 자연스러운 검은 머리); 노인 (한국인 남성, 70대 노년 얼굴, 자연스러운 얼굴 주름, 희끗한 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nSIGNAGE TEXT (authoritative — the scene itself calls for these inscriptions; render each on its surface as period-real physical lettering in the native script, exactly as written; add no other readable text anywhere):\n- 벽면 표지판: \"자전거 수리\"\n\nReal-world writing that this scene itself calls for — shop signs,\nbanners, posters, documents, vehicle or building markings — may appear,\nwritten naturally in the language this place and era establish; never\nsubstitute another language's lettering. Only writing the scene calls\nfor: do not invent signage or lettering the shot and location text do\nnot imply, and never print the shot description itself onto the image.\nNo captions, subtitles, watermarks, logos or any overlay text floating\noutside the physical scene. Where exact printed figures would decide\nthe shot — a banknote's denomination, a document's numbers — stage that\nface out of legibility (a hand across it, an oblique angle, shallow\nfocus): printed figures do not render to instruction.",
   "B": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean-speaking unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 천장의 형광등 불빛이 꺼져 일순간 어두워진 좁은 정비소 실내 전경. 바닥의 노인, 쪼그려 앉은 민수, 문가의 연희가 희미하게 보인다.\n\nLOCATION (lock): The full cramped interior of the bicycle repair shop, spanning the cleared floor, the shifted workbench, and the entrance doorway. The ceiling fluorescent light has momentarily gone out, leaving the occupants only faintly visible in the darkened room. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Complete the crane withdrawal high near an interior corner and hold a steep oblique wide view across the entire narrow workshop: the old man lies low near center, Minsu remains folded beside him, and Yeonhee is separated at the doorway. At the instant the fluorescent light goes out, the changed lighting is the single emphasized axis; the three figures retain their established positions, with Minsu attending to the old man and Yeonhee looking out toward the alley.\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 노인; 연희 in the upper-left of the frame, background, looks toward 골목.\n- KEY BACKGROUND ELEMENTS: 한쪽으로 밀린 작업대 (한쪽에 옮겨져 있음) — Its top and long side are visible from above along the room's edge; used as Clarifies the cleared floor layout in the high wide composition; 정비소 문 (연희가 문가에서 골목 쪽을 내다봄) — The doorway is viewed diagonally from the opposite interior corner, with its opening beyond Yeonhee; used as Anchors Yeonhee at the far edge of the room and establishes her outward attention; 손전등 (연희가 껐다 켰다 하는 중) — Its body is faintly visible in Yeonhee's hand, angled toward the doorway area; used as Remains a small readable prop associated with Yeonhee without becoming the dominant light cue; 담요 (바닥의 노인을 덮고 있음); used as Keeps the old man's prone position distinguishable in the dim wide view.\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: As the fluorescent light goes out, the workshop falls abruptly into restrained low-key darkness with all three figures only faintly legible.\n- MATERIAL REALISM: every object and surface must read as a real,\n  physical material — correct texture, weight, wear and light response\n  (metal reflects, fabric drapes and creases, liquid is glossy and\n  pools, painted or drawn marks sit ON a surface and follow its\n  curvature and lighting). Nothing may look like a flat sticker, a\n  doodle or a graphic overlay pasted onto the frame.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established about the place — its fixed features, wear and lighting — persists. The clothing, hair and overall look of 노인, 민수 — who appear both in that photo and in this shot — are LOCKED to that photo. Anyone else visible in that photo is NOT in this shot: never carry their face, body or clothing onto anyone here. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the cramped workshop layout, the workbench shifted to one side, and the established floor positions of the blanket-covered elderly figure and the crouching mechanic. Preserve the room’s materials and the doorway area, with the raincoat-wearing young woman standing there. Exclude the previously bright fluorescent illumination; show the ceiling light switched off and the entire room only faintly visible.\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\nIMMOBILE BODIES OBEY GRAVITY: a person who is dead or unconscious\nexerts NO muscular effort. Every part of their body — head, torso,\narms, hands, fingers, legs — rests fully on whatever supports it\n(floor, wall, furniture, their own lap) and hangs or slumps with\ngravity. NEVER show any part of an immobile person's body lifted,\nraised, held up in the air, or posed as if presenting something:\nan object in their grip stays clenched in a hand that itself lies\nfallen on a support — the hand does not hold the object up. If the\ncanonical pose leaves a body part unspecified, resolve it as the\nmost gravity-compliant, fully-supported position.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): During the fluorescent light’s momentary blackout, the old man remains positioned horizontally on the repair-shop floor with his eyes closed and a blanket covering his body, Minsu remains crouched beside him, and Yeonhui remains at the doorway holding the flashlight. The workbench stays pushed aside, with the previously established inverted bicycle, open toolbox, and wrench otherwise undisturbed.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민수 (한국인 남성, 40대 중년 얼굴, 자연스러운 검은 머리); 연희 (한국인 여성, 20대 젊은 얼굴, 자연스러운 검은 머리); 노인 (한국인 남성, 70대 노년 얼굴, 자연스러운 얼굴 주름, 희끗한 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nSIGNAGE TEXT (authoritative — the scene itself calls for these inscriptions; render each on its surface as period-real physical lettering in the native script, exactly as written; add no other readable text anywhere):\n- 벽면 표지판: \"자전거 수리\"\n\nReal-world writing that this scene itself calls for — shop signs,\nbanners, posters, documents, vehicle or building markings — may appear,\nwritten naturally in the language this place and era establish; never\nsubstitute another language's lettering. Only writing the scene calls\nfor: do not invent signage or lettering the shot and location text do\nnot imply, and never print the shot description itself onto the image.\nNo captions, subtitles, watermarks, logos or any overlay text floating\noutside the physical scene. Where exact printed figures would decide\nthe shot — a banknote's denomination, a document's numbers — stage that\nface out of legibility (a hand across it, an oblique angle, shallow\nfocus): printed figures do not render to instruction.\n\nCOMPOSITION VARIATION (this candidate only): keep the place, the people and the moment exactly as specified, but reframe like a film director choosing a different setup — a different angle, height, distance or foreground layer from the obvious one. For this candidate only, treat the CAMERA & FRAME contract above as a baseline to depart from, not a lock; the references and the shot text fix WHAT is seen, not WHERE the camera stands. Stay true to any explicit framing the SHOT TEXT itself dictates."
  },
  "shot_run_spend_attempt_count": 1,
  "readings": [
   {
    "label": "A",
    "direction": "민수는 바닥의 노인을 향해 시선을 두고, 연희는 골목 쪽을 바라보며 손전등을 문가로 향하고 있다.",
    "built_space": "왼쪽의 작업대와 안쪽 출입문 위치는 유지되었으나, 이전 샷의 금속 셔터문 대신 유리문이 생겼고 오른쪽의 자전거가 뒤집혀 있지 않고 세워져 있다.",
    "entities": "민수와 노인은 레퍼런스와 일치하며 연희도 노란 우비를 입고 있다. 지정된 '자전거 수리' 간판이 우측 벽에 있으나, 출입문 유리에 불필요한 문자가 기재되어 있으며 천장의 조명이 여전히 밝다.",
    "hard_violations": [
     "leaked markers/diagrams/text (출입문 유리에 지시되지 않은 텍스트 생성)"
    ],
    "physics": "노인은 바닥에 누워 있고 민수는 쭈그려 앉았으며 연희는 서 있다. 모든 인물과 사물은 표면에 정상적으로 지지되어 있다."
   },
   {
    "label": "B",
    "direction": "민수는 바닥의 노인을 바라보고, 연희는 출입문 밖을 보며 손전등으로 그곳을 비추고 있다.",
    "built_space": "작업대가 왼쪽에 밀려 있고, 안쪽 출입문의 금속 셔터문 및 오른쪽의 뒤집힌 자전거 등 이전 샷의 구조가 정확히 반영되었다.",
    "entities": "민수와 노인은 외형과 복장이 일치하나, 연희는 단발머리로 표현되어 레퍼런스와 차이가 있다. 왼쪽 벽면에 '자전거 수리' 표지판이 정확히 렌더링되었다.",
    "hard_violations": [],
    "physics": "노인은 바닥에 안정적으로 누워 있고, 민수는 쭈그려 앉아 있으며 연희도 바닥에 굳건히 서 있다. 작업대와 사물들도 안정적으로 배치됨."
   }
  ],
  "gq": {
   "route": "agree",
   "gap": 0.0,
   "per_model_winner": {
    "gemini-pro": "B",
    "openrouter:x-ai/grok-4.6": "B"
   },
   "models": [
    "gemini-pro",
    "openrouter:x-ai/grok-4.6"
   ]
  },
  "totals": {
   "B": 8,
   "A": 4
  },
  "selected": "B",
  "ranking": [
   "B",
   "A"
  ],
  "verdicts": [
   {
    "label": "B",
    "score": 8,
    "verdict_ko": "연희의 머리 길이가 레퍼런스와 다소 다르지만, 형광등이 꺼진 어두운 실내 분위기와 이전 샷의 디테일(뒤집힌 자전거, 금속 셔터문 등)을 충실히 구현했습니다."
   },
   {
    "label": "A",
    "score": 4,
    "verdict_ko": "형광등이 여전히 켜져 있어 조명 지시를 어겼으며, 출입문에 지시되지 않은 정체불명의 문자가 생성되어 텍스트 규칙을 위반했습니다."
   }
  ],
  "refs": [
   {
    "label": "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features and lighting mood are LOCKED to this photo; never copy its camera framing. The clothing, hair and overall look of 노인, 민수 — who appear both in that photo and in this shot — are LOCKED to that photo. Anyone else visible in that photo is NOT in this shot: never carry their face, body or clothing onto anyone here. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.",
    "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/images/fb7a883f-baac-4145-9131-732ce628d474/scene/recipe/S3sh1_sel.png",
    "asset_id": "b254f725-ed35-4dbb-9e9e-9c2fb71d129e",
    "role": "prev_still"
   },
   {
    "label": "CHARACTER REFERENCE — 민수: the exact person appearing in this shot; match face, hair and build exactly.",
    "path": "<bytes:905619>",
    "asset_id": "311223bc-085a-4ce1-938e-e30fb029fa64",
    "role": "character_ref"
   },
   {
    "label": "CHARACTER REFERENCE — 연희: the exact person appearing in this shot; match face, hair and build exactly.",
    "path": "<bytes:866991>",
    "asset_id": "2f7ec884-28aa-4c8d-aef4-b87cb69a9e2b",
    "role": "character_ref"
   },
   {
    "label": "PROP REFERENCE — 휴대용 손전등: the exact object appearing in this shot; match its look, material and wear exactly.",
    "path": "<bytes:948922>",
    "asset_id": "7ff21b78-a03e-4c4e-a9f1-ca6be32509d4",
    "role": "prop_ref"
   }
  ],
  "critique": {
   "issues": [
    {
     "issue_ko": "이전 컷에서 바닥의 노인은 머리가 왼쪽 작업대를 향해 가로로 누워있었으나, 이 사진에서는 머리가 뒤쪽 문을 향해 세로로 누워 있어 고정된 신체 방향 지침을 위반했습니다.",
     "fix_en": "Redraw the old man on the floor so his body lies perpendicular to the left workbench, with his head pointing toward the workbench and feet toward the right side, while preserving the room geometry, lighting, Minsu's pose, Yeonhee's position, and the exact framing.",
     "severity": "critical",
     "observation_index": 0,
     "needs_ref_indices": [
      1
     ],
     "adds_missing_entity": false,
     "missing_entity_name": "",
     "needs_regeneration": true,
     "unfixable": false
    },
    {
     "issue_ko": "연희의 머리가 레퍼런스 이미지의 긴 생머리와 달리 짧은 단발머리로 렌더링되어 캐릭터의 외형이 일치하지 않습니다.",
     "fix_en": "Replace the short hair of the woman in the doorway with long, straight black hair falling past her shoulders, while strictly preserving her face, yellow raincoat, the flashlight in her hand, the dark ambient lighting, the room layout, and the exact appearances and positions of Minsu and the old man on the floor.",
     "severity": "critical",
     "observation_index": 1,
     "needs_ref_indices": [
      3
     ],
     "adds_missing_entity": false,
     "missing_entity_name": "",
     "needs_regeneration": false,
     "unfixable": false
    },
    {
     "issue_ko": "이전 컷에 없던 자전거 바퀴와 프레임이 왼쪽 작업대 위에 새롭게 추가되었습니다.",
     "fix_en": "Remove the bicycle wheel and frame from the top of the left workbench, restoring the flat metal surface, while preserving the black toolbox, the room lighting, the background doorway, and all characters in their current positions.",
     "severity": "major",
     "observation_index": 2,
     "needs_ref_indices": [
      1
     ],
     "adds_missing_entity": false,
     "missing_entity_name": "",
     "needs_regeneration": false,
     "unfixable": false
    },
    {
     "issue_ko": "형광등이 꺼져 세 인물이 희미해야 하는데 실내가 여전히 밝아 노인·민수·연희가 또렷이 보임",
     "fix_en": "Darken the overall lighting of the scene to a low-key dimness where the figures are only faintly legible, while preserving the established room layout, camera framing, and the exact positions and clothing of all three characters.",
     "severity": "major",
     "observation_index": 3,
     "needs_ref_indices": [],
     "adds_missing_entity": false,
     "missing_entity_name": "",
     "needs_regeneration": false,
     "unfixable": false
    },
    {
     "issue_ko": "문가 연희가 골목이 아니라 실내 노인·민수 쪽을 바라봄",
     "fix_en": "Turn the head of the woman in the doorway so she faces outward toward the alley behind her, while maintaining her body position, yellow raincoat, the flashlight, the background darkness, and the exact poses of the two men on the floor.",
     "severity": "major",
     "observation_index": 4,
     "needs_ref_indices": [],
     "adds_missing_entity": false,
     "missing_entity_name": "",
     "needs_regeneration": false,
     "unfixable": false
    }
   ],
   "observer_observations": [
    {
     "issue_ko": "이전 컷에서 바닥의 노인은 머리가 왼쪽 작업대를 향해 가로로 누워있었으나, 이 사진에서는 머리가 뒤쪽 문을 향해 세로로 누워 있어 고정된 신체 방향 지침을 위반했습니다.",
     "severity": "critical"
    },
    {
     "issue_ko": "연희의 머리가 레퍼런스 이미지의 긴 생머리와 달리 짧은 단발머리로 렌더링되어 캐릭터의 외형이 일치하지 않습니다.",
     "severity": "critical"
    },
    {
     "issue_ko": "이전 컷에 없던 자전거 바퀴와 프레임이 왼쪽 작업대 위에 새롭게 추가되었습니다.",
     "severity": "major"
    },
    {
     "issue_ko": "형광등이 꺼져 세 인물이 희미해야 하는데 실내가 여전히 밝아 노인·민수·연희가 또렷이 보임",
     "severity": "major"
    },
    {
     "issue_ko": "문가 연희가 골목이 아니라 실내 노인·민수 쪽을 바라봄",
     "severity": "major"
    },
    {
     "issue_ko": "문가 연희의 머리가 레퍼런스의 긴 생머리가 아니라 짧은 단발임",
     "severity": "major"
    },
    {
     "issue_ko": "왼쪽 작업대 위에 이전 컷에 없던 자전거가 올려져 있음",
     "severity": "major"
    }
   ],
   "observer_models": [
    "gemini-pro",
    "openrouter:x-ai/grok-4.6"
   ],
   "observer_counts": {
    "gemini-pro": 3,
    "openrouter:x-ai/grok-4.6": 4
   }
  },
  "fix_severity_skipped_count": 3,
  "fix_severity_skipped": [
   {
    "issue_ko": "이전 컷에 없던 자전거 바퀴와 프레임이 왼쪽 작업대 위에 새롭게 추가되었습니다.",
    "fix_en": "Remove the bicycle wheel and frame from the top of the left workbench, restoring the flat metal surface, while preserving the black toolbox, the room lighting, the background doorway, and all characters in their current positions.",
    "severity": "major",
    "observation_index": 2,
    "needs_ref_indices": [
     1
    ],
    "adds_missing_entity": false,
    "missing_entity_name": "",
    "needs_regeneration": false,
    "unfixable": false
   },
   {
    "issue_ko": "형광등이 꺼져 세 인물이 희미해야 하는데 실내가 여전히 밝아 노인·민수·연희가 또렷이 보임",
    "fix_en": "Darken the overall lighting of the scene to a low-key dimness where the figures are only faintly legible, while preserving the established room layout, camera framing, and the exact positions and clothing of all three characters.",
    "severity": "major",
    "observation_index": 3,
    "needs_ref_indices": [],
    "adds_missing_entity": false,
    "missing_entity_name": "",
    "needs_regeneration": false,
    "unfixable": false
   },
   {
    "issue_ko": "문가 연희가 골목이 아니라 실내 노인·민수 쪽을 바라봄",
    "fix_en": "Turn the head of the woman in the doorway so she faces outward toward the alley behind her, while maintaining her body position, yellow raincoat, the flashlight, the background darkness, and the exact poses of the two men on the floor.",
    "severity": "major",
    "observation_index": 4,
    "needs_ref_indices": [],
    "adds_missing_entity": false,
    "missing_entity_name": "",
    "needs_regeneration": false,
    "unfixable": false
   }
  ],
  "repair_mode": "edit",
  "fix_ref_gate": {
   "mode": "gated",
   "available": 4,
   "kept": 2,
   "requested_indices": [
    1,
    3
   ],
   "kept_labels": [
    "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features and lighting mood are LOCKED to this photo; never copy its camera framing. The clothing, hair and overall look of 노인, 민수 — who appear both in that photo and in this shot — are LOCKED to that photo. Anyone else visible in that photo is NOT in this shot: never carry their face, body or clothing onto anyone here. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.",
    "CHARACTER REFERENCE — 연희: the exact person appearing in this shot; match face, hair and build exactly."
   ]
  },
  "fix_ref_count": 3,
  "fix_prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Redraw the old man on the floor so his body lies perpendicular to the left workbench, with his head pointing toward the workbench and feet toward the right side, while preserving the room geometry, lighting, Minsu's pose, Yeonhee's position, and the exact framing.\n- Replace the short hair of the woman in the doorway with long, straight black hair falling past her shoulders, while strictly preserving her face, yellow raincoat, the flashlight in her hand, the dark ambient lighting, the room layout, and the exact appearances and positions of Minsu and the old man on the floor.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. Real-world writing that belongs\nto the scene — signs, banners, documents — stays exactly as the\noriginal shows it; do not add captions, subtitles, watermarks or\nany overlay text.",
  "fix_rejudge": {
   "forward_raw": {
    "winner": "A",
    "ranking": [
     "A",
     "B"
    ],
    "verdicts": [
     {
      "label": "A",
      "score": 1600,
      "verdict_ko": "B에서 훼손된 노인의 방향과 모습을 이전 샷과 일치하게 완벽히 복원하여 훌륭한 공간 연속성을 확보했으나, 연희의 헤어스타일이 단발로 변하는 치명적인 신원 위반이 발생했습니다."
     },
     {
      "label": "B",
      "score": 1250,
      "verdict_ko": "연희의 긴 머리는 레퍼런스와 가깝게 유지되었으나, 고정(Locked) 지시된 노인의 누운 방향이 직각으로 틀어지고 얼굴이 사라진 채 부츠가 추가되는 심각한 신원 및 배치 위반을 범했습니다.  ★위반: [gemini-pro] 이전 샷에서 고정(Locked)된 노인의 누운 방향이 90도 틀어지고 얼굴이 가려진 물리적 배치 위반"
     }
    ],
    "all_candidates_fail": true,
    "dual": {
     "models": [
      "gemini-pro",
      "openrouter:x-ai/grok-4.6"
     ],
     "normalized": {
      "A": 1.6,
      "B": 1.5
     },
     "adjusted": {
      "A": 1.6,
      "B": 1.25
     },
     "violations": {
      "B": [
       "[gemini-pro] 이전 샷에서 고정(Locked)된 노인의 누운 방향이 90도 틀어지고 얼굴이 가려진 물리적 배치 위반"
      ]
     },
     "per_model_winner": {
      "gemini-pro": "A",
      "openrouter:x-ai/grok-4.6": "B"
     },
     "agreed": false
    },
    "gq": {
     "route": "combined",
     "gap": 0.4,
     "per_model_winner": {
      "gemini-pro": "A",
      "openrouter:x-ai/grok-4.6": "B"
     },
     "models": [
      "gemini-pro",
      "openrouter:x-ai/grok-4.6"
     ]
    }
   },
   "forward_normalized": {
    "winner": "A",
    "ranking": [
     "A",
     "B"
    ],
    "verdicts": [
     {
      "label": "A",
      "score": 1600,
      "verdict_ko": "B에서 훼손된 노인의 방향과 모습을 이전 샷과 일치하게 완벽히 복원하여 훌륭한 공간 연속성을 확보했으나, 연희의 헤어스타일이 단발로 변하는 치명적인 신원 위반이 발생했습니다."
     },
     {
      "label": "B",
      "score": 1250,
      "verdict_ko": "연희의 긴 머리는 레퍼런스와 가깝게 유지되었으나, 고정(Locked) 지시된 노인의 누운 방향이 직각으로 틀어지고 얼굴이 사라진 채 부츠가 추가되는 심각한 신원 및 배치 위반을 범했습니다.  ★위반: [gemini-pro] 이전 샷에서 고정(Locked)된 노인의 누운 방향이 90도 틀어지고 얼굴이 가려진 물리적 배치 위반"
     }
    ],
    "all_candidates_fail": true
   },
   "reverse_raw": {
    "winner": "B",
    "ranking": [
     "B",
     "A"
    ],
    "verdicts": [
     {
      "label": "B",
      "score": 7,
      "verdict_ko": "이전 샷의 공간 구성과 인물들의 고정된 자세를 정확히 유지하면서, 프롬프트가 요구한 어두운 조명 분위기와 인물 배치 조건을 훌륭하게 구현했습니다."
     },
     {
      "label": "A",
      "score": 3,
      "verdict_ko": "이전 샷에서 고정(Lock)된 노인의 누운 방향과 자세를 무시하고 몸을 회전시켜 배치한 점이 치명적인 규칙 위반입니다."
     }
    ],
    "readings": [
     {
      "label": "B",
      "direction": "연희는 문밖 골목 쪽을 주시하고 있으며, 민수는 바닥에 누운 노인을 내려다보고 있음.",
      "built_space": "정비소 내부. 왼쪽으로 밀려난 작업대, 뒷면의 열린 문, 벽면 표지판 등 이전 샷의 공간 배치를 일관되게 유지함.",
      "entities": "민수, 연희, 노인 모두 레퍼런스의 외모, 복장 및 지정된 자세와 일치함(노인의 얼굴과 누운 방향 포함). 연희가 쥔 손전등과 벽면의 '자전거 수리' 텍스트도 정확히 렌더링됨.",
      "hard_violations": [],
      "physics": "웅크린 민수, 서 있는 연희, 바닥에 누운 노인 모두 바닥면에 의해 자연스럽게 지지되고 있으며 중력에 어긋나는 오류 없음."
     },
     {
      "label": "A",
      "direction": "연희는 문을 통해 밖을 향해 시선을 두고 있고, 민수는 담요 덮인 형체를 바라봄.",
      "built_space": "정비소 내부. 작업대의 위치와 열린 문, 표지판의 배치는 적절하게 구성됨.",
      "entities": "민수와 연희의 인상착의는 레퍼런스와 일치하나, 바닥의 노인은 얼굴이 가려지고 발이 문 쪽을 향하도록 몸의 방향이 완전히 바뀌어 레퍼런스(이전 샷)와 불일치함. 표지판 글씨는 정확함.",
      "hard_violations": [
       "이전 샷에서 고정된 노인의 위치와 누운 방향(가로로 눕고 얼굴 노출)을 완전히 무시하고 세로로 눕혀 얼굴을 가린 채 배치함."
      ],
      "physics": "세 인물 모두 바닥에 의해 올바르게 지지되고 있으며 물리적 자세에 이상 없음."
     }
    ],
    "all_candidates_fail": false,
    "gq": {
     "route": "agree",
     "gap": 0.0,
     "per_model_winner": {
      "gemini-pro": "B",
      "openrouter:x-ai/grok-4.6": "B"
     },
     "models": [
      "gemini-pro",
      "openrouter:x-ai/grok-4.6"
     ]
    }
   },
   "reverse_normalized": {
    "winner": "A",
    "ranking": [
     "A",
     "B"
    ],
    "verdicts": [
     {
      "label": "A",
      "score": 7,
      "verdict_ko": "이전 샷의 공간 구성과 인물들의 고정된 자세를 정확히 유지하면서, 프롬프트가 요구한 어두운 조명 분위기와 인물 배치 조건을 훌륭하게 구현했습니다."
     },
     {
      "label": "B",
      "score": 3,
      "verdict_ko": "이전 샷에서 고정(Lock)된 노인의 누운 방향과 자세를 무시하고 몸을 회전시켜 배치한 점이 치명적인 규칙 위반입니다."
     }
    ],
    "all_candidates_fail": false,
    "readings": [
     {
      "label": "A",
      "direction": "연희는 문밖 골목 쪽을 주시하고 있으며, 민수는 바닥에 누운 노인을 내려다보고 있음.",
      "built_space": "정비소 내부. 왼쪽으로 밀려난 작업대, 뒷면의 열린 문, 벽면 표지판 등 이전 샷의 공간 배치를 일관되게 유지함.",
      "entities": "민수, 연희, 노인 모두 레퍼런스의 외모, 복장 및 지정된 자세와 일치함(노인의 얼굴과 누운 방향 포함). 연희가 쥔 손전등과 벽면의 '자전거 수리' 텍스트도 정확히 렌더링됨.",
      "hard_violations": [],
      "physics": "웅크린 민수, 서 있는 연희, 바닥에 누운 노인 모두 바닥면에 의해 자연스럽게 지지되고 있으며 중력에 어긋나는 오류 없음."
     },
     {
      "label": "B",
      "direction": "연희는 문을 통해 밖을 향해 시선을 두고 있고, 민수는 담요 덮인 형체를 바라봄.",
      "built_space": "정비소 내부. 작업대의 위치와 열린 문, 표지판의 배치는 적절하게 구성됨.",
      "entities": "민수와 연희의 인상착의는 레퍼런스와 일치하나, 바닥의 노인은 얼굴이 가려지고 발이 문 쪽을 향하도록 몸의 방향이 완전히 바뀌어 레퍼런스(이전 샷)와 불일치함. 표지판 글씨는 정확함.",
      "hard_violations": [
       "이전 샷에서 고정된 노인의 위치와 누운 방향(가로로 눕고 얼굴 노출)을 완전히 무시하고 세로로 눕혀 얼굴을 가린 채 배치함."
      ],
      "physics": "세 인물 모두 바닥에 의해 올바르게 지지되고 있으며 물리적 자세에 이상 없음."
     }
    ]
   },
   "combined": {
    "totals": {
     "A": 1607,
     "B": 1253
    },
    "ranking": [
     "A",
     "B"
    ],
    "agreement": true,
    "policy": 1
   },
   "winner": "A",
   "fix_won": false,
   "all_candidates_fail": false,
   "policy": "fix_rejudge_v2_orig_on_tie"
  },
  "shot_run_produced": true,
  "shot_run_uid": "06a8c658-af4b-7ac7-8c11-562de3f16700",
  "ref_mode": "prev+엔티티",
  "share_plan": {
   "ref_plan": "prev",
   "prev_anchor_tag": "S3sh1"
  },
  "locked_char_refs_excluded": [
   "노인(C03)"
  ]
 },
 "S3sh5::cine": {
  "applied": true,
  "fingerprint": "9b3270d75ba8efb0198e6140ff76c88079ff7f278a127470b09f28020079f0e4",
  "model": "x-ai/grok-imagine-image-2.0",
  "pack": "20.202608141300",
  "source_file": "S3sh5_sel.png",
  "source_sha256": "6ce866a69add754fec999542fd43599538657cb58cb7aad4de7c74b8bb860144",
  "file": "S3sh5_cine.png",
  "latency_ms": 16600
 },
 "era_assess::0f13cba47adf841b": {
  "subjects": [
   {
    "subject_native": "현대 한국의 동네 자전거 수리점 내부 작업 공간",
    "search_terms_native": [
     "동네 자전거 수리점 내부",
     "자전거포 작업대",
     "자전거 정비소 내부"
    ],
    "language_lock_native": "검색 결과의 정확성을 위해 오직 한국어로만 검색을 수행해야 하며 다른 언어를 추가하거나 번역하지 마십시오.",
    "reason_ko": "한국의 정겨운 동네 자전거포는 특유의 좁고 밀집된 공구 배치, 기름때 묻은 작업대, 한국식 생활 자전거 부품들의 레이아웃이 독특하여 일반적인 서구식 자전거 숍과 시각적으로 크게 다릅니다."
   }
  ]
 },
 "era_ref::822fe5bd288597e9": {
  "subject": "현대 한국의 동네 자전거 수리점 내부 작업 공간",
  "terms": [
   "동네 자전거 수리점 내부",
   "자전거포 작업대",
   "자전거 정비소 내부"
  ],
  "queries": [
   [
    "현대 한국 동네 자전거 수리점 내부 작업 공간 자전거포 작업대",
    "한국 자전거 정비소 내부 자전거 수리 작업대 공구"
   ]
  ],
  "candidates": 4,
  "picked_index": 4,
  "picked_url": "https://cdn.welfarehello.com/naver-blog/production/seocho88/2023-08/223195344874/seocho88_223195344874_15.jpg?f=webp&q=80&w=800",
  "picked_reason_ko": "후보 4가 현대 한국 동네 자전거 수리점의 소박하고 일상적인 내부 작업 공간을 가장 완전하고 읽기 쉽게 보여준다.",
  "sha256": "26368cece3e8a0a281edd32a4e8810270b81227242cd61f9d11fd1938d47d9d8",
  "file": "eraref_822fe5bd288597e9.png"
 },
 "era_assess::4b550ae92f308c80": {
  "subjects": [
   {
    "subject_native": "대한민국의 현대식 사거리 도로 노면 표시 및 횡단보도",
    "search_terms_native": [
     "한국 도로 노면 표시",
     "도시 사거리 횡단보도",
     "야간 아스팔트 차선"
    ],
    "language_lock_native": "이 검색은 반드시 한국어로만 수행되어야 하며, 다른 언어로 번역하거나 추가 검색어를 더해서는 안 됩니다.",
    "reason_ko": "한국의 교차로 노면 표시와 횡단보도 스타일은 서구권이나 타 국가의 도로 형태와 뚜렷하게 다르기 때문에 고유의 페인트 패턴과 도로 구조를 참고해야 사실적입니다."
   }
  ]
 },
 "era_ref::de840c9ca2c8d05b": {
  "subject": "대한민국의 현대식 사거리 도로 노면 표시 및 횡단보도",
  "terms": [
   "한국 도로 노면 표시",
   "도시 사거리 횡단보도",
   "야간 아스팔트 차선"
  ],
  "queries": [
   [
    "한국 도로 노면 표시 / 도시 사거리 횡단보도 / 야간 아스팔트 차선",
    "대한민국의 현대식 사거리 도로 노면 표시 및 횡단보도"
   ]
  ],
  "candidates": 4,
  "picked_index": 2,
  "picked_url": "https://img8.yna.co.kr/etc/inner/KR/2025/11/17/AKR20251117152400004_01_i_P4.jpg",
  "picked_reason_ko": "2번은 관광객용 시설이나 특수한 장식 없이 일상적인 한국 도심 사거리의 횡단보도와 노면 표시를 가장 완전하고 명료하게 보여 준다.",
  "sha256": "ed002e8980371aab39413a842c8b1cd32f0888e6eb5d8efff788de1fe3b7a419",
  "file": "eraref_de840c9ca2c8d05b.png"
 },
 "era_assess::a52d2503562fb43b": {
  "subjects": [
   {
    "subject_native": "대한민국의 현대식 동네 자전거 수리점 내부",
    "search_terms_native": [
     "자전거 수리점 내부",
     "자전거포 내부",
     "동네 자전거방"
    ],
    "language_lock_native": "이 검색어들은 오직 한국어로만 검색해야 하며, 영어나 다른 언어로 번역하거나 추가 검색어를 더해서는 안 됩니다.",
    "reason_ko": "일반적인 서구식 자전거 매장과 달리, 한국의 동네 자전거포는 특유의 조밀한 공구 배치, 국산 브랜드 부품 상자, 그리고 친숙한 인테리어 레이아웃을 가지고 있어 고유의 시각적 고증이 필요합니다."
   }
  ]
 },
 "era_ref::b364e2f143e9a1fe": {
  "subject": "대한민국의 현대식 동네 자전거 수리점 내부",
  "terms": [
   "자전거 수리점 내부",
   "자전거포 내부",
   "동네 자전거방"
  ],
  "queries": [
   [
    "자전거 수리점 내부",
    "자전거포 내부"
   ]
  ],
  "candidates": 4,
  "picked_index": 3,
  "picked_url": "https://cdn.welfarehello.com/naver-blog/production/seocho88/2023-08/223195344874/seocho88_223195344874_15.jpg?f=webp&q=80&w=800",
  "picked_reason_ko": "사진 3이 특별한 관광·방문객 시설 없이 실제 동네 자전거 수리점의 평범한 작업 공간, 재료, 설비와 배치를 가장 온전하고 명확하게 보여준다.",
  "sha256": "26368cece3e8a0a281edd32a4e8810270b81227242cd61f9d11fd1938d47d9d8",
  "file": "eraref_b364e2f143e9a1fe.png"
 },
 "S3sh2::signage": {
  "fp": "e5b02bbb2d6cb022",
  "inscriptions": [
   {
    "surface_native": "가게 유리문의 글씨",
    "text_native": "자전거 수리",
    "reason_ko": "자전거 수리점 내부에서 문밖을 바라보는 장면이므로 자전거 수리점임을 보여주는 직관적인 글귀가 유리문에 필요합니다."
   }
  ]
 },
 "S3sh2": {
  "input_fingerprint": "e4e57dfda4de124b",
  "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 문가에 선 연희가 열린 문 밖의 어두운 골목 쪽으로 시선을 향하고 있는 측면.\n\nLOCATION (lock): Inside the bicycle repair shop at the open doorway, where the fluorescent-lit interior meets the dark alley outside. The woman stands by the door and looks outward into the alley. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Hold at chest height just inside the doorway, offset to 연희's interior side, with her profile in the middle-left and the open doorway continuing across the right side along her sightline. She inclines her head and upper body toward the dark alley while one hand holds the flashlight mid-toggle, keeping her attention outside rather than toward the camera.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 연희 in the middle-left of the frame, midground, looks toward dark alley outside; open doorway and dark alley in the middle-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: 열린 정비소 문 (open toward the alley) — Seen obliquely from the interior, its opening occupies the right side and extends directly along 연희's gaze; used as Creates a strong sightline from 연희 toward the exterior; 골목 (dark outside the workshop at night); used as Provides the off-screen destination of 연희's watchful attention; 손전등 (being switched off and on in 연희's hand) — Its front end angles toward the doorway rather than toward the camera; used as Adds a restrained hand action that expresses anxious waiting.\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: Interior fluorescent illumination outlines 연희 against the explicitly dark night alley, with the flashlight's intermittent switching adding brief localized variation.\n- MATERIAL REALISM: every object and surface must read as a real,\n  physical material — correct texture, weight, wear and light response\n  (metal reflects, fabric drapes and creases, liquid is glossy and\n  pools, painted or drawn marks sit ON a surface and follow its\n  curvature and lighting). Nothing may look like a flat sticker, a\n  doodle or a graphic overlay pasted onto the frame.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established about the place — its fixed features, wear and lighting — persists. The people visible in that photo are NOT in this shot: never carry their faces, bodies or clothing onto anyone here. Each person in THIS shot is defined solely by the PEOPLE list, their own CHARACTER REFERENCE images and their wardrobe notes. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Behind Yeonhui, the workbench remains shifted aside and the old man remains lying under the blanket with his eyes closed, with Minsu crouched beside him. Yeonhui stays at the doorway with the flashlight, looking out toward the alley.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 연희 (한국인 여성, 20대의 젊은 얼굴, 자연스러운 짙은색 머리, 단정한 머리 모양) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nSIGNAGE TEXT (authoritative — the scene itself calls for these inscriptions; render each on its surface as period-real physical lettering in the native script, exactly as written; add no other readable text anywhere):\n- 가게 유리문의 글씨: \"자전거 수리\"\n\nReal-world writing that this scene itself calls for — shop signs,\nbanners, posters, documents, vehicle or building markings — may appear,\nwritten naturally in the language this place and era establish; never\nsubstitute another language's lettering. Only writing the scene calls\nfor: do not invent signage or lettering the shot and location text do\nnot imply, and never print the shot description itself onto the image.\nNo captions, subtitles, watermarks, logos or any overlay text floating\noutside the physical scene. Where exact printed figures would decide\nthe shot — a banknote's denomination, a document's numbers — stage that\nface out of legibility (a hand across it, an oblique angle, shallow\nfocus): printed figures do not render to instruction.",
  "roll_prompts": {
   "A": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 문가에 선 연희가 열린 문 밖의 어두운 골목 쪽으로 시선을 향하고 있는 측면.\n\nLOCATION (lock): Inside the bicycle repair shop at the open doorway, where the fluorescent-lit interior meets the dark alley outside. The woman stands by the door and looks outward into the alley. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Hold at chest height just inside the doorway, offset to 연희's interior side, with her profile in the middle-left and the open doorway continuing across the right side along her sightline. She inclines her head and upper body toward the dark alley while one hand holds the flashlight mid-toggle, keeping her attention outside rather than toward the camera.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 연희 in the middle-left of the frame, midground, looks toward dark alley outside; open doorway and dark alley in the middle-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: 열린 정비소 문 (open toward the alley) — Seen obliquely from the interior, its opening occupies the right side and extends directly along 연희's gaze; used as Creates a strong sightline from 연희 toward the exterior; 골목 (dark outside the workshop at night); used as Provides the off-screen destination of 연희's watchful attention; 손전등 (being switched off and on in 연희's hand) — Its front end angles toward the doorway rather than toward the camera; used as Adds a restrained hand action that expresses anxious waiting.\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: Interior fluorescent illumination outlines 연희 against the explicitly dark night alley, with the flashlight's intermittent switching adding brief localized variation.\n- MATERIAL REALISM: every object and surface must read as a real,\n  physical material — correct texture, weight, wear and light response\n  (metal reflects, fabric drapes and creases, liquid is glossy and\n  pools, painted or drawn marks sit ON a surface and follow its\n  curvature and lighting). Nothing may look like a flat sticker, a\n  doodle or a graphic overlay pasted onto the frame.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established about the place — its fixed features, wear and lighting — persists. The people visible in that photo are NOT in this shot: never carry their faces, bodies or clothing onto anyone here. Each person in THIS shot is defined solely by the PEOPLE list, their own CHARACTER REFERENCE images and their wardrobe notes. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Behind Yeonhui, the workbench remains shifted aside and the old man remains lying under the blanket with his eyes closed, with Minsu crouched beside him. Yeonhui stays at the doorway with the flashlight, looking out toward the alley.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 연희 (한국인 여성, 20대의 젊은 얼굴, 자연스러운 짙은색 머리, 단정한 머리 모양) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nSIGNAGE TEXT (authoritative — the scene itself calls for these inscriptions; render each on its surface as period-real physical lettering in the native script, exactly as written; add no other readable text anywhere):\n- 가게 유리문의 글씨: \"자전거 수리\"\n\nReal-world writing that this scene itself calls for — shop signs,\nbanners, posters, documents, vehicle or building markings — may appear,\nwritten naturally in the language this place and era establish; never\nsubstitute another language's lettering. Only writing the scene calls\nfor: do not invent signage or lettering the shot and location text do\nnot imply, and never print the shot description itself onto the image.\nNo captions, subtitles, watermarks, logos or any overlay text floating\noutside the physical scene. Where exact printed figures would decide\nthe shot — a banknote's denomination, a document's numbers — stage that\nface out of legibility (a hand across it, an oblique angle, shallow\nfocus): printed figures do not render to instruction.",
   "B": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary Korean-speaking setting; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 문가에 선 연희가 열린 문 밖의 어두운 골목 쪽으로 시선을 향하고 있는 측면.\n\nLOCATION (lock): Inside the bicycle repair shop at the open doorway, where the fluorescent-lit interior meets the dark alley outside. The woman stands by the door and looks outward into the alley. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Hold at chest height just inside the doorway, offset to 연희's interior side, with her profile in the middle-left and the open doorway continuing across the right side along her sightline. She inclines her head and upper body toward the dark alley while one hand holds the flashlight mid-toggle, keeping her attention outside rather than toward the camera.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 연희 in the middle-left of the frame, midground, looks toward dark alley outside; open doorway and dark alley in the middle-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: 열린 정비소 문 (open toward the alley) — Seen obliquely from the interior, its opening occupies the right side and extends directly along 연희's gaze; used as Creates a strong sightline from 연희 toward the exterior; 골목 (dark outside the workshop at night); used as Provides the off-screen destination of 연희's watchful attention; 손전등 (being switched off and on in 연희's hand) — Its front end angles toward the doorway rather than toward the camera; used as Adds a restrained hand action that expresses anxious waiting.\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\nLIGHTING & MOOD (these govern light, color and surface rendering):\n- LIGHTING & MOOD: Interior fluorescent illumination outlines 연희 against the explicitly dark night alley, with the flashlight's intermittent switching adding brief localized variation.\n- MATERIAL REALISM: every object and surface must read as a real,\n  physical material — correct texture, weight, wear and light response\n  (metal reflects, fabric drapes and creases, liquid is glossy and\n  pools, painted or drawn marks sit ON a surface and follow its\n  curvature and lighting). Nothing may look like a flat sticker, a\n  doodle or a graphic overlay pasted onto the frame.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established about the place — its fixed features, wear and lighting — persists. The people visible in that photo are NOT in this shot: never carry their faces, bodies or clothing onto anyone here. Each person in THIS shot is defined solely by the PEOPLE list, their own CHARACTER REFERENCE images and their wardrobe notes. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR 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, immobility contract or shot-text\ndirection says otherwise, people read as alive in mid-moment —\nbelievable weight shift, hands engaged with something real, gaze on\nthe target the SHOT TEXT implies; avoid a stiff attention stance (feet\ntogether, arms hanging straight down) and a blank stare into the lens.\nIf the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,\ndeath, sleep, unconsciousness, restraint, drill or an explicit\ndirect-to-camera look, follow THAT exactly — this clause never\noverrides it.\n\nDRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,\npainted or traced (a circle, a line, a symbol) is a STROKE sitting on\nthe surface — an outline whose interior still shows the underlying\nsurface (wall, skin, paper). Render its stated shape faithfully: a\ndrawn circle stays an open ring of brush-width, never filled into a\nsolid disc, unless the text explicitly says it is filled.\n\nBODY & SUPPORT (default only — every explicit direction above wins): a body relates to what holds it. A seated person sits the way the seat is built to be used — hips on the seat, back toward the backrest, legs falling naturally toward the floor; people sharing adjacent seats each occupy their own seat, side by side. Hands, hips and feet keep believable contact with whatever they rest on. When the text stages someone frozen, stunned or holding still, the body stops mid-action exactly where the moment caught it — weight already committed to one side, hands where the interrupted movement left them — rather than resetting into a symmetric at-attention stance. If the SHOT TEXT or any contract above stages a specific arrangement, follow THAT exactly.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Behind Yeonhui, the workbench remains shifted aside and the old man remains lying under the blanket with his eyes closed, with Minsu crouched beside him. Yeonhui stays at the doorway with the flashlight, looking out toward the alley.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 연희 (한국인 여성, 20대의 젊은 얼굴, 자연스러운 짙은색 머리, 단정한 머리 모양) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nCHARACTER REFERENCE ROLE (follow exactly): the attached CHARACTER REFERENCE images establish identity only — face, hair, build and clothing. The pose, gaze direction, camera angle and framing inside those reference images belong to the reference photos, not to this shot; never copy them. Pose and gaze in this shot follow only the CAMERA and action text of this prompt. When this prompt stages a character's face as covered or hidden — by a costume head, mask, helmet, hood, or a body turned away — that staging wins: keep the covering exactly as described and never pull the reference face into view from under it; the reference then guides only what stays visible, such as build and clothing.\n\nSIGNAGE TEXT (authoritative — the scene itself calls for these inscriptions; render each on its surface as period-real physical lettering in the native script, exactly as written; add no other readable text anywhere):\n- 가게 유리문의 글씨: \"자전거 수리\"\n\nReal-world writing that this scene itself calls for — shop signs,\nbanners, posters, documents, vehicle or building markings — may appear,\nwritten naturally in the language this place and era establish; never\nsubstitute another language's lettering. Only writing the scene calls\nfor: do not invent signage or lettering the shot and location text do\nnot imply, and never print the shot description itself onto the image.\nNo captions, subtitles, watermarks, logos or any overlay text floating\noutside the physical scene. Where exact printed figures would decide\nthe shot — a banknote's denomination, a document's numbers — stage that\nface out of legibility (a hand across it, an oblique angle, shallow\nfocus): printed figures do not render to instruction.\n\nCOMPOSITION VARIATION (this candidate only): keep the place, the people and the moment exactly as specified, but reframe like a film director choosing a different setup — a different angle, height, distance or foreground layer from the obvious one. For this candidate only, treat the CAMERA & FRAME contract above as a baseline to depart from, not a lock; the references and the shot text fix WHAT is seen, not WHERE the camera stands. Stay true to any explicit framing the SHOT TEXT itself dictates."
  },
  "shot_run_spend_attempt_count": 1,
  "gq": {
   "route": "combined",
   "gap": 0.429,
   "per_model_winner": {
    "gemini-pro": "B",
    "openrouter:x-ai/grok-4.6": "A"
   },
   "models": [
    "gemini-pro",
    "openrouter:x-ai/grok-4.6"
   ]
  },
  "dual": {
   "models": [
    "gemini-pro",
    "openrouter:x-ai/grok-4.6"
   ],
   "normalized": {
    "A": 1.286,
    "B": 1.571
   },
   "adjusted": {
    "A": 0.786,
    "B": 1.571
   },
   "violations": {
    "A": [
     "[gemini-pro] 표면의 곡률이나 원근감을 완전히 무시하고 화면에 평면적으로 합성된 유리문의 텍스트 그래픽",
     "[gemini-pro] 배경에 쭈그려 앉은 인물의 머리가 누락된 불가능한 신체 구조"
    ]
   },
   "per_model_winner": {
    "gemini-pro": "B",
    "openrouter:x-ai/grok-4.6": "A"
   },
   "agreed": false
  },
  "totals": {
   "B": 1571,
   "A": 786
  },
  "selected": "B",
  "ranking": [
   "B",
   "A"
  ],
  "verdicts": [
   {
    "label": "B",
    "score": 1571,
    "verdict_ko": "프레이밍과 샷의 의도를 훌륭하게 구현했고 배경 연속성이 좋으나, 레퍼런스의 노란 우비가 누락되고 문이 안쪽으로 열린 점이 감점 요소입니다."
   },
   {
    "label": "A",
    "score": 786,
    "verdict_ko": "구도는 프롬프트를 따랐으나, 원근감을 완전히 무시한 평면적인 텍스트 오버레이와 배경 인물의 머리가 누락된 치명적 오류로 인해 사용 불가합니다.  ★위반: [gemini-pro] 표면의 곡률이나 원근감을 완전히 무시하고 화면에 평면적으로 합성된 유리문의 텍스트 그래픽 / [gemini-pro] 배경에 쭈그려 앉은 인물의 머리가 누락된 불가능한 신체 구조"
   }
  ],
  "refs": [
   {
    "label": "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features and lighting mood are LOCKED to this photo; never copy its camera framing. The people visible in that photo are NOT in this shot: never carry their faces, bodies or clothing onto anyone here. Each person in THIS shot is defined solely by the PEOPLE list, their own CHARACTER REFERENCE images and their wardrobe notes. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.",
    "path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/da049582-2c6d-492c-979d-f468d61bab6e/images/fb7a883f-baac-4145-9131-732ce628d474/scene/recipe/S3sh1_sel.png",
    "asset_id": "efa2886f-3ede-48df-8846-2bc0622eb84c",
    "role": "prev_still"
   },
   {
    "label": "CHARACTER REFERENCE — 연희: the exact person appearing in this shot; match face, hair and build exactly.",
    "path": "<bytes:866991>",
    "asset_id": "2f7ec884-28aa-4c8d-aef4-b87cb69a9e2b",
    "role": "character_ref"
   }
  ],
  "critique": {
   "issues": [
    {
     "issue_ko": "연희의 의상 오류: 캐릭터 레퍼런스에 제시된 노란색 우비를 입지 않고 어두운 색상의 재킷을 입고 있습니다.",
     "fix_en": "Replace Yeonhui's dark jacket with the bright yellow raincoat from her character reference, ensuring it drapes naturally in her current posture; preserve her face, hair, flashlight, the person on the floor, the interior workshop details, the wooden door, and the dark alley exactly as they are.",
     "severity": "critical",
     "observation_index": 0,
     "needs_ref_indices": [
      2
     ],
     "adds_missing_entity": false,
     "missing_entity_name": ""
    },
    {
     "issue_ko": "유리문 텍스트 방향 오류: '자전거 수리' 글씨가 실내에서 똑바로 읽히도록 렌더링되어, 상점 외부에서는 글씨가 좌우 반전되어 보이게 되는 물리적 오류가 있습니다.",
     "fix_en": "Horizontally flip the text '자전거 수리' on the glass door so it appears mirrored from this interior viewpoint; preserve the door frame, Yeonhui, the exterior darkness, and the workshop interior exactly as they are.",
     "severity": "major",
     "observation_index": 1,
     "needs_ref_indices": [],
     "adds_missing_entity": false,
     "missing_entity_name": ""
    },
    {
     "issue_ko": "출입문 형태 불일치: 이전 샷 레퍼런스의 검은색 금속 프레임 문과 달리 나무 프레임의 문으로 배경의 고정 요소가 변경되었습니다.",
     "fix_en": "Change the open door's wooden frame to a dark black metal frame to match the location's established fixed features; preserve the glass panels, the printed text, Yeonhui, the old man on the floor, and the surrounding interior exactly as they are.",
     "severity": "major",
     "observation_index": 2,
     "needs_ref_indices": [
      1
     ],
     "adds_missing_entity": false,
     "missing_entity_name": ""
    },
    {
     "issue_ko": "연희 바로 뒤에 샷에 없어야 할 파란 작업복 인물이 보인다",
     "fix_en": "Erase the person wearing a blue shirt visible just behind Yeonhui, replacing them with the shadowed background of the workshop interior and workbench; strictly preserve Yeonhui's face and clothing, the old man lying under the blanket on the floor, the open door, and the dark alley exactly as they are.",
     "severity": "critical",
     "observation_index": 5,
     "needs_ref_indices": [],
     "adds_missing_entity": false,
     "missing_entity_name": ""
    }
   ],
   "observer_observations": [
    {
     "issue_ko": "연희의 의상 오류: 캐릭터 레퍼런스에 제시된 노란색 우비를 입지 않고 어두운 색상의 재킷을 입고 있습니다.",
     "severity": "critical"
    },
    {
     "issue_ko": "유리문 텍스트 방향 오류: '자전거 수리' 글씨가 실내에서 똑바로 읽히도록 렌더링되어, 상점 외부에서는 글씨가 좌우 반전되어 보이게 되는 물리적 오류가 있습니다.",
     "severity": "major"
    },
    {
     "issue_ko": "출입문 형태 불일치: 이전 샷 레퍼런스의 검은색 금속 프레임 문과 달리 나무 프레임의 문으로 배경의 고정 요소가 변경되었습니다.",
     "severity": "major"
    },
    {
     "issue_ko": "지정되지 않은 인물 노출: 샷 텍스트와 PEOPLE 항목에 명시되지 않은 파란색 옷을 입은 사람의 하반신이 연희 뒤에 나타났습니다.",
     "severity": "major"
    },
    {
     "issue_ko": "화면 왼쪽 바닥에 샷 텍스트에 없는 담요 덮은 노인이 누워 있다",
     "severity": "critical"
    },
    {
     "issue_ko": "연희 바로 뒤에 샷에 없어야 할 파란 작업복 인물이 보인다",
     "severity": "critical"
    },
    {
     "issue_ko": "연희가 캐릭터 참조의 노란 우비가 아닌 어두운 재킷을 입고 있다",
     "severity": "major"
    }
   ],
   "observer_models": [
    "gemini-pro",
    "openrouter:x-ai/grok-4.6"
   ],
   "observer_counts": {
    "gemini-pro": 4,
    "openrouter:x-ai/grok-4.6": 3
   }
  },
  "fix_severity_skipped_count": 2,
  "fix_severity_skipped": [
   {
    "issue_ko": "유리문 텍스트 방향 오류: '자전거 수리' 글씨가 실내에서 똑바로 읽히도록 렌더링되어, 상점 외부에서는 글씨가 좌우 반전되어 보이게 되는 물리적 오류가 있습니다.",
    "fix_en": "Horizontally flip the text '자전거 수리' on the glass door so it appears mirrored from this interior viewpoint; preserve the door frame, Yeonhui, the exterior darkness, and the workshop interior exactly as they are.",
    "severity": "major",
    "observation_index": 1,
    "needs_ref_indices": [],
    "adds_missing_entity": false,
    "missing_entity_name": ""
   },
   {
    "issue_ko": "출입문 형태 불일치: 이전 샷 레퍼런스의 검은색 금속 프레임 문과 달리 나무 프레임의 문으로 배경의 고정 요소가 변경되었습니다.",
    "fix_en": "Change the open door's wooden frame to a dark black metal frame to match the location's established fixed features; preserve the glass panels, the printed text, Yeonhui, the old man on the floor, and the surrounding interior exactly as they are.",
    "severity": "major",
    "observation_index": 2,
    "needs_ref_indices": [
     1
    ],
    "adds_missing_entity": false,
    "missing_entity_name": ""
   }
  ],
  "repair_mode": "edit",
  "fix_ref_gate": {
   "mode": "gated",
   "available": 2,
   "kept": 1,
   "requested_indices": [
    2
   ],
   "kept_labels": [
    "CHARACTER REFERENCE — 연희: the exact person appearing in this shot; match face, hair and build exactly."
   ]
  },
  "fix_ref_count": 2,
  "fix_prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Replace Yeonhui's dark jacket with the bright yellow raincoat from her character reference, ensuring it drapes naturally in her current posture; preserve her face, hair, flashlight, the person on the floor, the interior workshop details, the wooden door, and the dark alley exactly as they are.\n- Erase the person wearing a blue shirt visible just behind Yeonhui, replacing them with the shadowed background of the workshop interior and workbench; strictly preserve Yeonhui's face and clothing, the old man lying under the blanket on the floor, the open door, and the dark alley exactly as they are.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. Real-world writing that belongs\nto the scene — signs, banners, documents — stays exactly as the\noriginal shows it; do not add captions, subtitles, watermarks or\nany overlay text.",
  "fix_rejudge": {
   "forward_raw": {
    "winner": "B",
    "ranking": [
     "B",
     "A"
    ],
    "verdicts": [
     {
      "label": "B",
      "score": 8,
      "verdict_ko": "레퍼런스와 일치하는 노란 우비를 복구하여 연희의 캐릭터 정체성을 완벽히 살렸으나, 이 과정에서 텍스트에 명시된 배경의 민수가 사라진 점은 감점 요인입니다."
     },
     {
      "label": "A",
      "score": 3,
      "verdict_ko": "배경에 민수의 일부가 남아있으나, 연희가 레퍼런스와 전혀 다른 녹색 재킷을 입고 있어 타협할 수 없는 캐릭터 정체성(복장) 유지에 완전히 실패했습니다."
     }
    ],
    "readings": [
     {
      "label": "A",
      "direction": "연희는 열린 문 밖의 어두운 골목을 향해 시선을 두고 있으며, 쥐고 있는 손전등의 프론트 역시 밖을 향하고 있다.",
      "built_space": "정비소 내부에서 열린 문 밖을 바라보는 시점으로, 왼쪽의 작업대와 오른쪽의 유리문, 바깥 골목의 배치가 요구사항과 일치한다.",
      "entities": "바닥의 노인과 유리문의 '자전거 수리' 텍스트는 잘 구현되었으나, 연희가 레퍼런스의 노란 우비가 아닌 짙은 녹색 재킷을 입고 있다. 연희 뒤로 파란 옷을 입은 민수의 일부가 보인다.",
      "hard_violations": [],
      "physics": "서 있는 연희와 바닥에 누운 노인은 지지점이 확실하나, 연희 뒤에 가려진 민수의 팔과 신발이 다소 모호한 위치에 놓여 있다."
     },
     {
      "label": "B",
      "direction": "연희의 시선과 손에 든 손전등의 각도 모두 문 밖의 어두운 골목을 정확히 향하고 있다.",
      "built_space": "A와 동일하게 정비소 내부에서 외부 골목을 바라보는 올바른 공간 구조와 시점을 보여준다.",
      "entities": "연희가 레퍼런스와 동일한 노란 우비를 입고 있어 정체성 조건에 부합하지만, 이전 샷에서 이어져야 할 배경의 민수가 완전히 삭제되었다.",
      "hard_violations": [],
      "physics": "바닥에 서 있는 연희, 손에 쥐어진 손전등, 바닥에 누운 노인 모두 물리적으로 자연스럽게 지지받고 있다."
     }
    ],
    "all_candidates_fail": false,
    "gq": {
     "route": "agree",
     "gap": 0.0,
     "per_model_winner": {
      "gemini-pro": "B",
      "openrouter:x-ai/grok-4.6": "B"
     },
     "models": [
      "gemini-pro",
      "openrouter:x-ai/grok-4.6"
     ]
    }
   },
   "forward_normalized": {
    "winner": "B",
    "ranking": [
     "B",
     "A"
    ],
    "verdicts": [
     {
      "label": "B",
      "score": 8,
      "verdict_ko": "레퍼런스와 일치하는 노란 우비를 복구하여 연희의 캐릭터 정체성을 완벽히 살렸으나, 이 과정에서 텍스트에 명시된 배경의 민수가 사라진 점은 감점 요인입니다."
     },
     {
      "label": "A",
      "score": 3,
      "verdict_ko": "배경에 민수의 일부가 남아있으나, 연희가 레퍼런스와 전혀 다른 녹색 재킷을 입고 있어 타협할 수 없는 캐릭터 정체성(복장) 유지에 완전히 실패했습니다."
     }
    ],
    "all_candidates_fail": false,
    "readings": [
     {
      "label": "A",
      "direction": "연희는 열린 문 밖의 어두운 골목을 향해 시선을 두고 있으며, 쥐고 있는 손전등의 프론트 역시 밖을 향하고 있다.",
      "built_space": "정비소 내부에서 열린 문 밖을 바라보는 시점으로, 왼쪽의 작업대와 오른쪽의 유리문, 바깥 골목의 배치가 요구사항과 일치한다.",
      "entities": "바닥의 노인과 유리문의 '자전거 수리' 텍스트는 잘 구현되었으나, 연희가 레퍼런스의 노란 우비가 아닌 짙은 녹색 재킷을 입고 있다. 연희 뒤로 파란 옷을 입은 민수의 일부가 보인다.",
      "hard_violations": [],
      "physics": "서 있는 연희와 바닥에 누운 노인은 지지점이 확실하나, 연희 뒤에 가려진 민수의 팔과 신발이 다소 모호한 위치에 놓여 있다."
     },
     {
      "label": "B",
      "direction": "연희의 시선과 손에 든 손전등의 각도 모두 문 밖의 어두운 골목을 정확히 향하고 있다.",
      "built_space": "A와 동일하게 정비소 내부에서 외부 골목을 바라보는 올바른 공간 구조와 시점을 보여준다.",
      "entities": "연희가 레퍼런스와 동일한 노란 우비를 입고 있어 정체성 조건에 부합하지만, 이전 샷에서 이어져야 할 배경의 민수가 완전히 삭제되었다.",
      "hard_violations": [],
      "physics": "바닥에 서 있는 연희, 손에 쥐어진 손전등, 바닥에 누운 노인 모두 물리적으로 자연스럽게 지지받고 있다."
     }
    ]
   },
   "reverse_raw": {
    "winner": "A",
    "ranking": [
     "A",
     "B"
    ],
    "verdicts": [
     {
      "label": "A",
      "score": 8,
      "verdict_ko": "연희의 노란 우비와 외형을 레퍼런스와 동일하게 잘 유지했습니다. 배경의 민수가 누락되었으나, 절대적인 정체성 유지 원칙을 지켰으므로 승리합니다."
     },
     {
      "label": "B",
      "score": 4,
      "verdict_ko": "배경에 민수가 일부 묘사되었으나, 연희의 의상을 어두운 재킷으로 임의 변경하여 정체성 유지 지침을 심각하게 위반했습니다."
     }
    ],
    "readings": [
     {
      "label": "A",
      "direction": "연희의 시선과 들고 있는 손전등이 오른쪽의 열린 문과 어두운 골목을 향하고 있음.",
      "built_space": "자전거 정비소 내부. 오른쪽에 골목으로 통하는 열린 유리문이 있고, 뒤편에 작업대와 공구들이 배치됨.",
      "entities": "연희는 레퍼런스와 일치하는 노란 우비를 입고 있음. 바닥에 누운 노인과 담요는 유지되었으나 옆에 있어야 할 민수는 누락됨. 문에 '자전거 수리' 글씨가 정확함.",
      "hard_violations": [],
      "physics": "연희는 바닥에 서서 손전등을 안정적으로 쥐고 있으며, 노인은 바닥에 누워 있어 지지 상태가 자연스러움."
     },
     {
      "label": "B",
      "direction": "연희의 시선과 손전등이 오른쪽 어두운 골목을 향함.",
      "built_space": "자전거 정비소 내부. 오른쪽에 열린 문이 있고 배경에 작업대가 위치함.",
      "entities": "바닥에 누운 노인과 연희 뒤에 쭈그려 앉은 민수의 일부가 보임. 그러나 연희의 의상이 노란 우비에서 어두운 재킷으로 바뀌어 레퍼런스와 불일치함.",
      "hard_violations": [],
      "physics": "연희가 서서 손전등을 쥐고 있고 노인은 바닥에 지지되어 누워 있음."
     }
    ],
    "all_candidates_fail": false,
    "gq": {
     "route": "agree",
     "gap": 0.0,
     "per_model_winner": {
      "gemini-pro": "A",
      "openrouter:x-ai/grok-4.6": "A"
     },
     "models": [
      "gemini-pro",
      "openrouter:x-ai/grok-4.6"
     ]
    }
   },
   "reverse_normalized": {
    "winner": "B",
    "ranking": [
     "B",
     "A"
    ],
    "verdicts": [
     {
      "label": "B",
      "score": 8,
      "verdict_ko": "연희의 노란 우비와 외형을 레퍼런스와 동일하게 잘 유지했습니다. 배경의 민수가 누락되었으나, 절대적인 정체성 유지 원칙을 지켰으므로 승리합니다."
     },
     {
      "label": "A",
      "score": 4,
      "verdict_ko": "배경에 민수가 일부 묘사되었으나, 연희의 의상을 어두운 재킷으로 임의 변경하여 정체성 유지 지침을 심각하게 위반했습니다."
     }
    ],
    "all_candidates_fail": false,
    "readings": [
     {
      "label": "B",
      "direction": "연희의 시선과 들고 있는 손전등이 오른쪽의 열린 문과 어두운 골목을 향하고 있음.",
      "built_space": "자전거 정비소 내부. 오른쪽에 골목으로 통하는 열린 유리문이 있고, 뒤편에 작업대와 공구들이 배치됨.",
      "entities": "연희는 레퍼런스와 일치하는 노란 우비를 입고 있음. 바닥에 누운 노인과 담요는 유지되었으나 옆에 있어야 할 민수는 누락됨. 문에 '자전거 수리' 글씨가 정확함.",
      "hard_violations": [],
      "physics": "연희는 바닥에 서서 손전등을 안정적으로 쥐고 있으며, 노인은 바닥에 누워 있어 지지 상태가 자연스러움."
     },
     {
      "label": "A",
      "direction": "연희의 시선과 손전등이 오른쪽 어두운 골목을 향함.",
      "built_space": "자전거 정비소 내부. 오른쪽에 열린 문이 있고 배경에 작업대가 위치함.",
      "entities": "바닥에 누운 노인과 연희 뒤에 쭈그려 앉은 민수의 일부가 보임. 그러나 연희의 의상이 노란 우비에서 어두운 재킷으로 바뀌어 레퍼런스와 불일치함.",
      "hard_violations": [],
      "physics": "연희가 서서 손전등을 쥐고 있고 노인은 바닥에 지지되어 누워 있음."
     }
    ]
   },
   "combined": {
    "totals": {
     "A": 7,
     "B": 16
    },
    "ranking": [
     "B",
     "A"
    ],
    "agreement": true,
    "policy": 1
   },
   "winner": "B",
   "fix_won": true,
   "all_candidates_fail": false,
   "policy": "fix_rejudge_v2_orig_on_tie"
  },
  "shot_run_produced": true,
  "shot_run_uid": "06a8cb5b-d001-7483-b674-dd49bcaa2464",
  "ref_mode": "prev+엔티티",
  "share_plan": {
   "ref_plan": "prev",
   "prev_anchor_tag": "S3sh1"
  }
 },
 "S3sh2::cine": {
  "applied": true,
  "fingerprint": "9cb187616baaccbb316b9dd8a7e4088d4bae34f547533083c41affe30920278a",
  "model": "x-ai/grok-imagine-image-2.0",
  "pack": "20.202608141300",
  "source_file": "S3sh2_sel.png",
  "source_sha256": "72d9ce50571d946d808e801268dd7e8b67dfe8396dbc36c9d5bb85426370e675",
  "file": "S3sh2_cine.png",
  "latency_ms": 17495
 }
}