{ "status": "completed", "applicable_count": 26, "completed_count": 26, "failed_count": 0, "schema_version": 3, "config_hash": "787c440f826114ed", "data": { "groups": { "L03B02": { "status": "ok", "is_reuse": false, "render_action": "render_new_plate", "location_id": "L03", "location_name": "", "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/background_chain/L03B02.png", "t2i_prompt": "20세기 초 대한제국 말기, 전라남도 농촌의 소박한 부엌과 그 너머 마당을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 실제 장소 기록 사진으로, 삽화나 건축 시각화가 아닌 현실의 재료와 빛을 담는다. 풀프레임 미러리스 카메라와 35밀리미터급 렌즈를 사용하고, 바닥에서 약 1.6미터인 서 있는 사람의 눈높이에서 촬영한다. 부엌 안에서 남남동쪽을 바라보며 화면 왼쪽 가까이에 아궁이가 딸린 붙박이 부뚜막을 두고, 남쪽 출입구와 문턱 너머 마당 건너 닫힌 사립문까지 시선이 이어지는 구도다. 공간을 내려다보지 않고 자연스러운 원근으로 보여 준다.\n\n평면도는 공간의 연결 관계와 기존 시설의 위치를 파악하는 자료로만 사용한다. 부뚜막은 부엌 동쪽의 방과 맞닿은 칸막이 벽에 붙어 있고, 아궁이 입구는 서쪽 부엌 작업 공간을 향한다. 방 내부는 벽에 가려 보이지 않는다. 부엌 남쪽 출입구 바로 바깥의 문턱에서 마당으로 이어지며, 마당 남쪽 경계의 사립문이 출입구 맞은편에 놓인다. 왼쪽의 부뚜막과 먼 사립문을 함께 읽을 수 있도록 부뚜막 곁의 빈 공간을 확보한다. 흙으로 마감한 벽과 부뚜막의 거친 표면, 다져진 흙바닥, 출입구 목재의 실제 나뭇결, 가는 나뭇가지를 엮어 만든 사립문의 투박한 결구를 당시 남도 농가의 생활 규모에 맞게 표현한다. 오래 사용한 아궁이 가장자리의 그을음과 목재의 닳은 모서리는 과장하지 않는다.\n\n부뚜막의 아궁이 위 취사 자리에 소박한 도기 약탕관이 놓여 있다. 서쪽을 향한 아궁이 입구 안쪽에는 낮게 남은 불씨가 작고 은근한 붉은빛을 내며, 약탕관 주둥이에서는 가느다란 김이 조금씩 올라와 가까운 공기 속에서 옅어진다. 고요한 새벽의 차가운 자연광이 마당과 출입구를 거쳐 실내에 약하게 스며들고, 불씨의 따뜻한 빛은 아궁이 안쪽에만 제한된다. 닫힌 사립문과 마당의 형태는 읽히되 부엌 안을 대낮처럼 밝히지 않는다. 흙과 목재 본래의 절제된 색, 실제 새벽에 맞는 명암, 가까운 약탕관부터 먼 출입구까지 공간 관계를 알아볼 수 있는 자연스러운 피사계 심도를 유지한다. 인물, 얼굴, 사람 형상의 물체는 일절 넣지 않는다. 인위적인 색 보정이나 과도한 표면 정리 없이 실제 생활 공간의 질감을 담는다. 16:9 가로 비율, 실제 카메라 촬영본", "shot_guides": [ { "shot_id": "S2_Shot1", "guide_text": "부엌 안에서 남남동쪽을 보는 공통 구도를 사용한다. 화면 왼쪽에 부뚜막과 약탕관을 충분히 보이고, 아궁이 안의 낮은 불씨와 주둥이에서 올라오는 소량의 김을 절제해 담는다. 남쪽 출입구와 문턱 너머 마당, 그 맞은편 닫힌 사립문까지 공간의 연결이 분명해야 한다. 부뚜막 곁은 비워 두고 인물 없이 차가운 새벽의 생활 공간만 촬영한다." }, { "shot_id": "S2_Shot14", "guide_text": "앞 장면과 같은 부엌 시점, 촬영 높이, 렌즈와 배치를 유지한다. 왼쪽 부뚜막 곁의 빈 공간에서 출입구 너머 닫힌 사립문으로 시선이 자연스럽게 이어지도록 한다. 약탕관의 가느다란 김, 아궁이 안쪽의 낮은 불씨, 마당에서 스며드는 찬 새벽빛의 세기를 동일하게 유지한다. 방 내부는 칸막이 벽 뒤로 가려 두며 배경에 사람이나 사람 형상을 넣지 않는다." } ], "shot_ids": [ "S2_Shot1", "S2_Shot14" ], "scenes": [], "parent_id": "", "ref_used": "fp_only", "render_attempts": 1, "render_error": "", "variant_label": "", "floor_plan_used": true, "camera_recommendations": { "camera_position": "Inside number 1, just southeast of number 4, facing south-southeast past numbers 2 and 3 toward number 5 and the aligned number 7 across number 6.", "camera_height": "Low seated observation height, approximately 1.0–1.2 m", "lens_hint": "28mm wide angle", "framing_notes": "Use the same kitchen viewpoint for both shots. Keep the hearth and medicine pot prominent at frame left and the doorway-to-gate connection readable beyond. Preserve low embers, restrained pot steam, cool dawn ambience, and a closed gate. Leave space beside the hearth for the mother's gaze toward the gate without baking people into the background. Do not retain the movable carrier as a permanent corner object or introduce the later evening smoke event. The private-room interior remains concealed by its partition." }, "reference_decision": { "bg_id": "L03B02", "fp_id": "fp_house_kitchen", "node_index": 0, "mode": "fp_seeded_anchor", "is_dwelling_identity_anchor": true, "rationale": "L03B02 is the sole ready BG and the sole supplied anchor candidate. Select it under the declared fallback despite clean_background_expected=false, retaining its committed transient markers. No prior references exist. Camera unit 1 targeting opening 3 within unit 1 prioritizes S2_Shot1's close interaction with that opening; S2_Shot14 keeps marker 7 off-screen. The two shots' differing subject placements and vertical framing remain shot-specific staging rather than simultaneous requirements for this plate.", "reference_paths": [ "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/floor_plan/fp_house_kitchen.png" ], "source_bg_ids": [], "fp_included": true, "reference_decision": { "selected_refs": [], "rejected_refs": [], "same_physical_space_dedup_decision": "no_prior_reference", "why_single_ref_or_two_refs": "Seed the dwelling identity directly from the floor plan; the catalog is empty and no earlier node exists.", "physical_space_id_per_ref": [], "same_physical_space_low_delta_candidate": false, "low_delta_reuse_target_bg_id": "", "low_delta_rationale": "" }, "camera_decision": { "camera_unit": 1, "camera_cell": [ 2, 2 ], "look_at_unit": 1, "look_at_cell": [ 2, 3 ], "lens_enum": "normal", "fov_deg": 50, "framing_notes": "Neutral coverage from unit 1 toward opening 3 at [2,3], with fixture 2 behind it at [2,4]. Favor the local structural background needed by the close consuming shots, not broad coverage of all target units. Shot-specific subject scale and vertical framing are not additional coordinate candidates." }, "render_guidance": { "visible_space_directive": "Show the local portion of unit 1 centered on base opening 3 and persistent fixture 2. Keep fixture 2 on the east side against the partition and opening 3 on its west-facing edge. Target units 6 and 10 and base openings 5 and 7 provide spatial context, not mandatory on-screen coverage for this normal-lens view. The visibility lists are supersets; do not treat them as proof that adjoining units are visible.", "camera_framing_directive": "Use camera unit 1 at [2,2], looking within unit 1 at [2,3], with a normal lens and 50-degree field of view for neutral local coverage. Support S2_Shot1's close framing with opening 3 occupying less than one third of its consuming frame. Preserve marker 7 as off-screen context for S2_Shot14; do not widen the plate to include every referenced marker.", "subject_position_directive": "Treat the committed subjects as separate shot-specific compositions. S2_Shot1 places its crouching subject in right-facing profile across the left two-thirds, mouth directed toward opening 3 at lower right, with a small portion of bent knee at the bottom edge. S2_Shot14 places its subject on the right half in three-quarter-left orientation, shoulders easing after rising, leaving space to the left along the off-screen gaze toward marker 7. Do not combine these placements into a simultaneous scene or add uncommitted subjects.", "state_cue_directive": "Retain the committed transient inventory: marker 11, Medicine brewing pot; marker 12, Low hearth embers; and marker 13, Medicine pot steam. Use the supplied dim dawn ambience. S2_Shot1 commits a fading ember that brightens with the subject's blowing and a returning red glow; treat that brightening as shot-specific rather than a permanent lighting change. S2_Shot14 retains restrained dawn ambience without a new light source or color cue, with marker 7 now closed but off-screen. Keep marker 13 distinct from the subject action, which is conveyed through mouth and posture.", "negative_continuity_directive": "No numbered elements or state-overlay markers are explicitly ignored. Avoid relocating fixture 2 or opening 3, exposing unit 8 through its partition, or forcing units 6 and 10 and openings 5, 7, and 9 into this local view merely because they occur in visibility supersets. Do not turn markers 11–13 into permanent structural identity or introduce additional state overlays." }, "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 1\n - camera_cell: [2, 2]\n - look_at_unit: 1\n - look_at_cell: [2, 3]\n - lens_enum: 'normal'\n - fov_deg: 50\n - framing_notes: 'Neutral coverage from unit 1 toward opening 3 at [2,3], with fixture 2 behind it at [2,4]. Favor the local structural background needed by the close consuming shots, not broad coverage of all target units. Shot-specific subject scale and vertical framing are not additional coordinate candidates.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Show the local portion of unit 1 centered on base opening 3 and persistent fixture 2. Keep fixture 2 on the east side against the partition and opening 3 on its west-facing edge. Target units 6 and 10 and base openings 5 and 7 provide spatial context, not mandatory on-screen coverage for this normal-lens view. The visibility lists are supersets; do not treat them as proof that adjoining units are visible.\n - camera_framing_directive: Use camera unit 1 at [2,2], looking within unit 1 at [2,3], with a normal lens and 50-degree field of view for neutral local coverage. Support S2_Shot1's close framing with opening 3 occupying less than one third of its consuming frame. Preserve marker 7 as off-screen context for S2_Shot14; do not widen the plate to include every referenced marker.\n - subject_position_directive: Treat the committed subjects as separate shot-specific compositions. S2_Shot1 places its crouching subject in right-facing profile across the left two-thirds, mouth directed toward opening 3 at lower right, with a small portion of bent knee at the bottom edge. S2_Shot14 places its subject on the right half in three-quarter-left orientation, shoulders easing after rising, leaving space to the left along the off-screen gaze toward marker 7. Do not combine these placements into a simultaneous scene or add uncommitted subjects.\n - state_cue_directive: Retain the committed transient inventory: marker 11, Medicine brewing pot; marker 12, Low hearth embers; and marker 13, Medicine pot steam. Use the supplied dim dawn ambience. S2_Shot1 commits a fading ember that brightens with the subject's blowing and a returning red glow; treat that brightening as shot-specific rather than a permanent lighting change. S2_Shot14 retains restrained dawn ambience without a new light source or color cue, with marker 7 now closed but off-screen. Keep marker 13 distinct from the subject action, which is conveyed through mouth and posture.\n - negative_continuity_directive: No numbered elements or state-overlay markers are explicitly ignored. Avoid relocating fixture 2 or opening 3, exposing unit 8 through its partition, or forcing units 6 and 10 and openings 5, 7, and 9 into this local view merely because they occur in visibility supersets. Do not turn markers 11–13 into permanent structural identity or introduce additional state overlays.\n\n", "diagnostics": [] }, "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 1\n - camera_cell: [2, 2]\n - look_at_unit: 1\n - look_at_cell: [2, 3]\n - lens_enum: 'normal'\n - fov_deg: 50\n - framing_notes: 'Neutral coverage from unit 1 toward opening 3 at [2,3], with fixture 2 behind it at [2,4]. Favor the local structural background needed by the close consuming shots, not broad coverage of all target units. Shot-specific subject scale and vertical framing are not additional coordinate candidates.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Show the local portion of unit 1 centered on base opening 3 and persistent fixture 2. Keep fixture 2 on the east side against the partition and opening 3 on its west-facing edge. Target units 6 and 10 and base openings 5 and 7 provide spatial context, not mandatory on-screen coverage for this normal-lens view. The visibility lists are supersets; do not treat them as proof that adjoining units are visible.\n - camera_framing_directive: Use camera unit 1 at [2,2], looking within unit 1 at [2,3], with a normal lens and 50-degree field of view for neutral local coverage. Support S2_Shot1's close framing with opening 3 occupying less than one third of its consuming frame. Preserve marker 7 as off-screen context for S2_Shot14; do not widen the plate to include every referenced marker.\n - subject_position_directive: Treat the committed subjects as separate shot-specific compositions. S2_Shot1 places its crouching subject in right-facing profile across the left two-thirds, mouth directed toward opening 3 at lower right, with a small portion of bent knee at the bottom edge. S2_Shot14 places its subject on the right half in three-quarter-left orientation, shoulders easing after rising, leaving space to the left along the off-screen gaze toward marker 7. Do not combine these placements into a simultaneous scene or add uncommitted subjects.\n - state_cue_directive: Retain the committed transient inventory: marker 11, Medicine brewing pot; marker 12, Low hearth embers; and marker 13, Medicine pot steam. Use the supplied dim dawn ambience. S2_Shot1 commits a fading ember that brightens with the subject's blowing and a returning red glow; treat that brightening as shot-specific rather than a permanent lighting change. S2_Shot14 retains restrained dawn ambience without a new light source or color cue, with marker 7 now closed but off-screen. Keep marker 13 distinct from the subject action, which is conveyed through mouth and posture.\n - negative_continuity_directive: No numbered elements or state-overlay markers are explicitly ignored. Avoid relocating fixture 2 or opening 3, exposing unit 8 through its partition, or forcing units 6 and 10 and openings 5, 7, and 9 into this local view merely because they occur in visibility supersets. Do not turn markers 11–13 into permanent structural identity or introduce additional state overlays.\n\n", "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 1\n - camera_cell: [2, 2]\n - look_at_unit: 1\n - look_at_cell: [2, 3]\n - lens_enum: 'normal'\n - fov_deg: 50\n - framing_notes: 'Neutral coverage from unit 1 toward opening 3 at [2,3], with fixture 2 behind it at [2,4]. Favor the local structural background needed by the close consuming shots, not broad coverage of all target units. Shot-specific subject scale and vertical framing are not additional coordinate candidates.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Show the local portion of unit 1 centered on base opening 3 and persistent fixture 2. Keep fixture 2 on the east side against the partition and opening 3 on its west-facing edge. Target units 6 and 10 and base openings 5 and 7 provide spatial context, not mandatory on-screen coverage for this normal-lens view. The visibility lists are supersets; do not treat them as proof that adjoining units are visible.\n - camera_framing_directive: Use camera unit 1 at [2,2], looking within unit 1 at [2,3], with a normal lens and 50-degree field of view for neutral local coverage. Support S2_Shot1's close framing with opening 3 occupying less than one third of its consuming frame. Preserve marker 7 as off-screen context for S2_Shot14; do not widen the plate to include every referenced marker.\n - subject_position_directive: Treat the committed subjects as separate shot-specific compositions. S2_Shot1 places its crouching subject in right-facing profile across the left two-thirds, mouth directed toward opening 3 at lower right, with a small portion of bent knee at the bottom edge. S2_Shot14 places its subject on the right half in three-quarter-left orientation, shoulders easing after rising, leaving space to the left along the off-screen gaze toward marker 7. Do not combine these placements into a simultaneous scene or add uncommitted subjects.\n - state_cue_directive: Retain the committed transient inventory: marker 11, Medicine brewing pot; marker 12, Low hearth embers; and marker 13, Medicine pot steam. Use the supplied dim dawn ambience. S2_Shot1 commits a fading ember that brightens with the subject's blowing and a returning red glow; treat that brightening as shot-specific rather than a permanent lighting change. S2_Shot14 retains restrained dawn ambience without a new light source or color cue, with marker 7 now closed but off-screen. Keep marker 13 distinct from the subject action, which is conveyed through mouth and posture.\n - negative_continuity_directive: No numbered elements or state-overlay markers are explicitly ignored. Avoid relocating fixture 2 or opening 3, exposing unit 8 through its partition, or forcing units 6 and 10 and openings 5, 7, and 9 into this local view merely because they occur in visibility supersets. Do not turn markers 11–13 into permanent structural identity or introduce additional state overlays.\n\n20세기 초 대한제국 말기, 전라남도 농촌의 소박한 부엌과 그 너머 마당을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 실제 장소 기록 사진으로, 삽화나 건축 시각화가 아닌 현실의 재료와 빛을 담는다. 풀프레임 미러리스 카메라와 35밀리미터급 렌즈를 사용하고, 바닥에서 약 1.6미터인 서 있는 사람의 눈높이에서 촬영한다. 부엌 안에서 남남동쪽을 바라보며 화면 왼쪽 가까이에 아궁이가 딸린 붙박이 부뚜막을 두고, 남쪽 출입구와 문턱 너머 마당 건너 닫힌 사립문까지 시선이 이어지는 구도다. 공간을 내려다보지 않고 자연스러운 원근으로 보여 준다.\n\n평면도는 공간의 연결 관계와 기존 시설의 위치를 파악하는 자료로만 사용한다. 부뚜막은 부엌 동쪽의 방과 맞닿은 칸막이 벽에 붙어 있고, 아궁이 입구는 서쪽 부엌 작업 공간을 향한다. 방 내부는 벽에 가려 보이지 않는다. 부엌 남쪽 출입구 바로 바깥의 문턱에서 마당으로 이어지며, 마당 남쪽 경계의 사립문이 출입구 맞은편에 놓인다. 왼쪽의 부뚜막과 먼 사립문을 함께 읽을 수 있도록 부뚜막 곁의 빈 공간을 확보한다. 흙으로 마감한 벽과 부뚜막의 거친 표면, 다져진 흙바닥, 출입구 목재의 실제 나뭇결, 가는 나뭇가지를 엮어 만든 사립문의 투박한 결구를 당시 남도 농가의 생활 규모에 맞게 표현한다. 오래 사용한 아궁이 가장자리의 그을음과 목재의 닳은 모서리는 과장하지 않는다.\n\n부뚜막의 아궁이 위 취사 자리에 소박한 도기 약탕관이 놓여 있다. 서쪽을 향한 아궁이 입구 안쪽에는 낮게 남은 불씨가 작고 은근한 붉은빛을 내며, 약탕관 주둥이에서는 가느다란 김이 조금씩 올라와 가까운 공기 속에서 옅어진다. 고요한 새벽의 차가운 자연광이 마당과 출입구를 거쳐 실내에 약하게 스며들고, 불씨의 따뜻한 빛은 아궁이 안쪽에만 제한된다. 닫힌 사립문과 마당의 형태는 읽히되 부엌 안을 대낮처럼 밝히지 않는다. 흙과 목재 본래의 절제된 색, 실제 새벽에 맞는 명암, 가까운 약탕관부터 먼 출입구까지 공간 관계를 알아볼 수 있는 자연스러운 피사계 심도를 유지한다. 인물, 얼굴, 사람 형상의 물체는 일절 넣지 않는다. 인위적인 색 보정이나 과도한 표면 정리 없이 실제 생활 공간의 질감을 담는다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.", "camera_decision": { "camera_unit": 1, "camera_cell": [ 2, 2 ], "look_at_unit": 1, "look_at_cell": [ 2, 3 ], "lens_enum": "normal", "fov_deg": 50, "framing_notes": "Neutral coverage from unit 1 toward opening 3 at [2,3], with fixture 2 behind it at [2,4]. Favor the local structural background needed by the close consuming shots, not broad coverage of all target units. Shot-specific subject scale and vertical framing are not additional coordinate candidates." }, "shot_aware_plan_node_index": 0, "shot_aware_plan_mode": "fp_seeded_anchor", "render_guidance": { "visible_space_directive": "Show the local portion of unit 1 centered on base opening 3 and persistent fixture 2. Keep fixture 2 on the east side against the partition and opening 3 on its west-facing edge. Target units 6 and 10 and base openings 5 and 7 provide spatial context, not mandatory on-screen coverage for this normal-lens view. The visibility lists are supersets; do not treat them as proof that adjoining units are visible.", "camera_framing_directive": "Use camera unit 1 at [2,2], looking within unit 1 at [2,3], with a normal lens and 50-degree field of view for neutral local coverage. Support S2_Shot1's close framing with opening 3 occupying less than one third of its consuming frame. Preserve marker 7 as off-screen context for S2_Shot14; do not widen the plate to include every referenced marker.", "subject_position_directive": "Treat the committed subjects as separate shot-specific compositions. S2_Shot1 places its crouching subject in right-facing profile across the left two-thirds, mouth directed toward opening 3 at lower right, with a small portion of bent knee at the bottom edge. S2_Shot14 places its subject on the right half in three-quarter-left orientation, shoulders easing after rising, leaving space to the left along the off-screen gaze toward marker 7. Do not combine these placements into a simultaneous scene or add uncommitted subjects.", "state_cue_directive": "Retain the committed transient inventory: marker 11, Medicine brewing pot; marker 12, Low hearth embers; and marker 13, Medicine pot steam. Use the supplied dim dawn ambience. S2_Shot1 commits a fading ember that brightens with the subject's blowing and a returning red glow; treat that brightening as shot-specific rather than a permanent lighting change. S2_Shot14 retains restrained dawn ambience without a new light source or color cue, with marker 7 now closed but off-screen. Keep marker 13 distinct from the subject action, which is conveyed through mouth and posture.", "negative_continuity_directive": "No numbered elements or state-overlay markers are explicitly ignored. Avoid relocating fixture 2 or opening 3, exposing unit 8 through its partition, or forcing units 6 and 10 and openings 5, 7, and 9 into this local view merely because they occur in visibility supersets. Do not turn markers 11–13 into permanent structural identity or introduce additional state overlays." }, "attached_reference_lineage": { "fp_id": "fp_house_kitchen", "prior_bg_ids": [], "attached_ref_labels": [ "fp:fp_house_kitchen" ], "ref_used": "fp_only", "db_write_policy": "checkpoint_only" } }, "L03B01": { "status": "ok", "location_id": "L03", "location_name": "", "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/background_chain/L03B01.png", "t2i_prompt": "20세기 초 대한제국 말기 전라남도 농촌의 소박한 집 울타리 출입구, 다시 조금 열린 사립문의 좁은 틈을 가까이서 촬영한 빈 배경. 부엌이나 실내가 아니라 바깥 사립문 문턱 자리다. 실제 미러리스 카메라와 35밀리미터급 렌즈로 지상 약 1.6미터의 서 있는 사람 눈높이에서 촬영한 다큐멘터리 풍 사진. 카메라는 문 앞에 가까이 서서 문틈을 거의 수평으로 바라본다. 거친 나무 테와 가는 나뭇가지를 엮은 사립문의 문살, 문짝 가장자리와 투박한 나무 문기둥이 화면 대부분을 차지한다. 살짝 벌어진 문짝과 기둥 사이의 세로 틈을 화면 중앙 부근에 두고, 그 너머로는 아직 어두운 흙마당의 일부만 자연스럽게 보인다. 문턱 전체를 내려다보는 구도가 아니라 문틈과 문살 높이에 집중하는 근접 구도다. 사립문은 평소처럼 온전하며 파손이나 사건의 흔적이 없다. 실제 나뭇결의 갈라짐, 닳은 모서리, 나무껍질의 불규칙한 표면, 문살을 묶은 식물성 새끼줄의 섬유와 오래된 먼지, 옅은 습기 자국을 사실적으로 표현한다. 해가 뜨기 전 새벽의 약하고 차가운 자연광이 문살 가장자리를 은은하게 밝히고, 틈 안쪽에는 빛이 덜 닿는 자연스러운 그늘이 남는다. 흙빛과 바랜 나무색을 중심으로 실제 새벽 노출에 맞는 절제된 채도와 대비를 유지한다. 가까운 문살과 문짝 가장자리는 선명하고 틈 너머 마당은 자연스러운 피사계 심도로 부드럽게 흐려진다. 사람, 얼굴, 신체 일부, 시신, 핏자국은 전혀 없다. 현대식 설비, 유리창, 장식적인 궁궐 문양, 부엌 가구나 조리 도구를 넣지 않는다. 실제 장소 기록 사진과 구별되지 않는 재질과 생활 흔적을 유지하며, 인위적인 보정이나 과도한 미화 없이 촬영한다. 삽화나 컴퓨터 생성 이미지, 건축 조감도, 평면도가 아닌 실제 카메라 사진. 16:9 가로 비율, 실제 카메라 촬영본", "shot_guides": [ { "shot_id": "S2_Shot13", "guide_text": "약 1.6미터 눈높이에서 사립문 가까이 접근해 문살과 다시 열린 문틈을 중심으로 잡는다. 문짝 가장자리와 문기둥이 좁은 세로 틈을 만들도록 하고, 주변 풍경을 넓게 펼치거나 문턱을 위에서 내려다보지 않는다. 새벽의 약한 자연광과 평상시의 온전한 문 상태를 유지한다. 얼굴이 놓일 법한 높이의 배경 구조만 담고 실제 얼굴이나 사람은 그리지 않는다. 틈 너머에는 흐릿한 흙마당 일부만 남기고 부엌 내부나 다른 장소의 사물을 보이지 않는다." } ], "shot_ids": [ "S2_Shot13" ], "scenes": [], "parent_id": "", "ref_used": "refs_1", "render_attempts": 1, "render_error": "", "variant_label": "", "floor_plan_used": false, "camera_recommendations": {}, "reference_decision": { "mode": "surface_role_direct_plate", "surface_role": "transition_zone", "fp_id": "", "source_bg_ids": [] }, "effective_render_prompt": "20세기 초 대한제국 말기 전라남도 농촌의 소박한 집 울타리 출입구, 다시 조금 열린 사립문의 좁은 틈을 가까이서 촬영한 빈 배경. 부엌이나 실내가 아니라 바깥 사립문 문턱 자리다. 실제 미러리스 카메라와 35밀리미터급 렌즈로 지상 약 1.6미터의 서 있는 사람 눈높이에서 촬영한 다큐멘터리 풍 사진. 카메라는 문 앞에 가까이 서서 문틈을 거의 수평으로 바라본다. 거친 나무 테와 가는 나뭇가지를 엮은 사립문의 문살, 문짝 가장자리와 투박한 나무 문기둥이 화면 대부분을 차지한다. 살짝 벌어진 문짝과 기둥 사이의 세로 틈을 화면 중앙 부근에 두고, 그 너머로는 아직 어두운 흙마당의 일부만 자연스럽게 보인다. 문턱 전체를 내려다보는 구도가 아니라 문틈과 문살 높이에 집중하는 근접 구도다. 사립문은 평소처럼 온전하며 파손이나 사건의 흔적이 없다. 실제 나뭇결의 갈라짐, 닳은 모서리, 나무껍질의 불규칙한 표면, 문살을 묶은 식물성 새끼줄의 섬유와 오래된 먼지, 옅은 습기 자국을 사실적으로 표현한다. 해가 뜨기 전 새벽의 약하고 차가운 자연광이 문살 가장자리를 은은하게 밝히고, 틈 안쪽에는 빛이 덜 닿는 자연스러운 그늘이 남는다. 흙빛과 바랜 나무색을 중심으로 실제 새벽 노출에 맞는 절제된 채도와 대비를 유지한다. 가까운 문살과 문짝 가장자리는 선명하고 틈 너머 마당은 자연스러운 피사계 심도로 부드럽게 흐려진다. 사람, 얼굴, 신체 일부, 시신, 핏자국은 전혀 없다. 현대식 설비, 유리창, 장식적인 궁궐 문양, 부엌 가구나 조리 도구를 넣지 않는다. 실제 장소 기록 사진과 구별되지 않는 재질과 생활 흔적을 유지하며, 인위적인 보정이나 과도한 미화 없이 촬영한다. 삽화나 컴퓨터 생성 이미지, 건축 조감도, 평면도가 아닌 실제 카메라 사진. 16:9 가로 비율, 실제 카메라 촬영본\n\nOne attached image is a PHOTOREAL RENDER of the SAME building/site this scene belongs to — it may show the outside while this scene is inside, or another part of the same place. Treat it as the BUILDING IDENTITY reference. Keep this render consistent with it: the same era, age and state of repair, the same palette and material quality, the same window and door frame styles, and anything visible through openings (windows, doorways, passages) must belong to that same building and its surroundings. Lettering visible in the reference is reproduced EXACTLY — same characters, same mark, same position; never invent different wording from render to render. Lighting and time of day follow THIS prompt. Do NOT copy the reference's composition, framing or camera angle; only the building's physical identity carries over.", "shot_aware_plan_mode": "surface_role_direct_plate", "attached_reference_lineage": { "fp_id": "", "prior_bg_ids": [], "attached_ref_labels": [ "building_anchor:L05B02" ], "ref_used": "refs_1", "db_write_policy": "checkpoint_only" }, "building_anchor_ref": { "anchor_bg_id": "L05B02", "group_id": "bg_thatched_house" } }, "L05B01": { "status": "ok", "is_reuse": false, "render_action": "render_new_plate", "location_id": "L05", "location_name": "", "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/background_chain/L05B01.png", "t2i_prompt": "20세기 초 대한제국 말기, 전라남도 보성 일대 농가의 빈 마당을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 마당 안쪽에서 남동쪽을 향해 바라보며 남쪽 경계의 사립문과 동쪽 가장자리의 장독대를 함께 담는다. 실제 디지털 일안 반사식 카메라에 35밀리미터 상당 렌즈를 사용하고, 서 있는 사람의 눈높이인 약 1.6미터에서 촬영한 수평 시점이다. 평면도는 공간 배치만 참고하며, 내려다보는 시점이나 도면 형태로 표현하지 않는다.\n\n남쪽 중앙의 사립문은 서쪽 문설주에 달린 경첩을 축으로 마당 안쪽 서편을 향해 회전하는 구조다. 문짝은 그 회전 경로의 중간쯤에서 반쯤 열려 있으며, 틈 사이로 문 바로 바깥의 좁은 진입 공간이 보인다. 문 안쪽의 문턱에서 중앙의 트인 흙마당을 거쳐 동쪽 장독대로 이어지는 통행 공간을 분명하게 남긴다. 동쪽 가장자리의 장독대는 동쪽 경계와 나란히 놓인 낮은 받침 구조이며, 그 위에 북쪽 끝, 가운데, 남쪽 끝 순서로 옹기 세 개가 자리한다. 원래 배치와 실제 시점에 따른 원근 및 가림 관계를 유지한다.\n\n당시 남도 농가에 어울리는 거친 나뭇가지와 목재로 엮은 사립문의 결, 경첩의 자연스러운 금속 산화, 다져진 흙바닥의 고르지 않은 표면, 장독대 받침의 거친 질감과 옹기 유약의 불균일한 갈색 광택을 실제 재료처럼 표현한다. 일상적인 사용감과 오래된 표면 얼룩은 절제하여 담는다. 해질녘 서쪽에서 들어오는 낮은 자연광이 문짝 가장자리와 옹기 곡면을 은은하게 비추고, 마당에는 길고 부드러운 그림자가 드리운다. 흙빛 중심의 낮은 채도와 자연스러운 명암, 실제 렌즈의 자연스러운 피사계 심도를 유지하며 문과 장독대의 구조를 읽을 수 있게 한다. 과도한 후처리나 광고 사진처럼 말끔한 표면 없이 실제 장소 기록 사진과 구별되지 않는 사실성을 갖춘다. 삽화나 컴퓨터 생성 이미지, 건축 조감도가 아니다. 사람, 얼굴, 사람 형태의 형상은 일절 담지 않는 빈 배경이다. 16:9 가로 비율, 실제 카메라 촬영본", "shot_guides": [ { "shot_id": "S8_Shot5", "guide_text": "마당 안쪽 눈높이에서 반쯤 열린 사립문과 동쪽 장독대를 함께 보여준다. 서쪽 문설주에 고정된 문짝이 안쪽 서편으로 열린 각도가 읽히도록 하고, 문틈 너머 좁은 진입 공간과 문턱에서 장독대까지 이어지는 빈 통행 공간을 확보한다. 장독대 위 옹기 세 개의 위치와 해질녘 자연광을 유지한다. 도착 동작을 위한 공간만 남기고 인물이나 사람 형태의 그림자는 배경에 그리지 않는다." } ], "shot_ids": [ "S8_Shot5" ], "scenes": [], "parent_id": "", "ref_used": "refs_2", "render_attempts": 1, "render_error": "", "variant_label": "", "floor_plan_used": false, "camera_recommendations": { "camera_position": "Just inside number 1 near number 6, facing southeast across the courtyard toward number 3 and number 10.", "camera_height": "eye-level standing, approximately 1.6 m", "lens_hint": "28–35mm equivalent wide angle", "framing_notes": "Keep number 3 toward the right and number 10 toward the left, with the open route between them clearly visible. Apply number 14 to the gate leaf without changing its hinge or swing direction. Show the exterior through the gate. The kitchen and room units remain behind the camera; do not expose their interiors. Arrival figures and dusk illumination belong to the shot composition, not the floor plan." }, "reference_decision": { "bg_id": "L05B01", "fp_id": "fp_house_yard", "node_index": 1, "mode": "same_physical_space_view", "is_dwelling_identity_anchor": false, "rationale": "S8_Shot5 depicts the same connected physical space and shares all base reference markers with L05B02, so its layout must inherit the anchor rather than be composed as a new space. The unit 5 camera candidate looking toward unit 2 provides a broad approach view through opening 6 toward opening 3, approximating the staged entrance-side observation within the supplied coarse candidates. This genuinely different view reveals opening 3 and the unit 2/4 boundary absent from the anchor; marker 14 is transient, but the structural view difference requires a separate plate candidate.", "reference_paths": [ "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/background_chain/L05B02.png" ], "source_bg_ids": [ "L05B02" ], "fp_included": false, "reference_decision": { "selected_refs": [ { "ref_bg_id": "L05B02", "physical_space_id": "fp_house_yard:space_1_2_4_9", "space_description": "Connected visible space spanning units 1, 2, 4 and 9, with opening 3 and persistent markers 10–13." } ], "rejected_refs": [], "same_physical_space_dedup_decision": "single_same_physical_space_reference", "why_single_ref_or_two_refs": "L05B02 supplies the same-fp fixed identity for the shared unit 1/9 context visible in S8_Shot5. One reference is sufficient; no earlier reference depicts a second distinct space requiring a second parent.", "physical_space_id_per_ref": [ "fp_house_yard:space_1_2_4_9" ], "same_physical_space_low_delta_candidate": false, "low_delta_reuse_target_bg_id": "", "low_delta_rationale": "" }, "camera_decision": { "camera_unit": 5, "camera_cell": [ 1, 2 ], "look_at_unit": 2, "look_at_cell": [ 7, 4 ], "lens_enum": "wide", "fov_deg": 90, "framing_notes": "Broad oblique coverage toward opening 3 at unit 2, using the exact unit 5 candidate. This candidate is on the unit 5 side of opening 6, not an invented courtyard-side coordinate; retain this coarse-grid limitation. Unit 9 fixtures provide right-side context where unoccluded." }, "render_guidance": { "visible_space_directive": "From unit 5 through opening 6, frame unit 1 toward unit 2 and opening 3, with only the exposed portion of unit 4 beyond. Include the unit 9 edge and markers 10–13 only where the opening and view permit. Keep marker 10 parallel to the east boundary and markers 11–13 in the same fixed positions established by L05B02. Preserve opening 3 at the south boundary with its west-jamb hinge; visibility supersets do not establish unobstructed sight through walls.", "camera_framing_directive": "Use camera unit 5 at [1, 2], look-at unit 2 at [7, 4], and a wide lens with 90-degree broad coverage. Maintain the staged below-eye-level observation with a level optical axis and an oblique reading of opening 3. Keep marker 3 a narrow framing edge beside the full-figure entry area. Establish the still entry composition rather than depicting the subsequent movement; do not shift the camera to an unlisted cell to resolve the entrance-side staging limitation.", "subject_position_directive": "Reserve the middle-right opening for the staged full figure stepping through opening 3 into unit 1, transferring weight inward in a three-quarter-left pose. Keep the expression readable beside the narrow framing edge. The gaze is directed toward the other subject off-screen beside unit 5; do not add that off-screen subject to the visible composition.", "state_cue_directive": "Apply transient marker 14: opening 3 is half-open during the staged entry. Retain its fixed hinge placement and inward swing toward the west while expressing this temporary state. Preserve the subdued ambient light of the darkening setting, with muted saturation and restrained contrast sufficient for facial legibility. Keep persistent markers 10–13 unchanged.", "negative_continuity_directive": "Do not reuse L05B02 as an identical framing: the unit 5-to-unit 2 view exposes fixed structure outside its unit 1-to-unit 9 view. Avoid moving markers 10–13 to fit the new camera, merging markers 12 and 13, or treating marker 14 as a persistent structural alteration. Do not assert unobstructed visibility of unit 7 or opening 8 from the visibility supersets." }, "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n - selected_refs[0]: ref_bg_id='L05B02' physical_space_id='fp_house_yard:space_1_2_4_9'\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 5\n - camera_cell: [1, 2]\n - look_at_unit: 2\n - look_at_cell: [7, 4]\n - lens_enum: 'wide'\n - fov_deg: 90\n - framing_notes: 'Broad oblique coverage toward opening 3 at unit 2, using the exact unit 5 candidate. This candidate is on the unit 5 side of opening 6, not an invented courtyard-side coordinate; retain this coarse-grid limitation. Unit 9 fixtures provide right-side context where unoccluded.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: From unit 5 through opening 6, frame unit 1 toward unit 2 and opening 3, with only the exposed portion of unit 4 beyond. Include the unit 9 edge and markers 10–13 only where the opening and view permit. Keep marker 10 parallel to the east boundary and markers 11–13 in the same fixed positions established by L05B02. Preserve opening 3 at the south boundary with its west-jamb hinge; visibility supersets do not establish unobstructed sight through walls.\n - camera_framing_directive: Use camera unit 5 at [1, 2], look-at unit 2 at [7, 4], and a wide lens with 90-degree broad coverage. Maintain the staged below-eye-level observation with a level optical axis and an oblique reading of opening 3. Keep marker 3 a narrow framing edge beside the full-figure entry area. Establish the still entry composition rather than depicting the subsequent movement; do not shift the camera to an unlisted cell to resolve the entrance-side staging limitation.\n - subject_position_directive: Reserve the middle-right opening for the staged full figure stepping through opening 3 into unit 1, transferring weight inward in a three-quarter-left pose. Keep the expression readable beside the narrow framing edge. The gaze is directed toward the other subject off-screen beside unit 5; do not add that off-screen subject to the visible composition.\n - state_cue_directive: Apply transient marker 14: opening 3 is half-open during the staged entry. Retain its fixed hinge placement and inward swing toward the west while expressing this temporary state. Preserve the subdued ambient light of the darkening setting, with muted saturation and restrained contrast sufficient for facial legibility. Keep persistent markers 10–13 unchanged.\n - negative_continuity_directive: Do not reuse L05B02 as an identical framing: the unit 5-to-unit 2 view exposes fixed structure outside its unit 1-to-unit 9 view. Avoid moving markers 10–13 to fit the new camera, merging markers 12 and 13, or treating marker 14 as a persistent structural alteration. Do not assert unobstructed visibility of unit 7 or opening 8 from the visibility supersets.\n\n", "diagnostics": [] }, "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n - selected_refs[0]: ref_bg_id='L05B02' physical_space_id='fp_house_yard:space_1_2_4_9'\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 5\n - camera_cell: [1, 2]\n - look_at_unit: 2\n - look_at_cell: [7, 4]\n - lens_enum: 'wide'\n - fov_deg: 90\n - framing_notes: 'Broad oblique coverage toward opening 3 at unit 2, using the exact unit 5 candidate. This candidate is on the unit 5 side of opening 6, not an invented courtyard-side coordinate; retain this coarse-grid limitation. Unit 9 fixtures provide right-side context where unoccluded.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: From unit 5 through opening 6, frame unit 1 toward unit 2 and opening 3, with only the exposed portion of unit 4 beyond. Include the unit 9 edge and markers 10–13 only where the opening and view permit. Keep marker 10 parallel to the east boundary and markers 11–13 in the same fixed positions established by L05B02. Preserve opening 3 at the south boundary with its west-jamb hinge; visibility supersets do not establish unobstructed sight through walls.\n - camera_framing_directive: Use camera unit 5 at [1, 2], look-at unit 2 at [7, 4], and a wide lens with 90-degree broad coverage. Maintain the staged below-eye-level observation with a level optical axis and an oblique reading of opening 3. Keep marker 3 a narrow framing edge beside the full-figure entry area. Establish the still entry composition rather than depicting the subsequent movement; do not shift the camera to an unlisted cell to resolve the entrance-side staging limitation.\n - subject_position_directive: Reserve the middle-right opening for the staged full figure stepping through opening 3 into unit 1, transferring weight inward in a three-quarter-left pose. Keep the expression readable beside the narrow framing edge. The gaze is directed toward the other subject off-screen beside unit 5; do not add that off-screen subject to the visible composition.\n - state_cue_directive: Apply transient marker 14: opening 3 is half-open during the staged entry. Retain its fixed hinge placement and inward swing toward the west while expressing this temporary state. Preserve the subdued ambient light of the darkening setting, with muted saturation and restrained contrast sufficient for facial legibility. Keep persistent markers 10–13 unchanged.\n - negative_continuity_directive: Do not reuse L05B02 as an identical framing: the unit 5-to-unit 2 view exposes fixed structure outside its unit 1-to-unit 9 view. Avoid moving markers 10–13 to fit the new camera, merging markers 12 and 13, or treating marker 14 as a persistent structural alteration. Do not assert unobstructed visibility of unit 7 or opening 8 from the visibility supersets.\n\n", "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n - selected_refs[0]: ref_bg_id='L05B02' physical_space_id='fp_house_yard:space_1_2_4_9'\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 5\n - camera_cell: [1, 2]\n - look_at_unit: 2\n - look_at_cell: [7, 4]\n - lens_enum: 'wide'\n - fov_deg: 90\n - framing_notes: 'Broad oblique coverage toward opening 3 at unit 2, using the exact unit 5 candidate. This candidate is on the unit 5 side of opening 6, not an invented courtyard-side coordinate; retain this coarse-grid limitation. Unit 9 fixtures provide right-side context where unoccluded.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: From unit 5 through opening 6, frame unit 1 toward unit 2 and opening 3, with only the exposed portion of unit 4 beyond. Include the unit 9 edge and markers 10–13 only where the opening and view permit. Keep marker 10 parallel to the east boundary and markers 11–13 in the same fixed positions established by L05B02. Preserve opening 3 at the south boundary with its west-jamb hinge; visibility supersets do not establish unobstructed sight through walls.\n - camera_framing_directive: Use camera unit 5 at [1, 2], look-at unit 2 at [7, 4], and a wide lens with 90-degree broad coverage. Maintain the staged below-eye-level observation with a level optical axis and an oblique reading of opening 3. Keep marker 3 a narrow framing edge beside the full-figure entry area. Establish the still entry composition rather than depicting the subsequent movement; do not shift the camera to an unlisted cell to resolve the entrance-side staging limitation.\n - subject_position_directive: Reserve the middle-right opening for the staged full figure stepping through opening 3 into unit 1, transferring weight inward in a three-quarter-left pose. Keep the expression readable beside the narrow framing edge. The gaze is directed toward the other subject off-screen beside unit 5; do not add that off-screen subject to the visible composition.\n - state_cue_directive: Apply transient marker 14: opening 3 is half-open during the staged entry. Retain its fixed hinge placement and inward swing toward the west while expressing this temporary state. Preserve the subdued ambient light of the darkening setting, with muted saturation and restrained contrast sufficient for facial legibility. Keep persistent markers 10–13 unchanged.\n - negative_continuity_directive: Do not reuse L05B02 as an identical framing: the unit 5-to-unit 2 view exposes fixed structure outside its unit 1-to-unit 9 view. Avoid moving markers 10–13 to fit the new camera, merging markers 12 and 13, or treating marker 14 as a persistent structural alteration. Do not assert unobstructed visibility of unit 7 or opening 8 from the visibility supersets.\n\n20세기 초 대한제국 말기, 전라남도 보성 일대 농가의 빈 마당을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 마당 안쪽에서 남동쪽을 향해 바라보며 남쪽 경계의 사립문과 동쪽 가장자리의 장독대를 함께 담는다. 실제 디지털 일안 반사식 카메라에 35밀리미터 상당 렌즈를 사용하고, 서 있는 사람의 눈높이인 약 1.6미터에서 촬영한 수평 시점이다. 평면도는 공간 배치만 참고하며, 내려다보는 시점이나 도면 형태로 표현하지 않는다.\n\n남쪽 중앙의 사립문은 서쪽 문설주에 달린 경첩을 축으로 마당 안쪽 서편을 향해 회전하는 구조다. 문짝은 그 회전 경로의 중간쯤에서 반쯤 열려 있으며, 틈 사이로 문 바로 바깥의 좁은 진입 공간이 보인다. 문 안쪽의 문턱에서 중앙의 트인 흙마당을 거쳐 동쪽 장독대로 이어지는 통행 공간을 분명하게 남긴다. 동쪽 가장자리의 장독대는 동쪽 경계와 나란히 놓인 낮은 받침 구조이며, 그 위에 북쪽 끝, 가운데, 남쪽 끝 순서로 옹기 세 개가 자리한다. 원래 배치와 실제 시점에 따른 원근 및 가림 관계를 유지한다.\n\n당시 남도 농가에 어울리는 거친 나뭇가지와 목재로 엮은 사립문의 결, 경첩의 자연스러운 금속 산화, 다져진 흙바닥의 고르지 않은 표면, 장독대 받침의 거친 질감과 옹기 유약의 불균일한 갈색 광택을 실제 재료처럼 표현한다. 일상적인 사용감과 오래된 표면 얼룩은 절제하여 담는다. 해질녘 서쪽에서 들어오는 낮은 자연광이 문짝 가장자리와 옹기 곡면을 은은하게 비추고, 마당에는 길고 부드러운 그림자가 드리운다. 흙빛 중심의 낮은 채도와 자연스러운 명암, 실제 렌즈의 자연스러운 피사계 심도를 유지하며 문과 장독대의 구조를 읽을 수 있게 한다. 과도한 후처리나 광고 사진처럼 말끔한 표면 없이 실제 장소 기록 사진과 구별되지 않는 사실성을 갖춘다. 삽화나 컴퓨터 생성 이미지, 건축 조감도가 아니다. 사람, 얼굴, 사람 형태의 형상은 일절 담지 않는 빈 배경이다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThe LAST attached image is a TOP-DOWN INTERIOR FLOOR PLAN of the building at this location — a STRUCTURAL REFERENCE ONLY, never content to draw. It defines the building's real scale: its footprint, room count, and the placement of its doors and windows. Render the scene so the building's exterior size, number of storeys, and the scale and placement of its doors and windows stay consistent with that plan. Do NOT draw the floor plan itself, its lines, text or numbers anywhere in the image.", "camera_decision": { "camera_unit": 5, "camera_cell": [ 1, 2 ], "look_at_unit": 2, "look_at_cell": [ 7, 4 ], "lens_enum": "wide", "fov_deg": 90, "framing_notes": "Broad oblique coverage toward opening 3 at unit 2, using the exact unit 5 candidate. This candidate is on the unit 5 side of opening 6, not an invented courtyard-side coordinate; retain this coarse-grid limitation. Unit 9 fixtures provide right-side context where unoccluded." }, "shot_aware_plan_node_index": 1, "shot_aware_plan_mode": "same_physical_space_view", "render_guidance": { "visible_space_directive": "From unit 5 through opening 6, frame unit 1 toward unit 2 and opening 3, with only the exposed portion of unit 4 beyond. Include the unit 9 edge and markers 10–13 only where the opening and view permit. Keep marker 10 parallel to the east boundary and markers 11–13 in the same fixed positions established by L05B02. Preserve opening 3 at the south boundary with its west-jamb hinge; visibility supersets do not establish unobstructed sight through walls.", "camera_framing_directive": "Use camera unit 5 at [1, 2], look-at unit 2 at [7, 4], and a wide lens with 90-degree broad coverage. Maintain the staged below-eye-level observation with a level optical axis and an oblique reading of opening 3. Keep marker 3 a narrow framing edge beside the full-figure entry area. Establish the still entry composition rather than depicting the subsequent movement; do not shift the camera to an unlisted cell to resolve the entrance-side staging limitation.", "subject_position_directive": "Reserve the middle-right opening for the staged full figure stepping through opening 3 into unit 1, transferring weight inward in a three-quarter-left pose. Keep the expression readable beside the narrow framing edge. The gaze is directed toward the other subject off-screen beside unit 5; do not add that off-screen subject to the visible composition.", "state_cue_directive": "Apply transient marker 14: opening 3 is half-open during the staged entry. Retain its fixed hinge placement and inward swing toward the west while expressing this temporary state. Preserve the subdued ambient light of the darkening setting, with muted saturation and restrained contrast sufficient for facial legibility. Keep persistent markers 10–13 unchanged.", "negative_continuity_directive": "Do not reuse L05B02 as an identical framing: the unit 5-to-unit 2 view exposes fixed structure outside its unit 1-to-unit 9 view. Avoid moving markers 10–13 to fit the new camera, merging markers 12 and 13, or treating marker 14 as a persistent structural alteration. Do not assert unobstructed visibility of unit 7 or opening 8 from the visibility supersets." }, "attached_reference_lineage": { "fp_id": "fp_house_yard", "prior_bg_ids": [ "L05B02" ], "attached_ref_labels": [ "bg:L05B02", "building_fp:fp_house_kitchen" ], "ref_used": "refs_2", "db_write_policy": "checkpoint_only" }, "building_fp_ref": { "fp_id": "fp_house_kitchen", "indoor_loc_sid": "L03", "group_id": "bg_thatched_house", "fp_asset_id": "23403be9-104e-41b1-8cf4-1aae7a6ab962" } }, "L05B02": { "status": "ok", "is_reuse": false, "render_action": "render_new_plate", "location_id": "L05", "location_name": "", "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/background_chain/L05B02.png", "t2i_prompt": "20세기 초 대한제국 말기, 한반도 남부 농촌의 생활 재료와 규모에 맞는 조용한 흙마당을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 제공된 평면도는 마당과 출입구, 장독대의 위치 관계를 파악하는 데만 사용한다. 마당 안쪽에서 남동쪽을 바라보며, 동쪽 가장자리의 장독대와 남쪽 경계 중앙의 사립문을 하나의 시선축 안에 담는다. 실제 미러리스 카메라의 35밀리미터 환산 렌즈, 지면에서 약 1.6미터 높이의 서 있는 사람 눈높이로 촬영한다. 장독대 서쪽의 빈 마당을 충분히 확보하고, 사립문 안쪽 문턱에서 문밖의 좁은 진입 공간으로 이어지는 깊이가 읽히도록 구성한다.\n\n동쪽 경계와 나란한 낮은 장독대 위에는 북쪽 끝, 가운데, 남쪽 끝에 놓인 옹기 세 점이 있다. 남쪽 사립문은 서쪽 문설주에 경첩이 달려 마당 안 서쪽으로 회전하는 구조이며, 문짝의 배치는 평면도에서 확인되는 범위만 따른다. 남부 농가의 소박한 사립문을 이루는 거친 나뭇가지와 목재의 실제 결, 경첩 금속의 오래된 표면, 옹기의 짙은 갈색 유약과 고르지 않은 수공 표면, 단단히 다져진 흙바닥의 미세한 질감을 사실적으로 보여준다. 공간은 정돈되고 흐트러짐 없는 상태다.\n\n해질녘 마지막 잔광이 사라져가는 순간으로, 희미한 하늘빛이 마당과 옹기 윗면에 남고 사립문 밖은 한층 어둡다. 빛이 줄어든 실제 야외의 밝기 차이를 유지하면서 장독대와 출입구의 윤곽을 알아볼 수 있게 한다. 흙과 목재 본연의 낮은 채도, 자연스러운 명암과 심도, 과도한 보정 없는 현장 기록 사진의 질감으로 빈 공간의 고요함과 기다림을 드러낸다. 사람, 얼굴, 인체 형태의 형상은 일절 묘사하지 않는다. 위에서 내려다본 구도나 도면이 아니라 수평 시선의 실제 장소 사진이며, 삽화나 컴퓨터 생성 입체 이미지, 건축 시각화, 지나치게 깨끗한 광고 사진처럼 만들지 않는다. 16:9 가로 비율, 실제 카메라 촬영본", "shot_guides": [ { "shot_id": "S8_Shot6", "guide_text": "눈높이 구도에서 장독대와 사립문을 함께 담고, 장독대 서쪽의 빈 마당과 문밖으로 이어지는 시야를 확보한다. 사라져가는 잔광 아래 옹기 표면과 어두운 출입구의 깊이 차이를 자연스럽게 유지한다. 인물이나 동작을 추가하지 않는 빈 배경으로 사용한다." }, { "shot_id": "S8_Shot9", "guide_text": "앞선 배경과 같은 장독대–사립문 시선축, 화면 내 상대 위치와 눈높이를 유지한다. 별도 지시가 없는 문짝 각도나 물건 배치를 바꾸지 않고, 희미한 마당의 잔광과 더 어두운 문밖을 통해 정적을 이어간다. 인물이나 새로운 사건의 흔적은 추가하지 않는다." } ], "shot_ids": [ "S8_Shot6", "S8_Shot9" ], "scenes": [], "parent_id": "", "ref_used": "refs_2", "render_attempts": 1, "render_error": "", "variant_label": "", "floor_plan_used": true, "camera_recommendations": { "camera_position": "Just inside number 1 near number 6, facing southeast across the courtyard toward number 3 and number 10, matching L05B01.", "camera_height": "eye-level standing, approximately 1.6 m", "lens_hint": "28–35mm equivalent wide angle", "framing_notes": "Preserve the same jar-platform-to-gate axis and screen positions as L05B01. Leave open standing space west of number 10 and retain a readable view toward number 4. Do not replay the arrival-opening event; the later gate angle is unspecified, so do not infer a closure. Fading dusk and waiting figures are shot-level states, not changes to the layout." }, "reference_decision": { "bg_id": "L05B02", "fp_id": "fp_house_yard", "node_index": 0, "mode": "fp_seeded_anchor", "is_dwelling_identity_anchor": true, "rationale": "L05B02 is the sole clean anchor candidate and is ready for S8_Shot6 and S8_Shot9. Seed its fixed identity directly from the floor plan. Camera unit 1 looking toward the fixtures in unit 9 supports the staged close observations with peripheral structural context, without forcing opening 3 into the profile view. The two shots' subject angles remain consuming-shot staging rather than separate fixed layouts.", "reference_paths": [ "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/floor_plan/fp_house_yard.png" ], "source_bg_ids": [], "fp_included": true, "reference_decision": { "selected_refs": [], "rejected_refs": [], "same_physical_space_dedup_decision": "not_applicable_anchor", "why_single_ref_or_two_refs": "No reference is selected: this is the required fresh dwelling-identity anchor, and the candidate catalog is empty.", "physical_space_id_per_ref": [], "same_physical_space_low_delta_candidate": false, "low_delta_reuse_target_bg_id": "", "low_delta_rationale": "" }, "camera_decision": { "camera_unit": 1, "camera_cell": [ 4, 4 ], "look_at_unit": 9, "look_at_cell": [ 5, 8 ], "lens_enum": "normal", "fov_deg": 50, "framing_notes": "Neutral coverage from unit 1 toward markers 12 and 13 in unit 9. The exact candidate target is a fixture-bearing cell rather than the unit-center direction endpoint. This plate supplies peripheral fixed context for the close consuming shots; their differing subject angles do not imply relocating fixtures." }, "render_guidance": { "visible_space_directive": "Show the portion of unit 1 facing the fixture-bearing edge of unit 9, centered on markers 12 and 13 at [5, 8], with markers 11 and 10 in their supplied relative positions. Establish marker 10 parallel to the east boundary and preserve the north-to-south ordering of markers 11, 12 and 13. Opening 3 is outside this planned view; visibility supersets do not require showing every listed unit or opening.", "camera_framing_directive": "Use camera unit 1 at [4, 4], looking toward unit 9 at [5, 8], with normal lens coverage of 50 degrees. Keep the coverage neutral and the fixed context peripheral to the consuming close compositions. S8_Shot6 commits a gently downward observation; S8_Shot9 commits an eye-level profile observation. Treat these as shot-specific staging refinements, not additional invented grid positions.", "subject_position_directive": "For S8_Shot6, reserve center-left for the three-quarter face with chin lifted and shoulders drawn, and a thin right foreground margin for the other subject's cropped shoulder and rear head; keep both eyes unobstructed. For S8_Shot9, reserve the left half for the right-facing profile and leave look room to the right; the companion remains outside the crop. These are separate consuming-shot arrangements, not a combined subject tableau.", "state_cue_directive": "No committed state cue beyond clean residential space applies: clean_background_expected is true and there are no transient markers. Refrain from inventing additional cues. Maintain the staged subdued ambient illumination and muted saturation without a conspicuous lighting change; do not introduce marker 14.", "negative_continuity_directive": "Exclude ignored marker 14. Do not force opening 3 or units 2 and 4 into this view to illustrate an off-screen gaze. Avoid merging markers 12 and 13 merely because their coarse grid cells coincide, and avoid adding unsupported structure from the visibility supersets." }, "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 1\n - camera_cell: [4, 4]\n - look_at_unit: 9\n - look_at_cell: [5, 8]\n - lens_enum: 'normal'\n - fov_deg: 50\n - framing_notes: 'Neutral coverage from unit 1 toward markers 12 and 13 in unit 9. The exact candidate target is a fixture-bearing cell rather than the unit-center direction endpoint. This plate supplies peripheral fixed context for the close consuming shots; their differing subject angles do not imply relocating fixtures.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Show the portion of unit 1 facing the fixture-bearing edge of unit 9, centered on markers 12 and 13 at [5, 8], with markers 11 and 10 in their supplied relative positions. Establish marker 10 parallel to the east boundary and preserve the north-to-south ordering of markers 11, 12 and 13. Opening 3 is outside this planned view; visibility supersets do not require showing every listed unit or opening.\n - camera_framing_directive: Use camera unit 1 at [4, 4], looking toward unit 9 at [5, 8], with normal lens coverage of 50 degrees. Keep the coverage neutral and the fixed context peripheral to the consuming close compositions. S8_Shot6 commits a gently downward observation; S8_Shot9 commits an eye-level profile observation. Treat these as shot-specific staging refinements, not additional invented grid positions.\n - subject_position_directive: For S8_Shot6, reserve center-left for the three-quarter face with chin lifted and shoulders drawn, and a thin right foreground margin for the other subject's cropped shoulder and rear head; keep both eyes unobstructed. For S8_Shot9, reserve the left half for the right-facing profile and leave look room to the right; the companion remains outside the crop. These are separate consuming-shot arrangements, not a combined subject tableau.\n - state_cue_directive: No committed state cue beyond clean residential space applies: clean_background_expected is true and there are no transient markers. Refrain from inventing additional cues. Maintain the staged subdued ambient illumination and muted saturation without a conspicuous lighting change; do not introduce marker 14.\n - negative_continuity_directive: Exclude ignored marker 14. Do not force opening 3 or units 2 and 4 into this view to illustrate an off-screen gaze. Avoid merging markers 12 and 13 merely because their coarse grid cells coincide, and avoid adding unsupported structure from the visibility supersets.\n\n", "diagnostics": [] }, "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 1\n - camera_cell: [4, 4]\n - look_at_unit: 9\n - look_at_cell: [5, 8]\n - lens_enum: 'normal'\n - fov_deg: 50\n - framing_notes: 'Neutral coverage from unit 1 toward markers 12 and 13 in unit 9. The exact candidate target is a fixture-bearing cell rather than the unit-center direction endpoint. This plate supplies peripheral fixed context for the close consuming shots; their differing subject angles do not imply relocating fixtures.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Show the portion of unit 1 facing the fixture-bearing edge of unit 9, centered on markers 12 and 13 at [5, 8], with markers 11 and 10 in their supplied relative positions. Establish marker 10 parallel to the east boundary and preserve the north-to-south ordering of markers 11, 12 and 13. Opening 3 is outside this planned view; visibility supersets do not require showing every listed unit or opening.\n - camera_framing_directive: Use camera unit 1 at [4, 4], looking toward unit 9 at [5, 8], with normal lens coverage of 50 degrees. Keep the coverage neutral and the fixed context peripheral to the consuming close compositions. S8_Shot6 commits a gently downward observation; S8_Shot9 commits an eye-level profile observation. Treat these as shot-specific staging refinements, not additional invented grid positions.\n - subject_position_directive: For S8_Shot6, reserve center-left for the three-quarter face with chin lifted and shoulders drawn, and a thin right foreground margin for the other subject's cropped shoulder and rear head; keep both eyes unobstructed. For S8_Shot9, reserve the left half for the right-facing profile and leave look room to the right; the companion remains outside the crop. These are separate consuming-shot arrangements, not a combined subject tableau.\n - state_cue_directive: No committed state cue beyond clean residential space applies: clean_background_expected is true and there are no transient markers. Refrain from inventing additional cues. Maintain the staged subdued ambient illumination and muted saturation without a conspicuous lighting change; do not introduce marker 14.\n - negative_continuity_directive: Exclude ignored marker 14. Do not force opening 3 or units 2 and 4 into this view to illustrate an off-screen gaze. Avoid merging markers 12 and 13 merely because their coarse grid cells coincide, and avoid adding unsupported structure from the visibility supersets.\n\n", "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 1\n - camera_cell: [4, 4]\n - look_at_unit: 9\n - look_at_cell: [5, 8]\n - lens_enum: 'normal'\n - fov_deg: 50\n - framing_notes: 'Neutral coverage from unit 1 toward markers 12 and 13 in unit 9. The exact candidate target is a fixture-bearing cell rather than the unit-center direction endpoint. This plate supplies peripheral fixed context for the close consuming shots; their differing subject angles do not imply relocating fixtures.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Show the portion of unit 1 facing the fixture-bearing edge of unit 9, centered on markers 12 and 13 at [5, 8], with markers 11 and 10 in their supplied relative positions. Establish marker 10 parallel to the east boundary and preserve the north-to-south ordering of markers 11, 12 and 13. Opening 3 is outside this planned view; visibility supersets do not require showing every listed unit or opening.\n - camera_framing_directive: Use camera unit 1 at [4, 4], looking toward unit 9 at [5, 8], with normal lens coverage of 50 degrees. Keep the coverage neutral and the fixed context peripheral to the consuming close compositions. S8_Shot6 commits a gently downward observation; S8_Shot9 commits an eye-level profile observation. Treat these as shot-specific staging refinements, not additional invented grid positions.\n - subject_position_directive: For S8_Shot6, reserve center-left for the three-quarter face with chin lifted and shoulders drawn, and a thin right foreground margin for the other subject's cropped shoulder and rear head; keep both eyes unobstructed. For S8_Shot9, reserve the left half for the right-facing profile and leave look room to the right; the companion remains outside the crop. These are separate consuming-shot arrangements, not a combined subject tableau.\n - state_cue_directive: No committed state cue beyond clean residential space applies: clean_background_expected is true and there are no transient markers. Refrain from inventing additional cues. Maintain the staged subdued ambient illumination and muted saturation without a conspicuous lighting change; do not introduce marker 14.\n - negative_continuity_directive: Exclude ignored marker 14. Do not force opening 3 or units 2 and 4 into this view to illustrate an off-screen gaze. Avoid merging markers 12 and 13 merely because their coarse grid cells coincide, and avoid adding unsupported structure from the visibility supersets.\n\n20세기 초 대한제국 말기, 한반도 남부 농촌의 생활 재료와 규모에 맞는 조용한 흙마당을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 제공된 평면도는 마당과 출입구, 장독대의 위치 관계를 파악하는 데만 사용한다. 마당 안쪽에서 남동쪽을 바라보며, 동쪽 가장자리의 장독대와 남쪽 경계 중앙의 사립문을 하나의 시선축 안에 담는다. 실제 미러리스 카메라의 35밀리미터 환산 렌즈, 지면에서 약 1.6미터 높이의 서 있는 사람 눈높이로 촬영한다. 장독대 서쪽의 빈 마당을 충분히 확보하고, 사립문 안쪽 문턱에서 문밖의 좁은 진입 공간으로 이어지는 깊이가 읽히도록 구성한다.\n\n동쪽 경계와 나란한 낮은 장독대 위에는 북쪽 끝, 가운데, 남쪽 끝에 놓인 옹기 세 점이 있다. 남쪽 사립문은 서쪽 문설주에 경첩이 달려 마당 안 서쪽으로 회전하는 구조이며, 문짝의 배치는 평면도에서 확인되는 범위만 따른다. 남부 농가의 소박한 사립문을 이루는 거친 나뭇가지와 목재의 실제 결, 경첩 금속의 오래된 표면, 옹기의 짙은 갈색 유약과 고르지 않은 수공 표면, 단단히 다져진 흙바닥의 미세한 질감을 사실적으로 보여준다. 공간은 정돈되고 흐트러짐 없는 상태다.\n\n해질녘 마지막 잔광이 사라져가는 순간으로, 희미한 하늘빛이 마당과 옹기 윗면에 남고 사립문 밖은 한층 어둡다. 빛이 줄어든 실제 야외의 밝기 차이를 유지하면서 장독대와 출입구의 윤곽을 알아볼 수 있게 한다. 흙과 목재 본연의 낮은 채도, 자연스러운 명암과 심도, 과도한 보정 없는 현장 기록 사진의 질감으로 빈 공간의 고요함과 기다림을 드러낸다. 사람, 얼굴, 인체 형태의 형상은 일절 묘사하지 않는다. 위에서 내려다본 구도나 도면이 아니라 수평 시선의 실제 장소 사진이며, 삽화나 컴퓨터 생성 입체 이미지, 건축 시각화, 지나치게 깨끗한 광고 사진처럼 만들지 않는다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThe LAST attached image is a TOP-DOWN INTERIOR FLOOR PLAN of the building at this location — a STRUCTURAL REFERENCE ONLY, never content to draw. It defines the building's real scale: its footprint, room count, and the placement of its doors and windows. Render the scene so the building's exterior size, number of storeys, and the scale and placement of its doors and windows stay consistent with that plan. Do NOT draw the floor plan itself, its lines, text or numbers anywhere in the image.", "camera_decision": { "camera_unit": 1, "camera_cell": [ 4, 4 ], "look_at_unit": 9, "look_at_cell": [ 5, 8 ], "lens_enum": "normal", "fov_deg": 50, "framing_notes": "Neutral coverage from unit 1 toward markers 12 and 13 in unit 9. The exact candidate target is a fixture-bearing cell rather than the unit-center direction endpoint. This plate supplies peripheral fixed context for the close consuming shots; their differing subject angles do not imply relocating fixtures." }, "shot_aware_plan_node_index": 0, "shot_aware_plan_mode": "fp_seeded_anchor", "render_guidance": { "visible_space_directive": "Show the portion of unit 1 facing the fixture-bearing edge of unit 9, centered on markers 12 and 13 at [5, 8], with markers 11 and 10 in their supplied relative positions. Establish marker 10 parallel to the east boundary and preserve the north-to-south ordering of markers 11, 12 and 13. Opening 3 is outside this planned view; visibility supersets do not require showing every listed unit or opening.", "camera_framing_directive": "Use camera unit 1 at [4, 4], looking toward unit 9 at [5, 8], with normal lens coverage of 50 degrees. Keep the coverage neutral and the fixed context peripheral to the consuming close compositions. S8_Shot6 commits a gently downward observation; S8_Shot9 commits an eye-level profile observation. Treat these as shot-specific staging refinements, not additional invented grid positions.", "subject_position_directive": "For S8_Shot6, reserve center-left for the three-quarter face with chin lifted and shoulders drawn, and a thin right foreground margin for the other subject's cropped shoulder and rear head; keep both eyes unobstructed. For S8_Shot9, reserve the left half for the right-facing profile and leave look room to the right; the companion remains outside the crop. These are separate consuming-shot arrangements, not a combined subject tableau.", "state_cue_directive": "No committed state cue beyond clean residential space applies: clean_background_expected is true and there are no transient markers. Refrain from inventing additional cues. Maintain the staged subdued ambient illumination and muted saturation without a conspicuous lighting change; do not introduce marker 14.", "negative_continuity_directive": "Exclude ignored marker 14. Do not force opening 3 or units 2 and 4 into this view to illustrate an off-screen gaze. Avoid merging markers 12 and 13 merely because their coarse grid cells coincide, and avoid adding unsupported structure from the visibility supersets." }, "attached_reference_lineage": { "fp_id": "fp_house_yard", "prior_bg_ids": [], "attached_ref_labels": [ "fp:fp_house_yard", "building_fp:fp_house_kitchen" ], "ref_used": "refs_2", "db_write_policy": "checkpoint_only" }, "building_fp_ref": { "fp_id": "fp_house_kitchen", "indoor_loc_sid": "L03", "group_id": "bg_thatched_house", "fp_asset_id": "23403be9-104e-41b1-8cf4-1aae7a6ab962" } }, "L04B02": { "status": "ok", "is_reuse": false, "render_action": "render_new_plate", "location_id": "L04", "location_name": "", "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/background_chain/L04B02.png", "t2i_prompt": "20세기 초 대한제국 말기, 한반도 남부 농촌의 소박한 살림방을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 직사각형 온돌방으로, 당시 농가에 어울리는 누르스름한 종이 장판과 흙바탕을 종이로 마감한 벽의 질감을 사실적으로 담는다. 장판의 이음매, 오래 사용하며 생긴 자연스러운 색바램과 옅은 생활 얼룩, 벽 표면의 작은 요철이 보인다. 새것처럼 균일하거나 과도하게 낡은 공간이 아니라 실제로 생활해 온 검소한 방이다.\n\n방 북서쪽의 북쪽 벽에 붙어 바닥 이부자리가 놓여 있다. 벽 바로 앞에 기대어 앉을 수 있는 자리는 이부자리의 북쪽 끝과 이어지는 바닥 공간이며, 별도의 좌석 가구는 없다. 이불은 사람이나 신체의 윤곽 없이 낮고 자연스럽게 놓여 있으며, 빛바랜 무명천의 직조와 눌린 주름이 드러난다. 그 자리에서 남쪽으로 이어지는 방 중앙은 큰절을 올릴 수 있도록 넓게 비워 둔다. 방 동쪽의 짐을 꾸리는 바닥 자리에는 작은 천 봇짐 하나가 놓여 있다. 봇짐은 화면 오른쪽에서 중앙의 빈 바닥 옆에 머물며 절할 공간을 침범하지 않는다. 매듭으로 여민 천의 주름과 작고 소박한 부피를 현실적으로 표현한다.\n\n방 남동쪽 안쪽에서 북서쪽 이부자리와 그 뒤 벽을 향해 바라본다. 실제 미러리스 카메라의 35밀리미터 렌즈, 서 있는 사람의 눈높이인 약 1.6미터에서 촬영하며, 전경에는 중앙의 빈 방바닥이 넉넉하게 이어지고 오른쪽에는 봇짐이 놓인 바닥이 보인다. 평면도나 내려다보는 조감 구도가 아니라 방 안에서 직접 바라보는 자연스러운 원근이다. 화면 밖에서 들어오는 약한 새벽 자연광이 방 전체에 푸르스름하게 번지고, 벽 가까운 곳에는 부드러운 그늘이 남는다. 장판의 흙빛과 무명천의 누런 색이 새벽빛 아래에서도 은은하게 구별되는 실제 노출과 자연스러운 심도를 유지한다. 과장된 색 보정이나 인공적인 광택 없이 실제 장소 기록 사진처럼 표현하며, 삽화나 컴퓨터 그래픽, 건축 시각화가 아닌 실물 촬영 사진이어야 한다. 사람, 얼굴, 사람 형태의 형상은 전혀 등장하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본", "shot_guides": [ { "shot_id": "S11_Shot4", "guide_text": "빈 중앙 바닥이 전경에서 북쪽 벽 앞까지 끊기지 않도록 확보한다. 북서쪽 이부자리와 벽에 기대어 앉을 자리를 함께 보여 주고, 작은 봇짐은 오른쪽 가장자리 쪽 바닥에 두어 큰절을 위한 여백과 분리한다. 약한 푸르스름한 새벽빛과 무명 이불의 실제 질감을 유지하며, 인물이나 신체처럼 솟은 이불 형태는 만들지 않는다." } ], "shot_ids": [ "S11_Shot4" ], "scenes": [], "parent_id": "", "ref_used": "fp_only", "render_attempts": 1, "render_error": "", "variant_label": "", "floor_plan_used": true, "camera_recommendations": { "camera_position": "just inside number 6 (room doorway), facing northwest toward numbers 2 and 3, with number 5 extending through the foreground and number 4 on the right", "camera_height": "low seated eye level, approximately 0.9 m", "lens_hint": "28–35mm wide angle", "framing_notes": "Keep the wall-backed bedding and the full bowing clearance readable together. Include number 8 as a small overlay object within number 4, without blocking the central floor. The doorway and threshold can remain behind the camera. Apply subdued bluish dawn conditions only to the downstream background, not the floor plan." }, "reference_decision": { "bg_id": "L04B02", "fp_id": "fp_house_room", "node_index": 0, "mode": "fp_seeded_anchor", "is_dwelling_identity_anchor": true, "rationale": "L04B02 is the sole ready BG and the sole supplied anchor candidate. Select it under the declared ramped fallback despite clean_background_expected=false and transient marker 8. No prior references are available. For S11_Shot4, the wide view from unit 4 toward the marker-2 backing area beside unit 3 supports the staged oblique relationship between units 5 and 3 while establishing the fixed interior directly from the floor plan.", "reference_paths": [ "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/floor_plan/fp_house_room.png" ], "source_bg_ids": [], "fp_included": true, "reference_decision": { "selected_refs": [], "rejected_refs": [], "same_physical_space_dedup_decision": "no_prior_reference", "why_single_ref_or_two_refs": "The identity anchor is seeded directly from the floor plan; the reference catalog is empty.", "physical_space_id_per_ref": [], "same_physical_space_low_delta_candidate": false, "low_delta_reuse_target_bg_id": "", "low_delta_rationale": "" }, "camera_decision": { "camera_unit": 4, "camera_cell": [ 4, 8 ], "look_at_unit": 3, "look_at_cell": [ 1, 2 ], "lens_enum": "wide", "fov_deg": 90, "framing_notes": "Broad oblique coverage from unit 4 toward the marker-2 area beside unit 3, with unit 5 in the lower frame. The exact permitted look-at cell targets marker 2 rather than the unit-3 marker center. Use the staged elevated hold, keeping the complete bowed body and the seated position beyond it legible." }, "render_guidance": { "visible_space_directive": "Show the interior of unit 1 from unit 4 toward unit 3 and base marker 2, including the intervening floor in unit 5. Keep marker 2 against the north wall and unit 3 beside its northern end; unit 4 remains the east-side camera area within the same interior. Opening 6 and unit 7 are visibility-superset candidates, not required visible content for this northward-facing composition.", "camera_framing_directive": "Use camera_unit 4 at [4, 8], looking toward unit 3 at the permitted marker-2 target cell [1, 2], with a wide lens and 90-degree field of view. Maintain broad elevated oblique coverage for the staged hold, retaining the full bowed figure through the lower center and the seated figure beyond toward upper-right.", "subject_position_directive": "Follow S11_Shot4: place the kneeling subject in unit 5 with back to camera, forehead touching the floor, and folded legs and back arranged diagonally through the lower center. Place the seated subject beyond in unit 3 against the backing wall, in three-quarter-left orientation with gaze lowered toward marker 8 beside the bow. Preserve both staged positions during the hold.", "state_cue_directive": "Use markers 1, 2, 3, 4, 5 and transient marker 8. Retain marker 2 around the seated subject's waist as committed by staging, and keep marker 8 small, packed, and beside the bow. Preserve visible forehead-to-floor contact and the staged soft, restrained bluish dawn light with natural contrast. This fallback anchor is not designated a clean background; marker 8 is a transient cue rather than permanent dwelling structure.", "negative_continuity_directive": "No ignored numbered elements or ignored state overlays are supplied. Avoid relocating base marker 2, changing the fixed relationship of units 3, 4 and 5, or turning transient marker 8 into a permanent element. Do not force opening 6 or unit 7 into this view from their superset visibility listing, and do not invent additional markers or subjects." }, "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 4\n - camera_cell: [4, 8]\n - look_at_unit: 3\n - look_at_cell: [1, 2]\n - lens_enum: 'wide'\n - fov_deg: 90\n - framing_notes: 'Broad oblique coverage from unit 4 toward the marker-2 area beside unit 3, with unit 5 in the lower frame. The exact permitted look-at cell targets marker 2 rather than the unit-3 marker center. Use the staged elevated hold, keeping the complete bowed body and the seated position beyond it legible.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Show the interior of unit 1 from unit 4 toward unit 3 and base marker 2, including the intervening floor in unit 5. Keep marker 2 against the north wall and unit 3 beside its northern end; unit 4 remains the east-side camera area within the same interior. Opening 6 and unit 7 are visibility-superset candidates, not required visible content for this northward-facing composition.\n - camera_framing_directive: Use camera_unit 4 at [4, 8], looking toward unit 3 at the permitted marker-2 target cell [1, 2], with a wide lens and 90-degree field of view. Maintain broad elevated oblique coverage for the staged hold, retaining the full bowed figure through the lower center and the seated figure beyond toward upper-right.\n - subject_position_directive: Follow S11_Shot4: place the kneeling subject in unit 5 with back to camera, forehead touching the floor, and folded legs and back arranged diagonally through the lower center. Place the seated subject beyond in unit 3 against the backing wall, in three-quarter-left orientation with gaze lowered toward marker 8 beside the bow. Preserve both staged positions during the hold.\n - state_cue_directive: Use markers 1, 2, 3, 4, 5 and transient marker 8. Retain marker 2 around the seated subject's waist as committed by staging, and keep marker 8 small, packed, and beside the bow. Preserve visible forehead-to-floor contact and the staged soft, restrained bluish dawn light with natural contrast. This fallback anchor is not designated a clean background; marker 8 is a transient cue rather than permanent dwelling structure.\n - negative_continuity_directive: No ignored numbered elements or ignored state overlays are supplied. Avoid relocating base marker 2, changing the fixed relationship of units 3, 4 and 5, or turning transient marker 8 into a permanent element. Do not force opening 6 or unit 7 into this view from their superset visibility listing, and do not invent additional markers or subjects.\n\n", "diagnostics": [] }, "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 4\n - camera_cell: [4, 8]\n - look_at_unit: 3\n - look_at_cell: [1, 2]\n - lens_enum: 'wide'\n - fov_deg: 90\n - framing_notes: 'Broad oblique coverage from unit 4 toward the marker-2 area beside unit 3, with unit 5 in the lower frame. The exact permitted look-at cell targets marker 2 rather than the unit-3 marker center. Use the staged elevated hold, keeping the complete bowed body and the seated position beyond it legible.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Show the interior of unit 1 from unit 4 toward unit 3 and base marker 2, including the intervening floor in unit 5. Keep marker 2 against the north wall and unit 3 beside its northern end; unit 4 remains the east-side camera area within the same interior. Opening 6 and unit 7 are visibility-superset candidates, not required visible content for this northward-facing composition.\n - camera_framing_directive: Use camera_unit 4 at [4, 8], looking toward unit 3 at the permitted marker-2 target cell [1, 2], with a wide lens and 90-degree field of view. Maintain broad elevated oblique coverage for the staged hold, retaining the full bowed figure through the lower center and the seated figure beyond toward upper-right.\n - subject_position_directive: Follow S11_Shot4: place the kneeling subject in unit 5 with back to camera, forehead touching the floor, and folded legs and back arranged diagonally through the lower center. Place the seated subject beyond in unit 3 against the backing wall, in three-quarter-left orientation with gaze lowered toward marker 8 beside the bow. Preserve both staged positions during the hold.\n - state_cue_directive: Use markers 1, 2, 3, 4, 5 and transient marker 8. Retain marker 2 around the seated subject's waist as committed by staging, and keep marker 8 small, packed, and beside the bow. Preserve visible forehead-to-floor contact and the staged soft, restrained bluish dawn light with natural contrast. This fallback anchor is not designated a clean background; marker 8 is a transient cue rather than permanent dwelling structure.\n - negative_continuity_directive: No ignored numbered elements or ignored state overlays are supplied. Avoid relocating base marker 2, changing the fixed relationship of units 3, 4 and 5, or turning transient marker 8 into a permanent element. Do not force opening 6 or unit 7 into this view from their superset visibility listing, and do not invent additional markers or subjects.\n\n", "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 4\n - camera_cell: [4, 8]\n - look_at_unit: 3\n - look_at_cell: [1, 2]\n - lens_enum: 'wide'\n - fov_deg: 90\n - framing_notes: 'Broad oblique coverage from unit 4 toward the marker-2 area beside unit 3, with unit 5 in the lower frame. The exact permitted look-at cell targets marker 2 rather than the unit-3 marker center. Use the staged elevated hold, keeping the complete bowed body and the seated position beyond it legible.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Show the interior of unit 1 from unit 4 toward unit 3 and base marker 2, including the intervening floor in unit 5. Keep marker 2 against the north wall and unit 3 beside its northern end; unit 4 remains the east-side camera area within the same interior. Opening 6 and unit 7 are visibility-superset candidates, not required visible content for this northward-facing composition.\n - camera_framing_directive: Use camera_unit 4 at [4, 8], looking toward unit 3 at the permitted marker-2 target cell [1, 2], with a wide lens and 90-degree field of view. Maintain broad elevated oblique coverage for the staged hold, retaining the full bowed figure through the lower center and the seated figure beyond toward upper-right.\n - subject_position_directive: Follow S11_Shot4: place the kneeling subject in unit 5 with back to camera, forehead touching the floor, and folded legs and back arranged diagonally through the lower center. Place the seated subject beyond in unit 3 against the backing wall, in three-quarter-left orientation with gaze lowered toward marker 8 beside the bow. Preserve both staged positions during the hold.\n - state_cue_directive: Use markers 1, 2, 3, 4, 5 and transient marker 8. Retain marker 2 around the seated subject's waist as committed by staging, and keep marker 8 small, packed, and beside the bow. Preserve visible forehead-to-floor contact and the staged soft, restrained bluish dawn light with natural contrast. This fallback anchor is not designated a clean background; marker 8 is a transient cue rather than permanent dwelling structure.\n - negative_continuity_directive: No ignored numbered elements or ignored state overlays are supplied. Avoid relocating base marker 2, changing the fixed relationship of units 3, 4 and 5, or turning transient marker 8 into a permanent element. Do not force opening 6 or unit 7 into this view from their superset visibility listing, and do not invent additional markers or subjects.\n\n20세기 초 대한제국 말기, 한반도 남부 농촌의 소박한 살림방을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 직사각형 온돌방으로, 당시 농가에 어울리는 누르스름한 종이 장판과 흙바탕을 종이로 마감한 벽의 질감을 사실적으로 담는다. 장판의 이음매, 오래 사용하며 생긴 자연스러운 색바램과 옅은 생활 얼룩, 벽 표면의 작은 요철이 보인다. 새것처럼 균일하거나 과도하게 낡은 공간이 아니라 실제로 생활해 온 검소한 방이다.\n\n방 북서쪽의 북쪽 벽에 붙어 바닥 이부자리가 놓여 있다. 벽 바로 앞에 기대어 앉을 수 있는 자리는 이부자리의 북쪽 끝과 이어지는 바닥 공간이며, 별도의 좌석 가구는 없다. 이불은 사람이나 신체의 윤곽 없이 낮고 자연스럽게 놓여 있으며, 빛바랜 무명천의 직조와 눌린 주름이 드러난다. 그 자리에서 남쪽으로 이어지는 방 중앙은 큰절을 올릴 수 있도록 넓게 비워 둔다. 방 동쪽의 짐을 꾸리는 바닥 자리에는 작은 천 봇짐 하나가 놓여 있다. 봇짐은 화면 오른쪽에서 중앙의 빈 바닥 옆에 머물며 절할 공간을 침범하지 않는다. 매듭으로 여민 천의 주름과 작고 소박한 부피를 현실적으로 표현한다.\n\n방 남동쪽 안쪽에서 북서쪽 이부자리와 그 뒤 벽을 향해 바라본다. 실제 미러리스 카메라의 35밀리미터 렌즈, 서 있는 사람의 눈높이인 약 1.6미터에서 촬영하며, 전경에는 중앙의 빈 방바닥이 넉넉하게 이어지고 오른쪽에는 봇짐이 놓인 바닥이 보인다. 평면도나 내려다보는 조감 구도가 아니라 방 안에서 직접 바라보는 자연스러운 원근이다. 화면 밖에서 들어오는 약한 새벽 자연광이 방 전체에 푸르스름하게 번지고, 벽 가까운 곳에는 부드러운 그늘이 남는다. 장판의 흙빛과 무명천의 누런 색이 새벽빛 아래에서도 은은하게 구별되는 실제 노출과 자연스러운 심도를 유지한다. 과장된 색 보정이나 인공적인 광택 없이 실제 장소 기록 사진처럼 표현하며, 삽화나 컴퓨터 그래픽, 건축 시각화가 아닌 실물 촬영 사진이어야 한다. 사람, 얼굴, 사람 형태의 형상은 전혀 등장하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.", "camera_decision": { "camera_unit": 4, "camera_cell": [ 4, 8 ], "look_at_unit": 3, "look_at_cell": [ 1, 2 ], "lens_enum": "wide", "fov_deg": 90, "framing_notes": "Broad oblique coverage from unit 4 toward the marker-2 area beside unit 3, with unit 5 in the lower frame. The exact permitted look-at cell targets marker 2 rather than the unit-3 marker center. Use the staged elevated hold, keeping the complete bowed body and the seated position beyond it legible." }, "shot_aware_plan_node_index": 0, "shot_aware_plan_mode": "fp_seeded_anchor", "render_guidance": { "visible_space_directive": "Show the interior of unit 1 from unit 4 toward unit 3 and base marker 2, including the intervening floor in unit 5. Keep marker 2 against the north wall and unit 3 beside its northern end; unit 4 remains the east-side camera area within the same interior. Opening 6 and unit 7 are visibility-superset candidates, not required visible content for this northward-facing composition.", "camera_framing_directive": "Use camera_unit 4 at [4, 8], looking toward unit 3 at the permitted marker-2 target cell [1, 2], with a wide lens and 90-degree field of view. Maintain broad elevated oblique coverage for the staged hold, retaining the full bowed figure through the lower center and the seated figure beyond toward upper-right.", "subject_position_directive": "Follow S11_Shot4: place the kneeling subject in unit 5 with back to camera, forehead touching the floor, and folded legs and back arranged diagonally through the lower center. Place the seated subject beyond in unit 3 against the backing wall, in three-quarter-left orientation with gaze lowered toward marker 8 beside the bow. Preserve both staged positions during the hold.", "state_cue_directive": "Use markers 1, 2, 3, 4, 5 and transient marker 8. Retain marker 2 around the seated subject's waist as committed by staging, and keep marker 8 small, packed, and beside the bow. Preserve visible forehead-to-floor contact and the staged soft, restrained bluish dawn light with natural contrast. This fallback anchor is not designated a clean background; marker 8 is a transient cue rather than permanent dwelling structure.", "negative_continuity_directive": "No ignored numbered elements or ignored state overlays are supplied. Avoid relocating base marker 2, changing the fixed relationship of units 3, 4 and 5, or turning transient marker 8 into a permanent element. Do not force opening 6 or unit 7 into this view from their superset visibility listing, and do not invent additional markers or subjects." }, "attached_reference_lineage": { "fp_id": "fp_house_room", "prior_bg_ids": [], "attached_ref_labels": [ "fp:fp_house_room" ], "ref_used": "fp_only", "db_write_policy": "checkpoint_only" } }, "L04B01": { "status": "ok", "location_id": "L04", "location_name": "", "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/background_chain/L04B01.png", "t2i_prompt": "20세기 초 대한제국 말기 한반도 남부 농촌 산지의 사립문 바로 밖에서 산길을 바라보며 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실내가 아닌 완전한 실외 공간이다. 실제 디지털 일안 반사식 카메라와 35밀리미터급 렌즈를 사용하고, 서 있는 사람의 눈높이 약 1.6미터에서 길의 진행 방향을 향해 촬영한다. 화면 아래에는 물건을 주고받는 장면의 배경으로 사용할 수 있도록 장애물 없는 흙길 면적을 넉넉히 확보하고, 그 길이 중경을 지나 안개 낀 산비탈의 좁은 길로 자연스럽게 이어지게 한다. 화면 한쪽 가장자리에 가는 나뭇가지와 싸리를 엮어 만든 소박한 사립문과 거친 나무 문기둥이 보이며, 문짝은 길을 가로막지 않는다. 문 옆으로 낮은 섶울타리가 짧게 이어진다. 길은 훼손이나 파헤쳐진 흔적 없이 온전하며, 오랜 통행으로 다져진 흙의 미세한 요철, 드문 작은 자갈, 가장자리 풀잎의 이슬만 보인다. 부서진 물건이나 전투 잔해, 핏자국은 없다. 멀어지는 산길 주변에는 낮은 관목과 드문 소나무가 있고, 산자락은 실제 새벽의 옅은 안개에 가려 거리별로 점차 흐려진다. 해가 산 위로 나오기 전의 차갑고 부드러운 자연광이 젖은 흙과 나무 표면을 고르게 비추며, 하늘의 약한 밝기가 길의 방향을 읽을 수 있게 한다. 흙의 갈색과 풀의 탁한 녹색은 자연스러운 채도로 유지한다. 나무껍질, 마른 싸리의 섬유, 문기둥의 실제 나뭇결과 오래된 흙 얼룩을 세밀하고 과장 없이 보여준다. 가까운 지면과 사립문은 충분히 읽히고 먼 길은 안개와 자연스러운 피사계 심도로 부드럽게 흐려지는 실제 장소 기록 사진이다. 과도한 보정이나 인공 조명, 매끈하게 정돈된 광고 사진 같은 표면은 배제한다. 사람이 없는 빈 배경만 촬영하며 얼굴, 손, 신체, 옥가락지 등 전달 소품은 넣지 않는다. 현대식 도로 포장, 전봇대, 차량, 전자기기와 표지판은 없다. 삽화나 컴퓨터 합성 이미지, 건축 시각화가 아닌 실제 사진이며, 위에서 내려다보는 구도나 평면도 표현을 사용하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본", "shot_guides": [ { "shot_id": "S11_Shot9", "guide_text": "세부 숏 설명이 없으므로 공통 배경을 기준으로 사용한다. 옥가락지 전달 손 인서트에 활용할 경우 화면 아래의 비어 있는 흙길 영역을 배경으로 선택하고, 지면의 작은 자갈과 다져진 흙 질감이 전달 소품보다 두드러지지 않도록 한다. 배경 자체에는 손이나 옥가락지를 그리지 않으며, 산길 장면과 동일한 새벽빛과 지면 상태를 유지한다." }, { "shot_id": "S11_Shot16", "guide_text": "세부 숏 설명이 없으므로 공통 배경의 공간 연결을 유지한다. 산길 방향을 보여주는 용도로 사용할 경우 가까운 사립문 가장자리와 문 밖의 흙길을 남기고, 길이 안개 속 산자락으로 이어지는 깊이를 확보한다. 사람이나 멀리 있는 인영을 추가하지 않으며, 인서트 배경과 같은 온전한 흙길과 부드러운 새벽 자연광을 유지한다." } ], "shot_ids": [ "S11_Shot9", "S11_Shot16" ], "scenes": [], "parent_id": "", "ref_used": "refs_1", "render_attempts": 1, "render_error": "", "variant_label": "", "floor_plan_used": false, "camera_recommendations": {}, "reference_decision": { "mode": "surface_role_direct_plate", "surface_role": "exterior_plate", "fp_id": "", "source_bg_ids": [] }, "effective_render_prompt": "20세기 초 대한제국 말기 한반도 남부 농촌 산지의 사립문 바로 밖에서 산길을 바라보며 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실내가 아닌 완전한 실외 공간이다. 실제 디지털 일안 반사식 카메라와 35밀리미터급 렌즈를 사용하고, 서 있는 사람의 눈높이 약 1.6미터에서 길의 진행 방향을 향해 촬영한다. 화면 아래에는 물건을 주고받는 장면의 배경으로 사용할 수 있도록 장애물 없는 흙길 면적을 넉넉히 확보하고, 그 길이 중경을 지나 안개 낀 산비탈의 좁은 길로 자연스럽게 이어지게 한다. 화면 한쪽 가장자리에 가는 나뭇가지와 싸리를 엮어 만든 소박한 사립문과 거친 나무 문기둥이 보이며, 문짝은 길을 가로막지 않는다. 문 옆으로 낮은 섶울타리가 짧게 이어진다. 길은 훼손이나 파헤쳐진 흔적 없이 온전하며, 오랜 통행으로 다져진 흙의 미세한 요철, 드문 작은 자갈, 가장자리 풀잎의 이슬만 보인다. 부서진 물건이나 전투 잔해, 핏자국은 없다. 멀어지는 산길 주변에는 낮은 관목과 드문 소나무가 있고, 산자락은 실제 새벽의 옅은 안개에 가려 거리별로 점차 흐려진다. 해가 산 위로 나오기 전의 차갑고 부드러운 자연광이 젖은 흙과 나무 표면을 고르게 비추며, 하늘의 약한 밝기가 길의 방향을 읽을 수 있게 한다. 흙의 갈색과 풀의 탁한 녹색은 자연스러운 채도로 유지한다. 나무껍질, 마른 싸리의 섬유, 문기둥의 실제 나뭇결과 오래된 흙 얼룩을 세밀하고 과장 없이 보여준다. 가까운 지면과 사립문은 충분히 읽히고 먼 길은 안개와 자연스러운 피사계 심도로 부드럽게 흐려지는 실제 장소 기록 사진이다. 과도한 보정이나 인공 조명, 매끈하게 정돈된 광고 사진 같은 표면은 배제한다. 사람이 없는 빈 배경만 촬영하며 얼굴, 손, 신체, 옥가락지 등 전달 소품은 넣지 않는다. 현대식 도로 포장, 전봇대, 차량, 전자기기와 표지판은 없다. 삽화나 컴퓨터 합성 이미지, 건축 시각화가 아닌 실제 사진이며, 위에서 내려다보는 구도나 평면도 표현을 사용하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본\n\nOne attached image is a PHOTOREAL RENDER of the SAME building/site this scene belongs to — it may show the outside while this scene is inside, or another part of the same place. Treat it as the BUILDING IDENTITY reference. Keep this render consistent with it: the same era, age and state of repair, the same palette and material quality, the same window and door frame styles, and anything visible through openings (windows, doorways, passages) must belong to that same building and its surroundings. Lettering visible in the reference is reproduced EXACTLY — same characters, same mark, same position; never invent different wording from render to render. Lighting and time of day follow THIS prompt. Do NOT copy the reference's composition, framing or camera angle; only the building's physical identity carries over.", "shot_aware_plan_mode": "surface_role_direct_plate", "attached_reference_lineage": { "fp_id": "", "prior_bg_ids": [], "attached_ref_labels": [ "building_anchor:L05B02" ], "ref_used": "refs_1", "db_write_policy": "checkpoint_only" }, "building_anchor_ref": { "anchor_bg_id": "L05B02", "group_id": "bg_thatched_house" } }, "L08B04": { "status": "ok", "is_reuse": false, "render_action": "render_new_plate", "location_id": "L08", "location_name": "", "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/background_chain/L08B04.png", "t2i_prompt": "20세기 초 대한제국 말기 전라남도 보성 일대 농가의 생활 마당을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 실제 장소 기록 사진처럼 표현한다. 풀프레임 미러리스 카메라에 28밀리미터 광각 렌즈를 사용하고, 안채로 향하는 진입부에 가까운 마당 북쪽 가장자리에서 약 1.6미터의 서 있는 눈높이로 남남서쪽을 바라본다. 수직선과 원근은 자연스럽고 과도한 광각 왜곡이 없다. 위에서 내려다보는 구도나 평면도 구도가 아니다.\n참조 평면도는 공간의 구성과 기존 시설의 상대 위치를 파악하는 데만 사용한다. 화면 가운데에는 다져진 흙바닥의 작업 마당이 펼쳐지고, 서쪽 사랑채와 동향의 높여진 툇마루, 그 툇마루로 통하는 출입문이 화면 오른쪽을 따라 이어진다. 남쪽 경계의 대문과 문턱이 원경에 보이며, 대문 바로 안쪽 서편에는 앉을 수 있는 툇돌이 놓여 있다. 평상은 마당 남서쪽 가장자리에서 대문을 오가는 동선 밖에 자리한다. 건물 가장자리와 대문을 잇는 외곽 담장이 공간의 경계를 형성한다. 기존 시설의 위치와 크기 관계는 배치 참조에 근거한다.\n당시 남도 농가에 어울리는 목구조 사랑채의 흙미장 벽, 손때와 햇볕에 닳은 목재 문짝, 툇마루와 평상의 거친 나뭇결, 자연석 툇돌의 마모된 모서리를 사실적으로 담는다. 흙바닥에는 일상적인 다짐과 미세한 표면 요철이 있고, 목재와 벽면에는 오래 사용한 생활 공간의 자연스러운 변색과 얼룩이 남아 있다. 새로 꾸민 전시장처럼 매끈하거나 지나치게 정돈된 표면이 아니다.\n마당 중앙의 볏짐 작업 자리에는 실제 농사에 쓰는 크기의 나무 지게가 놓여 있고, 바로 곁에 커다란 볏짐이 있다. 지게의 닳은 나무 표면과 볏짚 줄기의 마른 섬유질을 또렷하게 표현한다. 볏짚을 다루는 자리 주변에만 막 일어난 옅은 흙먼지가 낮게 떠 있으며, 먼지는 작업 지점을 벗어나 길게 이어지지 않는다. 노동의 기척은 이 도구와 볏짐, 국소적인 흙먼지만으로 드러낸다.\n아침의 강한 직사광이 마당과 볏짚을 밝히고, 대문과 사랑채 처마 아래에는 실제 햇빛 방향에 맞는 선명한 그림자가 생긴다. 햇빛 속 흙먼지는 가늘게 드러나되 마당 전체를 안개처럼 덮지 않는다. 흙과 나무, 볏짚의 본래 색을 유지하고, 그늘에도 재질을 알아볼 수 있는 자연스러운 반사광이 남는다. 실제 렌즈의 자연스러운 피사계 심도로 중앙 작업 자리와 뒤쪽 대문의 공간 관계를 읽을 수 있게 한다. 과도한 보정 없는 현장 사진이며, 깨끗한 광고 사진이나 컴퓨터 그래픽, 삽화, 건축 시각화가 아니다. 사람, 얼굴, 사람 모양의 형상은 전혀 묘사하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본", "shot_guides": [ { "shot_id": "S3_Shot5", "guide_text": "북쪽 마당의 눈높이 시점에서 중앙 작업 자리와 남쪽 대문까지 공간의 깊이가 읽히게 한다. 지게 옆 큰 볏짐과 그 주변의 낮은 흙먼지를 유지하고, 오른쪽 사랑채 툇마루와 남서쪽 평상이 대문 통행 공간을 가리지 않게 한다. 인물 없이 강한 아침 직사광의 배경만 표현한다." }, { "shot_id": "S3_Shot18", "guide_text": "동일한 아침 조명과 시설 배치를 유지한다. 사랑채 출입문에서 툇마루를 거쳐 흙마당으로 이어지는 높이 차가 자연스럽게 드러나도록 하며, 중앙 지게와 볏짐의 위치는 바꾸지 않는다. 흙먼지는 볏짐 작업 자리 주변에만 한정하고 다른 사건의 흔적은 추가하지 않는다." }, { "shot_id": "S3_Shot26", "guide_text": "대문과 문턱, 대문 바로 안쪽 서편의 툇돌을 서로 구별할 수 있게 시야를 확보한다. 평상은 남서쪽 가장자리의 기존 위치를 유지하며 대문 동선을 침범하지 않는다. 앞선 배경과 같은 지게, 볏짐, 국소적인 흙먼지 및 아침 햇빛을 유지하고 인물이나 새로운 소품을 추가하지 않는다." } ], "shot_ids": [ "S3_Shot5", "S3_Shot18", "S3_Shot26" ], "scenes": [], "parent_id": "", "ref_used": "refs_3", "render_attempts": 1, "render_error": "", "variant_label": "", "floor_plan_used": false, "camera_recommendations": { "camera_position": "near number 11 at the northern edge of number 1, facing south-southwest toward number 5 and numbers 3 and 4, with numbers 7 and 8 along the west side", "camera_height": "eye-level standing, approximately 1.6 m", "lens_hint": "28mm wide angle", "framing_notes": "Keep the working center spacious and connect it visually to the platform, reception frontage, and gate-side stone. Morning direct sunlight and localized work dust belong to the background, not the plan. Number 19 is a movable working object, never permanently installed." }, "reference_decision": { "bg_id": "L08B04", "fp_id": "fp_house_courtyard", "node_index": 3, "mode": "same_physical_space_view", "is_dwelling_identity_anchor": false, "rationale": "The shared-space contract in S3_Shot18 requires an interior-side view from unit 6 through opening 8, unlike L08B03's exterior inward view. L08B03 supplies fixed layout continuity, but the newly visible interior-side geometry warrants a new plate. S3_Shot5 and S3_Shot26 retain their separate subject and transient-layer compositions.", "reference_paths": [ "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/background_chain/L08B03.png" ], "source_bg_ids": [ "L08B03" ], "fp_included": false, "reference_decision": { "selected_refs": [ { "ref_bg_id": "L08B03", "physical_space_id": "fp_house_courtyard_space_1_2_6_7", "space_description": "Units 6 and 7 and their connection through opening 8 to unit 1." } ], "rejected_refs": [], "same_physical_space_dedup_decision": "single_same_space_representative", "why_single_ref_or_two_refs": "L08B03 establishes the relevant frontage and shared exterior layout. Its reverse view is sufficient as a layout reference; no independent interior reference exists.", "physical_space_id_per_ref": [ "fp_house_courtyard_space_1_2_6_7" ], "same_physical_space_low_delta_candidate": false, "low_delta_reuse_target_bg_id": "", "low_delta_rationale": "" }, "camera_decision": { "camera_unit": 6, "camera_cell": [ 4, 1 ], "look_at_unit": 17, "look_at_cell": [ 8, 5 ], "lens_enum": "wide", "fov_deg": 90, "framing_notes": "Broad oblique interior-side orientation toward the departure direction. Opening 8 limits actual exterior visibility; the look-at target does not require unit 17 or opening 3 to be visible through the wall." }, "render_guidance": { "visible_space_directive": "Show the interior-side portion of unit 6 beside opening 8 and only the exterior portion of units 7 and 1 actually exposed through that opening. Keep opening 8 and the raised unit-7 edge in the fixed locations committed by L08B03. The direction toward unit 17 is not authorization to expose it through opaque structure.", "camera_framing_directive": "Use camera unit 6 at [4, 1], looking toward unit 17 at [8, 5], with broad wide 90-degree coverage. Prioritize S3_Shot18's interior area at middle-left and the opening framing the departing figure at middle-right. Keep the destination beyond that shot's crop rather than forcing it into view.", "subject_position_directive": "For S3_Shot18, reserve the left midground beside opening 8 for the rigid standing figure and the more distant opening at center-right for the departing back-facing figure carrying marker 19. S3_Shot5 separately places two lifters left and right above marker 20 across the lower third. S3_Shot26 separately reserves a narrow near shoulder at left and a turning face center-right, with a small marker-19 edge behind the shoulder. Do not combine these shots into one subject arrangement.", "state_cue_directive": "Use transient markers 19, 20 and 21 only in their committed shot contexts: marker 19 is carried in S3_Shot18 and S3_Shot26, and marker 20 is suspended between the lifters in S3_Shot5. Keep marker 21 restrained to the committed disturbed or dusty condition; S3_Shot5 explicitly requires no added airborne dust. Preserve morning daylight outside, subdued interior exposure and the open condition of marker 8.", "negative_continuity_directive": "Exclude markers 22, 23 and 24. Avoid inheriting L08B03's abandoned placement of marker 19, relocating opening 8 or unit 7, flattening the interior-to-exterior depth relation, or exposing unit 17 through unverified wall geometry." }, "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n - selected_refs[0]: ref_bg_id='L08B03' physical_space_id='fp_house_courtyard_space_1_2_6_7'\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 6\n - camera_cell: [4, 1]\n - look_at_unit: 17\n - look_at_cell: [8, 5]\n - lens_enum: 'wide'\n - fov_deg: 90\n - framing_notes: 'Broad oblique interior-side orientation toward the departure direction. Opening 8 limits actual exterior visibility; the look-at target does not require unit 17 or opening 3 to be visible through the wall.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Show the interior-side portion of unit 6 beside opening 8 and only the exterior portion of units 7 and 1 actually exposed through that opening. Keep opening 8 and the raised unit-7 edge in the fixed locations committed by L08B03. The direction toward unit 17 is not authorization to expose it through opaque structure.\n - camera_framing_directive: Use camera unit 6 at [4, 1], looking toward unit 17 at [8, 5], with broad wide 90-degree coverage. Prioritize S3_Shot18's interior area at middle-left and the opening framing the departing figure at middle-right. Keep the destination beyond that shot's crop rather than forcing it into view.\n - subject_position_directive: For S3_Shot18, reserve the left midground beside opening 8 for the rigid standing figure and the more distant opening at center-right for the departing back-facing figure carrying marker 19. S3_Shot5 separately places two lifters left and right above marker 20 across the lower third. S3_Shot26 separately reserves a narrow near shoulder at left and a turning face center-right, with a small marker-19 edge behind the shoulder. Do not combine these shots into one subject arrangement.\n - state_cue_directive: Use transient markers 19, 20 and 21 only in their committed shot contexts: marker 19 is carried in S3_Shot18 and S3_Shot26, and marker 20 is suspended between the lifters in S3_Shot5. Keep marker 21 restrained to the committed disturbed or dusty condition; S3_Shot5 explicitly requires no added airborne dust. Preserve morning daylight outside, subdued interior exposure and the open condition of marker 8.\n - negative_continuity_directive: Exclude markers 22, 23 and 24. Avoid inheriting L08B03's abandoned placement of marker 19, relocating opening 8 or unit 7, flattening the interior-to-exterior depth relation, or exposing unit 17 through unverified wall geometry.\n\n", "diagnostics": [] }, "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n - selected_refs[0]: ref_bg_id='L08B03' physical_space_id='fp_house_courtyard_space_1_2_6_7'\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 6\n - camera_cell: [4, 1]\n - look_at_unit: 17\n - look_at_cell: [8, 5]\n - lens_enum: 'wide'\n - fov_deg: 90\n - framing_notes: 'Broad oblique interior-side orientation toward the departure direction. Opening 8 limits actual exterior visibility; the look-at target does not require unit 17 or opening 3 to be visible through the wall.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Show the interior-side portion of unit 6 beside opening 8 and only the exterior portion of units 7 and 1 actually exposed through that opening. Keep opening 8 and the raised unit-7 edge in the fixed locations committed by L08B03. The direction toward unit 17 is not authorization to expose it through opaque structure.\n - camera_framing_directive: Use camera unit 6 at [4, 1], looking toward unit 17 at [8, 5], with broad wide 90-degree coverage. Prioritize S3_Shot18's interior area at middle-left and the opening framing the departing figure at middle-right. Keep the destination beyond that shot's crop rather than forcing it into view.\n - subject_position_directive: For S3_Shot18, reserve the left midground beside opening 8 for the rigid standing figure and the more distant opening at center-right for the departing back-facing figure carrying marker 19. S3_Shot5 separately places two lifters left and right above marker 20 across the lower third. S3_Shot26 separately reserves a narrow near shoulder at left and a turning face center-right, with a small marker-19 edge behind the shoulder. Do not combine these shots into one subject arrangement.\n - state_cue_directive: Use transient markers 19, 20 and 21 only in their committed shot contexts: marker 19 is carried in S3_Shot18 and S3_Shot26, and marker 20 is suspended between the lifters in S3_Shot5. Keep marker 21 restrained to the committed disturbed or dusty condition; S3_Shot5 explicitly requires no added airborne dust. Preserve morning daylight outside, subdued interior exposure and the open condition of marker 8.\n - negative_continuity_directive: Exclude markers 22, 23 and 24. Avoid inheriting L08B03's abandoned placement of marker 19, relocating opening 8 or unit 7, flattening the interior-to-exterior depth relation, or exposing unit 17 through unverified wall geometry.\n\n", "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n - selected_refs[0]: ref_bg_id='L08B03' physical_space_id='fp_house_courtyard_space_1_2_6_7'\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 6\n - camera_cell: [4, 1]\n - look_at_unit: 17\n - look_at_cell: [8, 5]\n - lens_enum: 'wide'\n - fov_deg: 90\n - framing_notes: 'Broad oblique interior-side orientation toward the departure direction. Opening 8 limits actual exterior visibility; the look-at target does not require unit 17 or opening 3 to be visible through the wall.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Show the interior-side portion of unit 6 beside opening 8 and only the exterior portion of units 7 and 1 actually exposed through that opening. Keep opening 8 and the raised unit-7 edge in the fixed locations committed by L08B03. The direction toward unit 17 is not authorization to expose it through opaque structure.\n - camera_framing_directive: Use camera unit 6 at [4, 1], looking toward unit 17 at [8, 5], with broad wide 90-degree coverage. Prioritize S3_Shot18's interior area at middle-left and the opening framing the departing figure at middle-right. Keep the destination beyond that shot's crop rather than forcing it into view.\n - subject_position_directive: For S3_Shot18, reserve the left midground beside opening 8 for the rigid standing figure and the more distant opening at center-right for the departing back-facing figure carrying marker 19. S3_Shot5 separately places two lifters left and right above marker 20 across the lower third. S3_Shot26 separately reserves a narrow near shoulder at left and a turning face center-right, with a small marker-19 edge behind the shoulder. Do not combine these shots into one subject arrangement.\n - state_cue_directive: Use transient markers 19, 20 and 21 only in their committed shot contexts: marker 19 is carried in S3_Shot18 and S3_Shot26, and marker 20 is suspended between the lifters in S3_Shot5. Keep marker 21 restrained to the committed disturbed or dusty condition; S3_Shot5 explicitly requires no added airborne dust. Preserve morning daylight outside, subdued interior exposure and the open condition of marker 8.\n - negative_continuity_directive: Exclude markers 22, 23 and 24. Avoid inheriting L08B03's abandoned placement of marker 19, relocating opening 8 or unit 7, flattening the interior-to-exterior depth relation, or exposing unit 17 through unverified wall geometry.\n\n20세기 초 대한제국 말기 전라남도 보성 일대 농가의 생활 마당을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 실제 장소 기록 사진처럼 표현한다. 풀프레임 미러리스 카메라에 28밀리미터 광각 렌즈를 사용하고, 안채로 향하는 진입부에 가까운 마당 북쪽 가장자리에서 약 1.6미터의 서 있는 눈높이로 남남서쪽을 바라본다. 수직선과 원근은 자연스럽고 과도한 광각 왜곡이 없다. 위에서 내려다보는 구도나 평면도 구도가 아니다.\n참조 평면도는 공간의 구성과 기존 시설의 상대 위치를 파악하는 데만 사용한다. 화면 가운데에는 다져진 흙바닥의 작업 마당이 펼쳐지고, 서쪽 사랑채와 동향의 높여진 툇마루, 그 툇마루로 통하는 출입문이 화면 오른쪽을 따라 이어진다. 남쪽 경계의 대문과 문턱이 원경에 보이며, 대문 바로 안쪽 서편에는 앉을 수 있는 툇돌이 놓여 있다. 평상은 마당 남서쪽 가장자리에서 대문을 오가는 동선 밖에 자리한다. 건물 가장자리와 대문을 잇는 외곽 담장이 공간의 경계를 형성한다. 기존 시설의 위치와 크기 관계는 배치 참조에 근거한다.\n당시 남도 농가에 어울리는 목구조 사랑채의 흙미장 벽, 손때와 햇볕에 닳은 목재 문짝, 툇마루와 평상의 거친 나뭇결, 자연석 툇돌의 마모된 모서리를 사실적으로 담는다. 흙바닥에는 일상적인 다짐과 미세한 표면 요철이 있고, 목재와 벽면에는 오래 사용한 생활 공간의 자연스러운 변색과 얼룩이 남아 있다. 새로 꾸민 전시장처럼 매끈하거나 지나치게 정돈된 표면이 아니다.\n마당 중앙의 볏짐 작업 자리에는 실제 농사에 쓰는 크기의 나무 지게가 놓여 있고, 바로 곁에 커다란 볏짐이 있다. 지게의 닳은 나무 표면과 볏짚 줄기의 마른 섬유질을 또렷하게 표현한다. 볏짚을 다루는 자리 주변에만 막 일어난 옅은 흙먼지가 낮게 떠 있으며, 먼지는 작업 지점을 벗어나 길게 이어지지 않는다. 노동의 기척은 이 도구와 볏짐, 국소적인 흙먼지만으로 드러낸다.\n아침의 강한 직사광이 마당과 볏짚을 밝히고, 대문과 사랑채 처마 아래에는 실제 햇빛 방향에 맞는 선명한 그림자가 생긴다. 햇빛 속 흙먼지는 가늘게 드러나되 마당 전체를 안개처럼 덮지 않는다. 흙과 나무, 볏짚의 본래 색을 유지하고, 그늘에도 재질을 알아볼 수 있는 자연스러운 반사광이 남는다. 실제 렌즈의 자연스러운 피사계 심도로 중앙 작업 자리와 뒤쪽 대문의 공간 관계를 읽을 수 있게 한다. 과도한 보정 없는 현장 사진이며, 깨끗한 광고 사진이나 컴퓨터 그래픽, 삽화, 건축 시각화가 아니다. 사람, 얼굴, 사람 모양의 형상은 전혀 묘사하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본\n\nOne attached image is a PHOTOREAL RENDER of this SAME place — the same physical location, possibly seen from a different angle or at a different moment. Treat it as the PLACE IDENTITY reference. Keep this render consistent with it: the same spatial layout and architecture, the same surface materials and colors, and the same permanently installed fixtures and furniture. Lettering visible in the reference is reproduced EXACTLY — same characters, same mark, same position; never invent different wording from render to render. Camera angle, framing, lighting, time of day and weather follow THIS prompt — do NOT copy the reference's composition or mood; only the place's physical identity carries over.\n\nThe LAST attached image is a TOP-DOWN INTERIOR FLOOR PLAN of the building at this location — a STRUCTURAL REFERENCE ONLY, never content to draw. It defines the building's real scale: its footprint, room count, and the placement of its doors and windows. Render the scene so the building's exterior size, number of storeys, and the scale and placement of its doors and windows stay consistent with that plan. Do NOT draw the floor plan itself, its lines, text or numbers anywhere in the image.", "camera_decision": { "camera_unit": 6, "camera_cell": [ 4, 1 ], "look_at_unit": 17, "look_at_cell": [ 8, 5 ], "lens_enum": "wide", "fov_deg": 90, "framing_notes": "Broad oblique interior-side orientation toward the departure direction. Opening 8 limits actual exterior visibility; the look-at target does not require unit 17 or opening 3 to be visible through the wall." }, "shot_aware_plan_node_index": 3, "shot_aware_plan_mode": "same_physical_space_view", "render_guidance": { "visible_space_directive": "Show the interior-side portion of unit 6 beside opening 8 and only the exterior portion of units 7 and 1 actually exposed through that opening. Keep opening 8 and the raised unit-7 edge in the fixed locations committed by L08B03. The direction toward unit 17 is not authorization to expose it through opaque structure.", "camera_framing_directive": "Use camera unit 6 at [4, 1], looking toward unit 17 at [8, 5], with broad wide 90-degree coverage. Prioritize S3_Shot18's interior area at middle-left and the opening framing the departing figure at middle-right. Keep the destination beyond that shot's crop rather than forcing it into view.", "subject_position_directive": "For S3_Shot18, reserve the left midground beside opening 8 for the rigid standing figure and the more distant opening at center-right for the departing back-facing figure carrying marker 19. S3_Shot5 separately places two lifters left and right above marker 20 across the lower third. S3_Shot26 separately reserves a narrow near shoulder at left and a turning face center-right, with a small marker-19 edge behind the shoulder. Do not combine these shots into one subject arrangement.", "state_cue_directive": "Use transient markers 19, 20 and 21 only in their committed shot contexts: marker 19 is carried in S3_Shot18 and S3_Shot26, and marker 20 is suspended between the lifters in S3_Shot5. Keep marker 21 restrained to the committed disturbed or dusty condition; S3_Shot5 explicitly requires no added airborne dust. Preserve morning daylight outside, subdued interior exposure and the open condition of marker 8.", "negative_continuity_directive": "Exclude markers 22, 23 and 24. Avoid inheriting L08B03's abandoned placement of marker 19, relocating opening 8 or unit 7, flattening the interior-to-exterior depth relation, or exposing unit 17 through unverified wall geometry." }, "attached_reference_lineage": { "fp_id": "fp_house_courtyard", "prior_bg_ids": [ "L08B03" ], "attached_ref_labels": [ "bg:L08B03", "same_loc_anchor:L08B01", "building_fp:fp_sarangchae_room" ], "ref_used": "refs_3", "db_write_policy": "checkpoint_only" }, "building_fp_ref": { "fp_id": "fp_sarangchae_room", "indoor_loc_sid": "L09", "group_id": "bg_tiled_house", "fp_asset_id": "2006cdaf-56ed-4ed0-8a2b-348d67f9badc" }, "same_loc_anchor_ref": { "anchor_bg_id": "L08B01", "loc_id": "L08" } }, "L08B02": { "status": "ok", "is_reuse": true, "render_action": "reuse_existing_plate", "reuse_target_bg_id": "L08B01", "reused_from_bg_id": "L08B01", "location_id": "L08", "location_name": "", "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/background_chain/L08B01.png", "t2i_prompt": "대한제국 말기인 20세기 초, 전라남도 보성 일대 농촌 가옥의 마당과 대문으로 이어지는 공간을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 인물 없이 빈 공간과 배경 사물만 담는다. 실제 미러리스 카메라에 32밀리미터 광각 렌즈를 장착하고, 마당 동쪽 가장자리의 곡식 반출입 작업 공간 가까이에서 지면 위 약 1.6미터의 서 있는 사람 눈높이로 남서쪽 대문을 바라본다. 위에서 내려다보는 구도가 아니라 마당의 깊이와 출입 동선이 자연스럽게 보이는 수평 시점이다.\n\n참조 평면도는 공간의 연결 관계와 기존 시설의 위치를 파악하는 용도로만 사용한다. 화면 오른쪽에는 마당 서편 사랑채와 그 동쪽을 향한 높은 툇마루, 툇마루로 통하는 사랑채 출입구가 보인다. 툇마루에서 중앙의 흙마당을 지나 남쪽의 열린 대문과 문턱, 대문 밖 진입로까지 이어지는 길이 한눈에 읽힌다. 대문 바로 안쪽 서편에 앉는 돌이 있으며, 마당 남서쪽 가장자리의 평상은 대문으로 향하는 통행로에서 벗어나 있다. 집 둘레의 담은 건물 가장자리와 대문을 연결하며 공간의 경계를 이룬다. 기존 구조와 가구를 별도의 전시물처럼 강조하지 않고 생활 공간의 일부로 담는다.\n\n마당 중앙에는 나무 지게 하나가 놓여 있다. 짐을 싣지 않은 지게의 실제 크기와 목재 골격, 사용으로 닳은 나뭇결이 명확하게 보이며, 툇마루에서 대문으로 이어지는 공간의 연속성을 가리지 않는다. 다른 사건의 흔적이나 추가적인 상황 연출 없이 이 사물의 현재 위치만 보여 준다.\n\n당시 남도 농촌 가옥에 어울리는 목구조와 흙벽, 다져진 흙바닥, 오래 사용한 툇마루와 평상의 나뭇결, 대문 목재의 마모와 앉는 돌의 거친 표면을 사실적으로 표현한다. 생활 속에 누적된 옅은 얼룩과 자연스러운 재료의 불균일함을 남긴다. 늦은 오후의 낮게 기운 햇빛이 마당과 대문 문턱에 비스듬히 닿고, 처마와 담이 드리우는 긴 그림자는 실제 구조에 맞게 이어진다. 햇빛을 받는 흙과 나무는 은은하게 따뜻하고 툇마루 안쪽 그늘은 자연스럽게 어두우며, 그늘 속 재료도 식별되는 현실적인 노출을 유지한다. 절제된 흙빛과 목재 본연의 색, 자연광의 명암과 자연스러운 피사계 심도. 과도한 보정이나 인위적인 광택 없이 실제 답사 현장에서 찍은 장소 기록 사진처럼 표현한다. 사람, 얼굴, 인체 형태의 형상은 전혀 없다. 그림이나 컴퓨터 그래픽, 건축 시각화, 평면도처럼 보이지 않는 실제 사진. 16:9 가로 비율, 실제 카메라 촬영본", "shot_guides": [ { "shot_id": "S7_Shot4", "guide_text": "마당 동쪽에서 남서쪽 대문을 바라보는 눈높이 구도를 사용한다. 오른쪽 사랑채 툇마루와 출입구에서 흙마당, 열린 대문 밖까지의 동선을 끊김 없이 확보한다. 중앙의 짐 없는 나무 지게와 대문 안쪽의 돌, 통행로 바깥 평상의 위치를 유지하고, 인물이나 추가 사건 흔적 없이 늦은 오후의 공간만 담는다." }, { "shot_id": "S7_Shot10", "guide_text": "같은 배경의 구조, 지게 위치, 늦은 오후 햇빛과 그림자 방향을 유지한다. 툇마루에서 마당을 거쳐 대문 문턱과 바깥 진입로로 이어지는 공간 관계가 읽히도록 하며, 별도 장면 정보가 없는 만큼 새로운 사물이나 상태 변화를 추가하지 않는다. 사람과 인체 형태 없이 빈 배경으로 제공한다." } ], "shot_ids": [ "S7_Shot4", "S7_Shot10" ], "scenes": [], "parent_id": "L08B01", "ref_used": "reused_plate", "render_attempts": 0, "render_error": "", "variant_label": "", "floor_plan_used": false, "camera_recommendations": { "camera_position": "near number 15 on the east edge of number 1, facing southwest across the courtyard toward number 3, with numbers 7 and 8 on the right side", "camera_height": "eye-level standing, approximately 1.6 m", "lens_hint": "32mm wide angle", "framing_notes": "Maintain a continuous route from the reception veranda through the courtyard to the open gate. Include the central carrying frame without adding agricultural loads, destruction, or search debris. Late-afternoon appearance is background metadata only." }, "reference_decision": { "mode": "reference_derived", "render_action": "reuse_existing_plate", "reuse_target_bg_id": "L08B01", "selected_refs": [ { "ref_bg_id": "L08B01", "physical_space_id": "fp_house_courtyard_space_1_2_6_7", "space_description": "Connected visible portions of units 1, 2, 6 and 7, including fixed markers 3, 4, 5 and 8." } ] }, "shot_aware_plan_node_index": 1, "shot_aware_plan_mode": "reference_derived", "render_guidance": { "visible_space_directive": "Keep L08B01's positions of openings 3 and 8, fixtures 4, furniture 5, and the frontages of units 6 and 7. Show unit 1 leading toward units 2 and 17 with the in-cone portion of unit 18. Unit 15 is a target inventory entry outside this representative southward view and must not be forced into frame.", "camera_framing_directive": "Match camera unit 11 at [2, 5], look-at unit 2 at [7, 3], and wide 90-degree broad coverage. Maintain clear foreground ground and the route toward opening 3 for S7_Shot10. The nearer S7_Shot4 composition must respect the same spatial identity rather than being superimposed on the departure.", "subject_position_directive": "For S7_Shot10, reserve the center for the back-facing restrained figure, both dragging feet and the unequal strides of the flanking escorts. S7_Shot4 separately places the pointing figure in the right middle ground between unequal cropped foreground shoulders, pointing off-screen left. Preserve these as separate shot-layer arrangements.", "state_cue_directive": "Describe transient marker 19 without inventing an uncommitted placement for it in these shots. Keep opening 3 clear for entry and departure. Use the staged natural late-afternoon illumination and subdued color; ground contact must not acquire invented airborne effects or new marks.", "negative_continuity_directive": "Exclude markers 20, 21, 22, 23 and 24. Avoid changing the positions of markers 3, 4, 5 and 8 inherited from L08B01, forcing unit 15 into the cone, or retaining L08B01's subject arrangements." }, "attached_reference_lineage": { "fp_id": "fp_house_courtyard", "prior_bg_ids": [ "L08B01" ], "attached_ref_labels": [ "bg:L08B01" ], "ref_used": "reused_plate", "db_write_policy": "checkpoint_only" } }, "L08B03": { "status": "ok", "is_reuse": false, "render_action": "render_new_plate", "location_id": "L08", "location_name": "", "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/background_chain/L08B03.png", "t2i_prompt": "20세기 초 대한제국 말기, 전라남도 농촌 가옥의 텅 빈 흙마당을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실제 장소 기록 사진과 구별되지 않는 사실성을 갖춘다. 배치 참고 이미지에서는 공간의 위치 관계만 읽고, 내려다본 구도나 평면도 형식은 따르지 않는다. 마당 북쪽 가장자리에서 남쪽 대문 방향을 바라보며, 높이 약 1.6미터의 서 있는 사람 눈높이에서 35밀리미터 규격 감지기를 갖춘 미러리스 카메라와 32밀리미터 광각 렌즈로 촬영한다. 중앙 흙마당에서 대문 문턱과 바깥 진입로로 이어지는 동선이 자연스럽게 읽히도록 잡는다.\n화면 오른쪽인 서쪽에는 사랑채와 마당보다 높게 놓인 동향 툇마루, 툇마루로 통하는 출입구가 있다. 남쪽 대문 바로 안쪽의 서편에는 걸터앉는 돌이 붙어 있고, 서남쪽 마당 가장자리의 평상은 대문 통행로를 벗어나 놓여 있다. 동쪽의 곡물창고 앞 작업 공간은 남쪽 대문으로 이어진다. 건물 가장자리와 대문을 연결하는 둘레 경계는 온전히 유지되어 있다. 기존 시설과 가구의 위치 관계는 배치 참고에 근거하며 임의의 생활 도구나 장식은 덧붙이지 않는다.\n마당 한가운데에는 농촌에서 실제로 쓰던 크기의 나무 지게 하나만 남아 있다. 지게의 나뭇결과 손때, 결속 부위의 섬유 질감이 실제 물건처럼 보이며, 지게와 주변 지면의 접촉 및 그림자가 물리적으로 자연스럽다. 넓게 비어 있는 흙바닥이 지게 주위를 둘러싼다. 건물과 시설은 손상 없이 일상의 상태를 유지한다.\n늦은 오후의 낮게 들어오는 자연광이 다져진 흙바닥과 목재 표면에 닿고, 처마와 대문의 그림자가 길게 뻗는다. 그늘에도 재료의 세부가 읽히는 자연스러운 명암을 유지한다. 당시 남도 농촌 가옥에 맞는 목구조와 흙벽, 툇마루의 오래된 목재, 문턱의 닳은 표면을 꾸밈없이 보여 준다. 흙의 작은 입자와 평소의 옅은 얼룩, 목재의 마모를 실제 재질 그대로 표현하되 과도하게 낡거나 지저분하게 만들지 않는다. 자연스러운 흙빛과 빛바랜 목재색, 후처리하지 않은 색과 적정한 심도로 중앙 지게와 주변 공간의 관계가 또렷하게 보인다. 사람, 얼굴, 사람 형상의 물체는 전혀 없다. 삽화나 컴퓨터 생성 영상, 건축 시각화가 아닌 실제 현장 사진이며, 광고용 사진처럼 말끔하게 정돈된 인상도 피한다. 16:9 가로 비율, 실제 카메라 촬영본", "shot_guides": [ { "shot_id": "S7_Shot11", "guide_text": "마당 북쪽에서 남쪽 대문으로 향하는 눈높이의 넓은 구도로, 중앙에 남은 지게 하나와 주위의 넓은 빈 흙바닥을 함께 담는다. 대문으로 이어지는 동선을 가리지 않고, 서쪽 사랑채와 툇마루 및 온전한 둘레 경계가 공간의 기준점으로 읽히게 한다. 높이 약 1.6미터와 32밀리미터 광각의 자연스러운 원근을 유지한다. 늦은 오후의 긴 그림자와 실제 목재·흙의 질감으로 고요함을 드러내며, 사람이나 추가 사건 흔적을 넣지 않는다." } ], "shot_ids": [ "S7_Shot11" ], "scenes": [], "parent_id": "", "ref_used": "refs_2", "render_attempts": 1, "render_error": "", "variant_label": "", "floor_plan_used": false, "camera_recommendations": { "camera_position": "near number 15 on the east edge of number 1, facing southwest toward number 19 in the courtyard center and number 3 beyond", "camera_height": "eye-level standing, approximately 1.6 m", "lens_hint": "32mm wide angle", "framing_notes": "Echo the preceding arrest-route composition. The courtyard is empty of people, with a single wooden carrying frame remaining centrally. Preserve the intact enclosure and buildings; no looting, broken objects, or dramatic ground scars." }, "reference_decision": { "bg_id": "L08B03", "fp_id": "fp_house_courtyard", "node_index": 2, "mode": "same_physical_space_view", "is_dwelling_identity_anchor": false, "rationale": "S7_Shot11 reverses the outward departure into an inward observation from unit 2 toward the frontage at opening 8. L08B02 commits the same physical layout and marker 19, but the changed camera and direction reveal a different structural slice, requiring its own view rather than low-delta plate reuse.", "reference_paths": [ "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/background_chain/L08B01.png" ], "source_bg_ids": [ "L08B02" ], "fp_included": false, "reference_decision": { "selected_refs": [ { "ref_bg_id": "L08B02", "physical_space_id": "fp_house_courtyard_space_1_2_6_7", "space_description": "The same connected space in units 1, 2, 6 and 7, now viewed inward from unit 2." } ], "rejected_refs": [], "same_physical_space_dedup_decision": "single_same_space_representative", "why_single_ref_or_two_refs": "One reference preserves both the fixed layout and marker-19 identity; a second reference would duplicate the same physical space.", "physical_space_id_per_ref": [ "fp_house_courtyard_space_1_2_6_7" ], "same_physical_space_low_delta_candidate": false, "low_delta_reuse_target_bg_id": "", "low_delta_rationale": "" }, "camera_decision": { "camera_unit": 2, "camera_cell": [ 7, 5 ], "look_at_unit": 6, "look_at_cell": [ 4, 2 ], "lens_enum": "wide", "fov_deg": 90, "framing_notes": "Inward-facing broad view aimed at opening marker 8 on the unit-6 frontage. This is a different viewpoint from the outward departure plate; retain the staged settled observation without adding camera motion." }, "render_guidance": { "visible_space_directive": "Show the in-cone extent of unit 1 toward units 6 and 7, with opening 8 and a restrained distant raised edge. Keep their fixed positions as established by L08B02. Units 17 and 15 are outside this inward framing and need not appear merely because they occur in the target inventory.", "camera_framing_directive": "Use camera unit 2 at [7, 5], looking toward unit 6 at [4, 2], with wide 90-degree coverage. Preserve broad empty space around marker 19 and a restrained architectural strip above it, consistent with the staged settled high-angle observation. Do not add a new camera movement.", "subject_position_directive": "No committed subject cue is available beyond the listed facts, and S7_Shot11 explicitly commits no visible person. Keep the BG free of invented subjects and remove the departing subjects associated with L08B02.", "state_cue_directive": "Place transient marker 19 alone in the center middle ground, small in frame and comfortably below two-fifths of the image, surrounded by uninterrupted empty space. Preserve the unchanged natural late-afternoon light and restrained saturation.", "negative_continuity_directive": "Exclude markers 20, 21, 22, 23 and 24. Avoid carrying subjects from L08B02 into this view, enlarging marker 19 beyond its staged scale, relocating opening 8 or unit 7, or forcing units 15 and 17 into the inward cone." }, "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n - selected_refs[0]: ref_bg_id='L08B02' physical_space_id='fp_house_courtyard_space_1_2_6_7'\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 2\n - camera_cell: [7, 5]\n - look_at_unit: 6\n - look_at_cell: [4, 2]\n - lens_enum: 'wide'\n - fov_deg: 90\n - framing_notes: 'Inward-facing broad view aimed at opening marker 8 on the unit-6 frontage. This is a different viewpoint from the outward departure plate; retain the staged settled observation without adding camera motion.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Show the in-cone extent of unit 1 toward units 6 and 7, with opening 8 and a restrained distant raised edge. Keep their fixed positions as established by L08B02. Units 17 and 15 are outside this inward framing and need not appear merely because they occur in the target inventory.\n - camera_framing_directive: Use camera unit 2 at [7, 5], looking toward unit 6 at [4, 2], with wide 90-degree coverage. Preserve broad empty space around marker 19 and a restrained architectural strip above it, consistent with the staged settled high-angle observation. Do not add a new camera movement.\n - subject_position_directive: No committed subject cue is available beyond the listed facts, and S7_Shot11 explicitly commits no visible person. Keep the BG free of invented subjects and remove the departing subjects associated with L08B02.\n - state_cue_directive: Place transient marker 19 alone in the center middle ground, small in frame and comfortably below two-fifths of the image, surrounded by uninterrupted empty space. Preserve the unchanged natural late-afternoon light and restrained saturation.\n - negative_continuity_directive: Exclude markers 20, 21, 22, 23 and 24. Avoid carrying subjects from L08B02 into this view, enlarging marker 19 beyond its staged scale, relocating opening 8 or unit 7, or forcing units 15 and 17 into the inward cone.\n\n", "diagnostics": [] }, "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n - selected_refs[0]: ref_bg_id='L08B02' physical_space_id='fp_house_courtyard_space_1_2_6_7'\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 2\n - camera_cell: [7, 5]\n - look_at_unit: 6\n - look_at_cell: [4, 2]\n - lens_enum: 'wide'\n - fov_deg: 90\n - framing_notes: 'Inward-facing broad view aimed at opening marker 8 on the unit-6 frontage. This is a different viewpoint from the outward departure plate; retain the staged settled observation without adding camera motion.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Show the in-cone extent of unit 1 toward units 6 and 7, with opening 8 and a restrained distant raised edge. Keep their fixed positions as established by L08B02. Units 17 and 15 are outside this inward framing and need not appear merely because they occur in the target inventory.\n - camera_framing_directive: Use camera unit 2 at [7, 5], looking toward unit 6 at [4, 2], with wide 90-degree coverage. Preserve broad empty space around marker 19 and a restrained architectural strip above it, consistent with the staged settled high-angle observation. Do not add a new camera movement.\n - subject_position_directive: No committed subject cue is available beyond the listed facts, and S7_Shot11 explicitly commits no visible person. Keep the BG free of invented subjects and remove the departing subjects associated with L08B02.\n - state_cue_directive: Place transient marker 19 alone in the center middle ground, small in frame and comfortably below two-fifths of the image, surrounded by uninterrupted empty space. Preserve the unchanged natural late-afternoon light and restrained saturation.\n - negative_continuity_directive: Exclude markers 20, 21, 22, 23 and 24. Avoid carrying subjects from L08B02 into this view, enlarging marker 19 beyond its staged scale, relocating opening 8 or unit 7, or forcing units 15 and 17 into the inward cone.\n\n", "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n - selected_refs[0]: ref_bg_id='L08B02' physical_space_id='fp_house_courtyard_space_1_2_6_7'\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 2\n - camera_cell: [7, 5]\n - look_at_unit: 6\n - look_at_cell: [4, 2]\n - lens_enum: 'wide'\n - fov_deg: 90\n - framing_notes: 'Inward-facing broad view aimed at opening marker 8 on the unit-6 frontage. This is a different viewpoint from the outward departure plate; retain the staged settled observation without adding camera motion.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Show the in-cone extent of unit 1 toward units 6 and 7, with opening 8 and a restrained distant raised edge. Keep their fixed positions as established by L08B02. Units 17 and 15 are outside this inward framing and need not appear merely because they occur in the target inventory.\n - camera_framing_directive: Use camera unit 2 at [7, 5], looking toward unit 6 at [4, 2], with wide 90-degree coverage. Preserve broad empty space around marker 19 and a restrained architectural strip above it, consistent with the staged settled high-angle observation. Do not add a new camera movement.\n - subject_position_directive: No committed subject cue is available beyond the listed facts, and S7_Shot11 explicitly commits no visible person. Keep the BG free of invented subjects and remove the departing subjects associated with L08B02.\n - state_cue_directive: Place transient marker 19 alone in the center middle ground, small in frame and comfortably below two-fifths of the image, surrounded by uninterrupted empty space. Preserve the unchanged natural late-afternoon light and restrained saturation.\n - negative_continuity_directive: Exclude markers 20, 21, 22, 23 and 24. Avoid carrying subjects from L08B02 into this view, enlarging marker 19 beyond its staged scale, relocating opening 8 or unit 7, or forcing units 15 and 17 into the inward cone.\n\n20세기 초 대한제국 말기, 전라남도 농촌 가옥의 텅 빈 흙마당을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실제 장소 기록 사진과 구별되지 않는 사실성을 갖춘다. 배치 참고 이미지에서는 공간의 위치 관계만 읽고, 내려다본 구도나 평면도 형식은 따르지 않는다. 마당 북쪽 가장자리에서 남쪽 대문 방향을 바라보며, 높이 약 1.6미터의 서 있는 사람 눈높이에서 35밀리미터 규격 감지기를 갖춘 미러리스 카메라와 32밀리미터 광각 렌즈로 촬영한다. 중앙 흙마당에서 대문 문턱과 바깥 진입로로 이어지는 동선이 자연스럽게 읽히도록 잡는다.\n화면 오른쪽인 서쪽에는 사랑채와 마당보다 높게 놓인 동향 툇마루, 툇마루로 통하는 출입구가 있다. 남쪽 대문 바로 안쪽의 서편에는 걸터앉는 돌이 붙어 있고, 서남쪽 마당 가장자리의 평상은 대문 통행로를 벗어나 놓여 있다. 동쪽의 곡물창고 앞 작업 공간은 남쪽 대문으로 이어진다. 건물 가장자리와 대문을 연결하는 둘레 경계는 온전히 유지되어 있다. 기존 시설과 가구의 위치 관계는 배치 참고에 근거하며 임의의 생활 도구나 장식은 덧붙이지 않는다.\n마당 한가운데에는 농촌에서 실제로 쓰던 크기의 나무 지게 하나만 남아 있다. 지게의 나뭇결과 손때, 결속 부위의 섬유 질감이 실제 물건처럼 보이며, 지게와 주변 지면의 접촉 및 그림자가 물리적으로 자연스럽다. 넓게 비어 있는 흙바닥이 지게 주위를 둘러싼다. 건물과 시설은 손상 없이 일상의 상태를 유지한다.\n늦은 오후의 낮게 들어오는 자연광이 다져진 흙바닥과 목재 표면에 닿고, 처마와 대문의 그림자가 길게 뻗는다. 그늘에도 재료의 세부가 읽히는 자연스러운 명암을 유지한다. 당시 남도 농촌 가옥에 맞는 목구조와 흙벽, 툇마루의 오래된 목재, 문턱의 닳은 표면을 꾸밈없이 보여 준다. 흙의 작은 입자와 평소의 옅은 얼룩, 목재의 마모를 실제 재질 그대로 표현하되 과도하게 낡거나 지저분하게 만들지 않는다. 자연스러운 흙빛과 빛바랜 목재색, 후처리하지 않은 색과 적정한 심도로 중앙 지게와 주변 공간의 관계가 또렷하게 보인다. 사람, 얼굴, 사람 형상의 물체는 전혀 없다. 삽화나 컴퓨터 생성 영상, 건축 시각화가 아닌 실제 현장 사진이며, 광고용 사진처럼 말끔하게 정돈된 인상도 피한다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThe LAST attached image is a TOP-DOWN INTERIOR FLOOR PLAN of the building at this location — a STRUCTURAL REFERENCE ONLY, never content to draw. It defines the building's real scale: its footprint, room count, and the placement of its doors and windows. Render the scene so the building's exterior size, number of storeys, and the scale and placement of its doors and windows stay consistent with that plan. Do NOT draw the floor plan itself, its lines, text or numbers anywhere in the image.", "camera_decision": { "camera_unit": 2, "camera_cell": [ 7, 5 ], "look_at_unit": 6, "look_at_cell": [ 4, 2 ], "lens_enum": "wide", "fov_deg": 90, "framing_notes": "Inward-facing broad view aimed at opening marker 8 on the unit-6 frontage. This is a different viewpoint from the outward departure plate; retain the staged settled observation without adding camera motion." }, "shot_aware_plan_node_index": 2, "shot_aware_plan_mode": "same_physical_space_view", "render_guidance": { "visible_space_directive": "Show the in-cone extent of unit 1 toward units 6 and 7, with opening 8 and a restrained distant raised edge. Keep their fixed positions as established by L08B02. Units 17 and 15 are outside this inward framing and need not appear merely because they occur in the target inventory.", "camera_framing_directive": "Use camera unit 2 at [7, 5], looking toward unit 6 at [4, 2], with wide 90-degree coverage. Preserve broad empty space around marker 19 and a restrained architectural strip above it, consistent with the staged settled high-angle observation. Do not add a new camera movement.", "subject_position_directive": "No committed subject cue is available beyond the listed facts, and S7_Shot11 explicitly commits no visible person. Keep the BG free of invented subjects and remove the departing subjects associated with L08B02.", "state_cue_directive": "Place transient marker 19 alone in the center middle ground, small in frame and comfortably below two-fifths of the image, surrounded by uninterrupted empty space. Preserve the unchanged natural late-afternoon light and restrained saturation.", "negative_continuity_directive": "Exclude markers 20, 21, 22, 23 and 24. Avoid carrying subjects from L08B02 into this view, enlarging marker 19 beyond its staged scale, relocating opening 8 or unit 7, or forcing units 15 and 17 into the inward cone." }, "attached_reference_lineage": { "fp_id": "fp_house_courtyard", "prior_bg_ids": [ "L08B01" ], "attached_ref_labels": [ "bg:L08B01", "building_fp:fp_sarangchae_room" ], "ref_used": "refs_2", "db_write_policy": "checkpoint_only" }, "building_fp_ref": { "fp_id": "fp_sarangchae_room", "indoor_loc_sid": "L09", "group_id": "bg_tiled_house", "fp_asset_id": "2006cdaf-56ed-4ed0-8a2b-348d67f9badc" } }, "L09B01": { "status": "ok", "location_id": "L09", "location_name": "", "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/background_chain/L09B01.png", "t2i_prompt": "대한제국 말기, 20세기 초 전라남도 농촌의 전통 가옥에서 사랑채 쪽에 서서 빈 흙마당 너머 곳간 문을 바라본 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실제 장소를 기록한 사진처럼 담담하고 사실적으로 표현한다. 디지털 일안 반사식 카메라와 풀프레임 기준 35밀리미터 렌즈를 사용하며, 카메라는 지면에서 약 1.6미터 높이에 수평으로 놓는다. 위에서 내려다보지 않고 서 있는 사람의 시선으로 맞은편 곳간 문을 거의 정면으로 담는다. 화면 아래에는 마당의 일부만 남기고 곳간 문과 문틀이 화면의 중심을 충분히 차지하도록 구성한다.\n\n곳간은 당시 남도 농가에 어울리는 소박한 목구조와 흙벽으로 이루어져 있다. 낮은 처마 아래, 오래되어 짙게 변색된 나무 널문이 굳게 닫혀 있다. 거친 나뭇결, 널판 사이의 가느다란 틈, 문틀의 닳은 모서리, 오래된 쇠경첩의 녹과 때, 흙벽 하단의 습기 자국이 실제 재료의 질감으로 보인다. 문 한가운데에는 붉은 종이 압류 봉인지가 확실하게 붙어 있다. 봉인지는 문의 열리는 이음부를 가로질러 온전히 부착되어 있으며, 뜯기거나 떨어져 있지 않다. 붉은 종이의 섬유질과 풀로 밀착된 표면이 보이고, 어두운 목재와 대비되어 화면에서 가장 먼저 눈에 들어온다. 부적이나 장식물이 아니라 문을 봉쇄한 행정적 표시로 보이게 하며, 근거 없는 인명이나 기관명, 긴 문구를 추가하지 않는다.\n\n마당에 들어오는 부드러운 자연광과 처마 밑의 깊은 그늘이 함께 존재한다. 어두운 문에서도 나무 표면은 읽히고, 붉은 봉인지는 자체 발광이나 인위적인 조명 없이 반사된 자연광만으로 또렷하다. 흙빛과 낡은 목재의 절제된 색, 자연스러운 명암, 생활 속 먼지와 얼룩을 유지한다. 초점은 문과 봉인지에 두고 주변 벽과 마당은 자연스러운 심도로 이어진다. 현대식 자물쇠, 전기 설비, 플라스틱 표지, 불필요한 농기구나 장식은 추가하지 않는다. 사람, 얼굴, 시신, 혈흔은 전혀 없는 빈 공간이다. 인공적으로 매끈한 홍보 사진이나 건축 조감도가 아니라, 별도의 미화나 과도한 보정 없이 실제 장소를 촬영한 사진으로 표현한다. 16:9 가로 비율, 실제 카메라 촬영본.", "shot_guides": [ { "shot_id": "S20_Shot2", "guide_text": "사랑채에서 마당 건너 곳간을 보는 외부 삽입 화면이다. 눈높이의 수평 시선을 유지하고, 마당은 하단에 좁게 남겨 거리 관계만 전달한다. 굳게 닫힌 어두운 나무 문과 그 한가운데 붙은 온전한 붉은 압류 봉인지가 즉시 읽히도록 문을 중심에 크게 배치한다. 봉인지에 초점을 맞추되 문틀과 흙벽의 재질도 알아볼 수 있게 한다. 관찰자나 다른 공간의 발화자를 화면에 넣지 않는다." } ], "shot_ids": [ "S20_Shot2" ], "scenes": [], "parent_id": "", "ref_used": "refs_1", "render_attempts": 1, "render_error": "", "variant_label": "", "floor_plan_used": false, "camera_recommendations": {}, "reference_decision": { "mode": "surface_role_direct_plate", "surface_role": "exterior_plate", "fp_id": "", "source_bg_ids": [] }, "effective_render_prompt": "대한제국 말기, 20세기 초 전라남도 농촌의 전통 가옥에서 사랑채 쪽에 서서 빈 흙마당 너머 곳간 문을 바라본 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실제 장소를 기록한 사진처럼 담담하고 사실적으로 표현한다. 디지털 일안 반사식 카메라와 풀프레임 기준 35밀리미터 렌즈를 사용하며, 카메라는 지면에서 약 1.6미터 높이에 수평으로 놓는다. 위에서 내려다보지 않고 서 있는 사람의 시선으로 맞은편 곳간 문을 거의 정면으로 담는다. 화면 아래에는 마당의 일부만 남기고 곳간 문과 문틀이 화면의 중심을 충분히 차지하도록 구성한다.\n\n곳간은 당시 남도 농가에 어울리는 소박한 목구조와 흙벽으로 이루어져 있다. 낮은 처마 아래, 오래되어 짙게 변색된 나무 널문이 굳게 닫혀 있다. 거친 나뭇결, 널판 사이의 가느다란 틈, 문틀의 닳은 모서리, 오래된 쇠경첩의 녹과 때, 흙벽 하단의 습기 자국이 실제 재료의 질감으로 보인다. 문 한가운데에는 붉은 종이 압류 봉인지가 확실하게 붙어 있다. 봉인지는 문의 열리는 이음부를 가로질러 온전히 부착되어 있으며, 뜯기거나 떨어져 있지 않다. 붉은 종이의 섬유질과 풀로 밀착된 표면이 보이고, 어두운 목재와 대비되어 화면에서 가장 먼저 눈에 들어온다. 부적이나 장식물이 아니라 문을 봉쇄한 행정적 표시로 보이게 하며, 근거 없는 인명이나 기관명, 긴 문구를 추가하지 않는다.\n\n마당에 들어오는 부드러운 자연광과 처마 밑의 깊은 그늘이 함께 존재한다. 어두운 문에서도 나무 표면은 읽히고, 붉은 봉인지는 자체 발광이나 인위적인 조명 없이 반사된 자연광만으로 또렷하다. 흙빛과 낡은 목재의 절제된 색, 자연스러운 명암, 생활 속 먼지와 얼룩을 유지한다. 초점은 문과 봉인지에 두고 주변 벽과 마당은 자연스러운 심도로 이어진다. 현대식 자물쇠, 전기 설비, 플라스틱 표지, 불필요한 농기구나 장식은 추가하지 않는다. 사람, 얼굴, 시신, 혈흔은 전혀 없는 빈 공간이다. 인공적으로 매끈한 홍보 사진이나 건축 조감도가 아니라, 별도의 미화나 과도한 보정 없이 실제 장소를 촬영한 사진으로 표현한다. 16:9 가로 비율, 실제 카메라 촬영본.\n\nOne attached image is a PHOTOREAL RENDER of the SAME building/site this scene belongs to — it may show the outside while this scene is inside, or another part of the same place. Treat it as the BUILDING IDENTITY reference. Keep this render consistent with it: the same era, age and state of repair, the same palette and material quality, the same window and door frame styles, and anything visible through openings (windows, doorways, passages) must belong to that same building and its surroundings. Lettering visible in the reference is reproduced EXACTLY — same characters, same mark, same position; never invent different wording from render to render. Lighting and time of day follow THIS prompt. Do NOT copy the reference's composition, framing or camera angle; only the building's physical identity carries over.", "shot_aware_plan_mode": "surface_role_direct_plate", "attached_reference_lineage": { "fp_id": "", "prior_bg_ids": [], "attached_ref_labels": [ "building_anchor:L08B01" ], "ref_used": "refs_1", "db_write_policy": "checkpoint_only" }, "building_anchor_ref": { "anchor_bg_id": "L08B01", "group_id": "bg_tiled_house" } }, "L09B02": { "status": "ok", "is_reuse": false, "render_action": "render_new_plate", "location_id": "L09", "location_name": "", "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/background_chain/L09B02.png", "t2i_prompt": "대한제국 말기인 20세기 초, 전라남도 농촌의 전통 가옥 사랑채 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 어두운 밤의 방이다. 바닥에 앉아 대화하는 중앙 공간과 방문으로 이어지는 동선을 비워 두고, 가구나 술상을 추가하지 않는다. 목재 문틀의 자연스러운 나뭇결, 한지의 섬유질, 흙미장 벽의 미세한 요철, 온돌방 바닥의 생활 사용감을 사실적으로 담는다. 오래 쓰인 재료이되 공간은 정돈되어 있고 훼손되지 않았다.\n\n배치 참고 이미지에 나타난 공간 관계를 바탕으로, 방 안쪽 왼편 모서리 가까이에서 중앙 좌정 공간을 가로질러 마당 쪽 방문을 대각선으로 바라본다. 실제 미러리스 카메라에 35밀리미터 렌즈를 장착하고 약 1.6미터 높이의 서 있는 사람 눈높이에서 촬영한다. 열린 방문 너머로 좁은 앞툇마루와 마당으로 내려가는 단차가 이어지고, 마당 건너 오른쪽에는 방을 향한 곡간 출입문이 보인다. 툇마루 오른쪽 끝에 인접한 마당 구석도 문틀 안쪽의 실제 시야에 들어오게 한다. 방바닥을 전경으로 확보하되 내려다보는 조감도나 평면도처럼 만들지 않는다.\n\n마당 건너 곡간 문 표면에는 붉은 압류 봉인 종이가 붙어 있다. 문에 밀착된 얇은 종이의 물성과 붉은 색이 주변 목재와 구별되며, 원근에 맞는 일상적인 크기로 보인다. 봉인 자체에서 빛이 나거나 과도하게 강조되지 않는다. 열린 방문으로 들어오는 약한 달빛과 밤하늘의 자연광이 문턱과 방바닥 일부를 은은하게 밝히고, 방 안쪽은 실제 야간 촬영처럼 어둡게 남긴다. 흙과 나무의 절제된 색, 낮은 조도에 맞는 자연스러운 대비와 피사계 심도를 유지한다. 인물, 얼굴, 사람 형태의 형상이나 그림자는 전혀 없다. 과도한 보정 없이 실제 장소의 재료와 밝기를 기록한 사진이며, 광고용으로 매끈하게 정리된 사진이나 삽화, 컴퓨터 생성 입체 영상, 건축 시각화가 아니다. 16:9 가로 비율, 실제 카메라 촬영본", "shot_guides": [ { "shot_id": "S20_Shot6", "guide_text": "중앙 좌정 공간을 넉넉히 비워 둔 방 내부 구도를 사용한다. 술상과 인물을 추가하지 않으며, 열린 방문 너머 툇마루와 마당, 곡간 문의 붉은 봉인이 원근에 맞게 보이도록 한다. 야간의 낮은 조도와 정돈된 방 상태를 유지한다." }, { "shot_id": "S33_Shot4", "guide_text": "같은 방의 재료, 배치와 야간 조명을 유지하고 빈 좌정 공간을 대화 장면의 배경으로 확보한다. 인물 없이 방 안쪽의 어둠과 열린 방문을 통한 제한된 외부 시야를 담는다. 곡간 문에 붙은 붉은 봉인의 위치를 바꾸지 않는다." }, { "shot_id": "S33_Shot8", "guide_text": "앞선 방 내부 배경과 공간적 연속성을 유지한다. 방문 개폐로 외부 시야가 달라질 경우 문짝에 가려지는 부분은 그대로 가리고, 곡간 문의 봉인을 보이게 하려고 위치를 옮기거나 문짝을 투명하게 표현하지 않는다. 빈 방과 훼손되지 않은 표면 상태를 유지한다." } ], "shot_ids": [ "S20_Shot6", "S33_Shot4", "S33_Shot8" ], "scenes": [], "parent_id": "", "ref_used": "fp_only", "render_attempts": 1, "render_error": "", "variant_label": "", "floor_plan_used": true, "camera_recommendations": { "camera_position": "Inside number 1 near its upper-left corner, looking diagonally across number 2 toward number 3; align the open doorway view with number 9 and number 8 across number 6.", "camera_height": "low seated eye-level, approximately 1.0-1.2 m", "lens_hint": "28-35mm moderate wide angle", "framing_notes": "Use this same camera for all listed shots. Preserve floor space for the gathering or two-person conversation without adding a drinking table. With number 3 open, include the courtyard corner and granary doorway where the aperture permits; the corner has no carrying frame. Marker 10 is the exterior seizure-seal overlay supported by the gathering scene, not a permanent door feature. Door closure for the private conversation must naturally occlude exterior markers and the seal; never show them through the closed door. Do not infer seal removal from its lack of mention in the later conversation. Keep character placement and door state separate from the base layout." }, "reference_decision": { "bg_id": "L09B02", "fp_id": "fp_sarangchae_room", "node_index": 0, "mode": "fp_seeded_anchor", "is_dwelling_identity_anchor": true, "rationale": "L09B02 is the sole ready BG and the sole permitted anchor candidate. Select it under the supplied ramped fallback, preserving clean_background_expected=false and transient marker 10 rather than treating it as clean. No prior references exist. Camera unit 1 facing toward unit 4 through opening 3 provides an interior-oriented base for the minimal background margins in S20_Shot6, S33_Shot4, and S33_Shot8; their differing subject crops remain shot-specific staging, not separate graph nodes.", "reference_paths": [ "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/floor_plan/fp_sarangchae_room.png" ], "source_bg_ids": [], "fp_included": true, "reference_decision": { "selected_refs": [], "rejected_refs": [], "same_physical_space_dedup_decision": "not_applicable_no_prior_reference", "why_single_ref_or_two_refs": "The dwelling anchor is seeded directly from the floor plan; the same-fp reference catalog is empty.", "physical_space_id_per_ref": [], "same_physical_space_low_delta_candidate": false, "low_delta_reuse_target_bg_id": "", "low_delta_rationale": "" }, "camera_decision": { "camera_unit": 1, "camera_cell": [ 0, 2 ], "look_at_unit": 4, "look_at_cell": [ 3, 5 ], "lens_enum": "normal", "fov_deg": 50, "framing_notes": "Neutral coverage from unit 1 toward unit 4, with the exact permitted look-at cell located at opening 3. Establish the interior background and opening relationship without requiring every target unit to appear. This is one background framing, not a claim that the three consuming shots share identical subject crops." }, "render_guidance": { "visible_space_directive": "Show the forward-facing interior portion of unit 1, including the portion of unit 2 within the framing, toward opening 3 and its transition to unit 4. Preserve the base-plan placement of unit 2 within unit 1 and opening 3 on the boundary facing unit 4. Units 5, 6, 7, 9 and opening 8 are visibility candidates, not mandatory visible content; do not expand coverage merely to include the full target-marker inventory.", "camera_framing_directive": "Use camera unit 1 at [0, 2], looking toward unit 4 at the permitted opening-facing cell [3, 5], with normal lens and 50-degree neutral coverage. Keep the interior background suitable for the consuming shots' close, minimal background margins. Preserve this selected background viewpoint without adding an unadvertised camera move.", "subject_position_directive": "Treat the committed subject arrangements as shot-specific composition cues rather than simultaneous occupants of one composite arrangement. S20_Shot6 places the seated face center-right with a narrow shoulder and rear-head edge in the left foreground. S33_Shot4 places the leaning speaking profile in the left two-thirds with the other seated subject's cropped shoulder at the right edge. S33_Shot8 places the answering seated face right-center with the other shoulder forming a narrow left foreground edge. Preserve off-frame interpersonal gazes and add no subjects beyond those staged.", "state_cue_directive": "Preserve the staged dark, muted interior exposure and restrained tonal separation; do not assign an unsupported light source or color cast. S20_Shot6 commits the absence of the customary drinking table. The dossier marks this BG non-clean and lists transient marker 10, labeled Red seizure seal. Retain that overlay requirement separately from permanent dwelling structure; its attachment location is not supplied, so do not invent one or force it into this view.", "negative_continuity_directive": "The ignore-numbered-elements and ignored-state-overlay lists are empty. Avoid relocating base markers 1, 2, 3, or 4 to satisfy differing subject crops. Do not treat visibility supersets as proof that units 5, 6, 7, 9 or opening 8 are visible. Avoid promoting marker 10 into a permanent fixture, inventing its attachment location, or merging the distinct consuming-shot subject arrangements into one scene." }, "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 1\n - camera_cell: [0, 2]\n - look_at_unit: 4\n - look_at_cell: [3, 5]\n - lens_enum: 'normal'\n - fov_deg: 50\n - framing_notes: 'Neutral coverage from unit 1 toward unit 4, with the exact permitted look-at cell located at opening 3. Establish the interior background and opening relationship without requiring every target unit to appear. This is one background framing, not a claim that the three consuming shots share identical subject crops.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Show the forward-facing interior portion of unit 1, including the portion of unit 2 within the framing, toward opening 3 and its transition to unit 4. Preserve the base-plan placement of unit 2 within unit 1 and opening 3 on the boundary facing unit 4. Units 5, 6, 7, 9 and opening 8 are visibility candidates, not mandatory visible content; do not expand coverage merely to include the full target-marker inventory.\n - camera_framing_directive: Use camera unit 1 at [0, 2], looking toward unit 4 at the permitted opening-facing cell [3, 5], with normal lens and 50-degree neutral coverage. Keep the interior background suitable for the consuming shots' close, minimal background margins. Preserve this selected background viewpoint without adding an unadvertised camera move.\n - subject_position_directive: Treat the committed subject arrangements as shot-specific composition cues rather than simultaneous occupants of one composite arrangement. S20_Shot6 places the seated face center-right with a narrow shoulder and rear-head edge in the left foreground. S33_Shot4 places the leaning speaking profile in the left two-thirds with the other seated subject's cropped shoulder at the right edge. S33_Shot8 places the answering seated face right-center with the other shoulder forming a narrow left foreground edge. Preserve off-frame interpersonal gazes and add no subjects beyond those staged.\n - state_cue_directive: Preserve the staged dark, muted interior exposure and restrained tonal separation; do not assign an unsupported light source or color cast. S20_Shot6 commits the absence of the customary drinking table. The dossier marks this BG non-clean and lists transient marker 10, labeled Red seizure seal. Retain that overlay requirement separately from permanent dwelling structure; its attachment location is not supplied, so do not invent one or force it into this view.\n - negative_continuity_directive: The ignore-numbered-elements and ignored-state-overlay lists are empty. Avoid relocating base markers 1, 2, 3, or 4 to satisfy differing subject crops. Do not treat visibility supersets as proof that units 5, 6, 7, 9 or opening 8 are visible. Avoid promoting marker 10 into a permanent fixture, inventing its attachment location, or merging the distinct consuming-shot subject arrangements into one scene.\n\n", "diagnostics": [] }, "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 1\n - camera_cell: [0, 2]\n - look_at_unit: 4\n - look_at_cell: [3, 5]\n - lens_enum: 'normal'\n - fov_deg: 50\n - framing_notes: 'Neutral coverage from unit 1 toward unit 4, with the exact permitted look-at cell located at opening 3. Establish the interior background and opening relationship without requiring every target unit to appear. This is one background framing, not a claim that the three consuming shots share identical subject crops.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Show the forward-facing interior portion of unit 1, including the portion of unit 2 within the framing, toward opening 3 and its transition to unit 4. Preserve the base-plan placement of unit 2 within unit 1 and opening 3 on the boundary facing unit 4. Units 5, 6, 7, 9 and opening 8 are visibility candidates, not mandatory visible content; do not expand coverage merely to include the full target-marker inventory.\n - camera_framing_directive: Use camera unit 1 at [0, 2], looking toward unit 4 at the permitted opening-facing cell [3, 5], with normal lens and 50-degree neutral coverage. Keep the interior background suitable for the consuming shots' close, minimal background margins. Preserve this selected background viewpoint without adding an unadvertised camera move.\n - subject_position_directive: Treat the committed subject arrangements as shot-specific composition cues rather than simultaneous occupants of one composite arrangement. S20_Shot6 places the seated face center-right with a narrow shoulder and rear-head edge in the left foreground. S33_Shot4 places the leaning speaking profile in the left two-thirds with the other seated subject's cropped shoulder at the right edge. S33_Shot8 places the answering seated face right-center with the other shoulder forming a narrow left foreground edge. Preserve off-frame interpersonal gazes and add no subjects beyond those staged.\n - state_cue_directive: Preserve the staged dark, muted interior exposure and restrained tonal separation; do not assign an unsupported light source or color cast. S20_Shot6 commits the absence of the customary drinking table. The dossier marks this BG non-clean and lists transient marker 10, labeled Red seizure seal. Retain that overlay requirement separately from permanent dwelling structure; its attachment location is not supplied, so do not invent one or force it into this view.\n - negative_continuity_directive: The ignore-numbered-elements and ignored-state-overlay lists are empty. Avoid relocating base markers 1, 2, 3, or 4 to satisfy differing subject crops. Do not treat visibility supersets as proof that units 5, 6, 7, 9 or opening 8 are visible. Avoid promoting marker 10 into a permanent fixture, inventing its attachment location, or merging the distinct consuming-shot subject arrangements into one scene.\n\n", "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 1\n - camera_cell: [0, 2]\n - look_at_unit: 4\n - look_at_cell: [3, 5]\n - lens_enum: 'normal'\n - fov_deg: 50\n - framing_notes: 'Neutral coverage from unit 1 toward unit 4, with the exact permitted look-at cell located at opening 3. Establish the interior background and opening relationship without requiring every target unit to appear. This is one background framing, not a claim that the three consuming shots share identical subject crops.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Show the forward-facing interior portion of unit 1, including the portion of unit 2 within the framing, toward opening 3 and its transition to unit 4. Preserve the base-plan placement of unit 2 within unit 1 and opening 3 on the boundary facing unit 4. Units 5, 6, 7, 9 and opening 8 are visibility candidates, not mandatory visible content; do not expand coverage merely to include the full target-marker inventory.\n - camera_framing_directive: Use camera unit 1 at [0, 2], looking toward unit 4 at the permitted opening-facing cell [3, 5], with normal lens and 50-degree neutral coverage. Keep the interior background suitable for the consuming shots' close, minimal background margins. Preserve this selected background viewpoint without adding an unadvertised camera move.\n - subject_position_directive: Treat the committed subject arrangements as shot-specific composition cues rather than simultaneous occupants of one composite arrangement. S20_Shot6 places the seated face center-right with a narrow shoulder and rear-head edge in the left foreground. S33_Shot4 places the leaning speaking profile in the left two-thirds with the other seated subject's cropped shoulder at the right edge. S33_Shot8 places the answering seated face right-center with the other shoulder forming a narrow left foreground edge. Preserve off-frame interpersonal gazes and add no subjects beyond those staged.\n - state_cue_directive: Preserve the staged dark, muted interior exposure and restrained tonal separation; do not assign an unsupported light source or color cast. S20_Shot6 commits the absence of the customary drinking table. The dossier marks this BG non-clean and lists transient marker 10, labeled Red seizure seal. Retain that overlay requirement separately from permanent dwelling structure; its attachment location is not supplied, so do not invent one or force it into this view.\n - negative_continuity_directive: The ignore-numbered-elements and ignored-state-overlay lists are empty. Avoid relocating base markers 1, 2, 3, or 4 to satisfy differing subject crops. Do not treat visibility supersets as proof that units 5, 6, 7, 9 or opening 8 are visible. Avoid promoting marker 10 into a permanent fixture, inventing its attachment location, or merging the distinct consuming-shot subject arrangements into one scene.\n\n대한제국 말기인 20세기 초, 전라남도 농촌의 전통 가옥 사랑채 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 어두운 밤의 방이다. 바닥에 앉아 대화하는 중앙 공간과 방문으로 이어지는 동선을 비워 두고, 가구나 술상을 추가하지 않는다. 목재 문틀의 자연스러운 나뭇결, 한지의 섬유질, 흙미장 벽의 미세한 요철, 온돌방 바닥의 생활 사용감을 사실적으로 담는다. 오래 쓰인 재료이되 공간은 정돈되어 있고 훼손되지 않았다.\n\n배치 참고 이미지에 나타난 공간 관계를 바탕으로, 방 안쪽 왼편 모서리 가까이에서 중앙 좌정 공간을 가로질러 마당 쪽 방문을 대각선으로 바라본다. 실제 미러리스 카메라에 35밀리미터 렌즈를 장착하고 약 1.6미터 높이의 서 있는 사람 눈높이에서 촬영한다. 열린 방문 너머로 좁은 앞툇마루와 마당으로 내려가는 단차가 이어지고, 마당 건너 오른쪽에는 방을 향한 곡간 출입문이 보인다. 툇마루 오른쪽 끝에 인접한 마당 구석도 문틀 안쪽의 실제 시야에 들어오게 한다. 방바닥을 전경으로 확보하되 내려다보는 조감도나 평면도처럼 만들지 않는다.\n\n마당 건너 곡간 문 표면에는 붉은 압류 봉인 종이가 붙어 있다. 문에 밀착된 얇은 종이의 물성과 붉은 색이 주변 목재와 구별되며, 원근에 맞는 일상적인 크기로 보인다. 봉인 자체에서 빛이 나거나 과도하게 강조되지 않는다. 열린 방문으로 들어오는 약한 달빛과 밤하늘의 자연광이 문턱과 방바닥 일부를 은은하게 밝히고, 방 안쪽은 실제 야간 촬영처럼 어둡게 남긴다. 흙과 나무의 절제된 색, 낮은 조도에 맞는 자연스러운 대비와 피사계 심도를 유지한다. 인물, 얼굴, 사람 형태의 형상이나 그림자는 전혀 없다. 과도한 보정 없이 실제 장소의 재료와 밝기를 기록한 사진이며, 광고용으로 매끈하게 정리된 사진이나 삽화, 컴퓨터 생성 입체 영상, 건축 시각화가 아니다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.", "camera_decision": { "camera_unit": 1, "camera_cell": [ 0, 2 ], "look_at_unit": 4, "look_at_cell": [ 3, 5 ], "lens_enum": "normal", "fov_deg": 50, "framing_notes": "Neutral coverage from unit 1 toward unit 4, with the exact permitted look-at cell located at opening 3. Establish the interior background and opening relationship without requiring every target unit to appear. This is one background framing, not a claim that the three consuming shots share identical subject crops." }, "shot_aware_plan_node_index": 0, "shot_aware_plan_mode": "fp_seeded_anchor", "render_guidance": { "visible_space_directive": "Show the forward-facing interior portion of unit 1, including the portion of unit 2 within the framing, toward opening 3 and its transition to unit 4. Preserve the base-plan placement of unit 2 within unit 1 and opening 3 on the boundary facing unit 4. Units 5, 6, 7, 9 and opening 8 are visibility candidates, not mandatory visible content; do not expand coverage merely to include the full target-marker inventory.", "camera_framing_directive": "Use camera unit 1 at [0, 2], looking toward unit 4 at the permitted opening-facing cell [3, 5], with normal lens and 50-degree neutral coverage. Keep the interior background suitable for the consuming shots' close, minimal background margins. Preserve this selected background viewpoint without adding an unadvertised camera move.", "subject_position_directive": "Treat the committed subject arrangements as shot-specific composition cues rather than simultaneous occupants of one composite arrangement. S20_Shot6 places the seated face center-right with a narrow shoulder and rear-head edge in the left foreground. S33_Shot4 places the leaning speaking profile in the left two-thirds with the other seated subject's cropped shoulder at the right edge. S33_Shot8 places the answering seated face right-center with the other shoulder forming a narrow left foreground edge. Preserve off-frame interpersonal gazes and add no subjects beyond those staged.", "state_cue_directive": "Preserve the staged dark, muted interior exposure and restrained tonal separation; do not assign an unsupported light source or color cast. S20_Shot6 commits the absence of the customary drinking table. The dossier marks this BG non-clean and lists transient marker 10, labeled Red seizure seal. Retain that overlay requirement separately from permanent dwelling structure; its attachment location is not supplied, so do not invent one or force it into this view.", "negative_continuity_directive": "The ignore-numbered-elements and ignored-state-overlay lists are empty. Avoid relocating base markers 1, 2, 3, or 4 to satisfy differing subject crops. Do not treat visibility supersets as proof that units 5, 6, 7, 9 or opening 8 are visible. Avoid promoting marker 10 into a permanent fixture, inventing its attachment location, or merging the distinct consuming-shot subject arrangements into one scene." }, "attached_reference_lineage": { "fp_id": "fp_sarangchae_room", "prior_bg_ids": [], "attached_ref_labels": [ "fp:fp_sarangchae_room" ], "ref_used": "fp_only", "db_write_policy": "checkpoint_only" } }, "L09B03": { "status": "ok", "location_id": "L09", "location_name": "", "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/background_chain/L09B03.png", "t2i_prompt": "대한제국 말기, 20세기 초 전라남도 보성 일대 농촌 가옥의 고요한 밤. 사랑채 가장자리에서 마당 구석과 곳간을 바라보며 실제 디지털 일안 반사식 카메라와 35밀리미터급 렌즈로 촬영한 다큐멘터리 풍 사진. 카메라는 서 있는 사람의 눈높이인 지상 약 1.6미터에 두고, 내려다보는 시점이 아니라 마당 건너편을 자연스럽게 바라본다. 화면 가장자리에는 사랑채의 오래된 나무 기둥과 처마 일부만 걸리고, 그 너머 다져진 흙마당이 곳간 앞까지 이어진다. 늘 지게를 세워 두던 마당 구석의 흙바닥이 분명하게 보이되 지금은 완전히 비어 있다. 지게나 다른 농기구, 짐, 사람을 그 자리에 놓지 않는다. 비어 있는 자리 뒤편으로 낮은 곳간의 흙벽과 굳게 닫힌 두꺼운 널문을 함께 담는다. 문짝은 문틀에 빈틈없이 맞물려 있고, 내부는 전혀 보이지 않으며 문틈으로 새어 나오는 빛도 없다. 거친 목재의 실제 나뭇결과 갈라짐, 오래된 쇠 경첩의 녹과 마모, 흙벽 아래쪽의 생활 얼룩, 흙바닥의 잔돌과 불균일하게 닳은 표면을 사실적으로 표현한다. 소박한 목조 구조와 흙벽, 낮은 처마는 당시 남도 농촌 살림집의 실용적인 재료와 규모를 따른다. 새 건물처럼 정돈하거나 장식적인 궁궐 건축으로 만들지 않는다. 약한 달빛과 밤하늘의 자연 산란광만으로 마당의 빈자리와 닫힌 문의 윤곽이 읽히며, 처마 아래와 문 주변의 그늘은 실제 야간처럼 깊고 어둡다. 인위적인 푸른 조명이나 과장된 안개 없이 흙빛과 낡은 나무의 색이 낮은 밝기에서 은은하게 남는다. 자연스러운 원근과 피사계 심도, 실제 저조도 촬영에 맞는 노출로 두 핵심 대상의 재질과 위치가 식별되게 한다. 사람이 없는 실제 장소 기록 사진이며 얼굴, 인물의 그림자, 시신, 혈흔, 현대식 설비는 없다. 과도한 보정이나 광고 사진 같은 청결함 없이 일상적인 사용감이 남아 있는 현장을 기록한다. 그림이나 컴퓨터 생성 이미지, 건축 조감도, 평면도가 아닌 실제 카메라 촬영 사진. 16:9 가로 비율, 실제 카메라 촬영본", "shot_guides": [ { "shot_id": "S20_Shot8", "guide_text": "사랑채에서 마당 구석을 바라보는 눈높이의 정적인 야간 삽입 화면. 지게가 없는 흙바닥을 전경과 중경 사이에 충분히 드러내고, 그 뒤의 굳게 닫힌 곳간 문까지 함께 식별되게 한다. 빈자리를 다른 물건으로 채우거나 관찰자를 화면에 넣지 않는다." }, { "shot_id": "S33_Shot11", "guide_text": "같은 사랑채 쪽 시선과 마당의 공간 관계를 유지한다. 비어 있는 지게 자리와 완전히 닫힌 곳간 문을 고요한 야간 자연광 아래 다시 보여 준다. 별도의 변화 근거가 없으므로 문을 열거나 내부 조명, 새 물건, 인물 또는 소리의 주체를 추가하지 않는다." } ], "shot_ids": [ "S20_Shot8", "S33_Shot11" ], "scenes": [], "parent_id": "", "ref_used": "refs_1", "render_attempts": 1, "render_error": "", "variant_label": "", "floor_plan_used": false, "camera_recommendations": {}, "reference_decision": { "mode": "surface_role_direct_plate", "surface_role": "exterior_plate", "fp_id": "", "source_bg_ids": [] }, "effective_render_prompt": "대한제국 말기, 20세기 초 전라남도 보성 일대 농촌 가옥의 고요한 밤. 사랑채 가장자리에서 마당 구석과 곳간을 바라보며 실제 디지털 일안 반사식 카메라와 35밀리미터급 렌즈로 촬영한 다큐멘터리 풍 사진. 카메라는 서 있는 사람의 눈높이인 지상 약 1.6미터에 두고, 내려다보는 시점이 아니라 마당 건너편을 자연스럽게 바라본다. 화면 가장자리에는 사랑채의 오래된 나무 기둥과 처마 일부만 걸리고, 그 너머 다져진 흙마당이 곳간 앞까지 이어진다. 늘 지게를 세워 두던 마당 구석의 흙바닥이 분명하게 보이되 지금은 완전히 비어 있다. 지게나 다른 농기구, 짐, 사람을 그 자리에 놓지 않는다. 비어 있는 자리 뒤편으로 낮은 곳간의 흙벽과 굳게 닫힌 두꺼운 널문을 함께 담는다. 문짝은 문틀에 빈틈없이 맞물려 있고, 내부는 전혀 보이지 않으며 문틈으로 새어 나오는 빛도 없다. 거친 목재의 실제 나뭇결과 갈라짐, 오래된 쇠 경첩의 녹과 마모, 흙벽 아래쪽의 생활 얼룩, 흙바닥의 잔돌과 불균일하게 닳은 표면을 사실적으로 표현한다. 소박한 목조 구조와 흙벽, 낮은 처마는 당시 남도 농촌 살림집의 실용적인 재료와 규모를 따른다. 새 건물처럼 정돈하거나 장식적인 궁궐 건축으로 만들지 않는다. 약한 달빛과 밤하늘의 자연 산란광만으로 마당의 빈자리와 닫힌 문의 윤곽이 읽히며, 처마 아래와 문 주변의 그늘은 실제 야간처럼 깊고 어둡다. 인위적인 푸른 조명이나 과장된 안개 없이 흙빛과 낡은 나무의 색이 낮은 밝기에서 은은하게 남는다. 자연스러운 원근과 피사계 심도, 실제 저조도 촬영에 맞는 노출로 두 핵심 대상의 재질과 위치가 식별되게 한다. 사람이 없는 실제 장소 기록 사진이며 얼굴, 인물의 그림자, 시신, 혈흔, 현대식 설비는 없다. 과도한 보정이나 광고 사진 같은 청결함 없이 일상적인 사용감이 남아 있는 현장을 기록한다. 그림이나 컴퓨터 생성 이미지, 건축 조감도, 평면도가 아닌 실제 카메라 촬영 사진. 16:9 가로 비율, 실제 카메라 촬영본\n\nOne attached image is a PHOTOREAL RENDER of the SAME building/site this scene belongs to — it may show the outside while this scene is inside, or another part of the same place. Treat it as the BUILDING IDENTITY reference. Keep this render consistent with it: the same era, age and state of repair, the same palette and material quality, the same window and door frame styles, and anything visible through openings (windows, doorways, passages) must belong to that same building and its surroundings. Lettering visible in the reference is reproduced EXACTLY — same characters, same mark, same position; never invent different wording from render to render. Lighting and time of day follow THIS prompt. Do NOT copy the reference's composition, framing or camera angle; only the building's physical identity carries over.", "shot_aware_plan_mode": "surface_role_direct_plate", "attached_reference_lineage": { "fp_id": "", "prior_bg_ids": [], "attached_ref_labels": [ "building_anchor:L08B01" ], "ref_used": "refs_1", "db_write_policy": "checkpoint_only" }, "building_anchor_ref": { "anchor_bg_id": "L08B01", "group_id": "bg_tiled_house" } }, "L08B07": { "status": "ok", "is_reuse": false, "render_action": "render_new_plate", "location_id": "L08", "location_name": "", "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/background_chain/L08B07.png", "t2i_prompt": "20세기 초 대한제국 말기, 전라남도 농촌의 전통 가옥에서 사랑채 아래 마당과 남쪽 대문을 촬영한 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 조용한 밤의 공간이다. 실제 미러리스 카메라에 35밀리미터 렌즈를 장착하고, 동쪽을 향한 사랑채 툇마루의 마당 쪽 가장자리에서 마루 표면보다 약 1.6미터 높은 서 있는 사람의 눈높이로 남남동쪽을 바라본다. 내려다보는 도면 구도가 아니라, 전경의 높직한 툇마루 가장자리에서 중앙의 다져진 흙마당을 지나 남쪽 대문의 문턱과 문 너머 진입로까지 깊이가 이어지는 수평 시선의 현장 사진이다. 참조 평면도는 마당, 툇마루, 대문, 담장과 고정된 사물의 상대적 배치를 파악하는 데만 사용한다. 대문 바로 안쪽 서편에는 걸터앉는 돌이 있고, 마당 남서쪽 가장자리에는 대문으로 이어지는 통행 공간을 비켜 놓인 나무 평상이 있다. 외곽 담장은 건물 가장자리와 대문 사이를 잇는다. 대문의 통로와 바깥 진입로의 연결은 알아볼 수 있게 하되 문짝의 각도를 두드러지게 보여주지 않는다. 당시 남도 농가에 맞는 목조 툇마루와 두꺼운 목재 대문, 흙과 돌로 이루어진 담장의 수수한 재료감을 담는다. 나무의 실제 결, 돌의 거친 표면, 다져진 흙의 미세한 질감과 오래 사용한 재료의 자연스러운 마모와 묵은 때가 가까운 부분에서 은은히 드러난다. 공간은 정돈되어 있으며 흐트러짐 없이 고요하다. 밤하늘에서 들어오는 약한 자연광만으로 마당 바닥과 문턱의 윤곽이 간신히 구분되고 대문 밖은 더 어둡게 이어진다. 흙빛과 낡은 목재의 색은 어둠 속에서 낮은 채도로 남으며, 실제 야간 촬영에 맞는 밝기와 대비, 자연스러운 심도와 어두운 부분의 제한된 세부 묘사를 유지한다. 과도한 보정이나 광고 사진처럼 말끔한 표면 없이 실제 장소 기록 사진으로 보이게 한다. 사람, 얼굴, 인체 형태의 형상은 일절 표현하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본", "shot_guides": [ { "shot_id": "S28_Shot4", "guide_text": "툇마루 위 약 1.6미터 눈높이에서 중앙 마당을 가로질러 남남동쪽 대문을 바라본다. 전경의 툇마루 가장자리, 중경의 흙마당, 후경의 문턱과 바깥 진입로가 이어지는 조용한 빈 공간을 유지한다." }, { "shot_id": "S28_Shot21", "guide_text": "앞선 마당 구도와 카메라 높이, 35밀리미터 렌즈의 원근감 및 어두운 자연광을 유지한다. 대문으로 이어지는 통행 공간을 읽을 수 있게 하며 배경에 인물이나 새로운 소품을 추가하지 않는다." }, { "shot_id": "S34_Shot24", "guide_text": "동일한 툇마루 시점에서 마당과 대문 밖 진입로의 고요함을 보여준다. 대문 통로의 윤곽은 식별되지만 바깥쪽 세부는 밤의 어둠에 자연스럽게 잠기도록 하고, 고정된 사물의 배치와 정돈된 공간 상태를 유지한다." } ], "shot_ids": [ "S28_Shot4", "S28_Shot21", "S34_Shot24" ], "scenes": [], "parent_id": "", "ref_used": "refs_2", "render_attempts": 1, "render_error": "", "variant_label": "", "floor_plan_used": false, "camera_recommendations": { "camera_position": "at the courtyard edge of number 7, looking south-southeast across number 1 toward numbers 2 and 3 and the exterior approach at number 17", "camera_height": "eye-level standing above veranda level, approximately 1.6 m above its surface", "lens_hint": "35mm moderate wide angle", "framing_notes": "Use the same quiet courtyard-to-gate composition for the nighttime departure and post-cart silence. Keep the granary door and its paper outside the frame so their moment-specific state is not asserted. Leave the gate aperture readable without emphasizing leaf angle. No cart, carrying frame, loading sacks, or structural damage." }, "reference_decision": { "bg_id": "L08B07", "fp_id": "fp_house_courtyard", "node_index": 4, "mode": "same_physical_space_view", "is_dwelling_identity_anchor": false, "rationale": "S28_Shot4 explicitly places the observation at the unit-7 edge with subjects below it. This shares the anchor's fixed space but changes the foreground architecture and viewpoint. L08B01 is the clean single reference; the new camera at unit 7 warrants its own plate rather than treating nighttime and subject changes as the only differences.", "reference_paths": [ "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/background_chain/L08B01.png" ], "source_bg_ids": [ "L08B01" ], "fp_included": false, "reference_decision": { "selected_refs": [ { "ref_bg_id": "L08B01", "physical_space_id": "fp_house_courtyard_space_1_2_6_7", "space_description": "The shared exterior space of units 1, 2 and 7, viewed from the unit-7 edge." } ], "rejected_refs": [ { "ref_bg_id": "L08B04", "reason": "Duplicates the same physical-space identity with an interior-side view and transient markers 19–21; select the clean representative L08B01." } ], "same_physical_space_dedup_decision": "single_clean_same_space_representative", "why_single_ref_or_two_refs": "The clean anchor supplies the shared fixed layout. Additional references would duplicate that space rather than contribute a distinct co-visible one.", "physical_space_id_per_ref": [ "fp_house_courtyard_space_1_2_6_7" ], "same_physical_space_low_delta_candidate": false, "low_delta_reuse_target_bg_id": "", "low_delta_rationale": "" }, "camera_decision": { "camera_unit": 7, "camera_cell": [ 5, 2 ], "look_at_unit": 17, "look_at_cell": [ 8, 5 ], "lens_enum": "wide", "fov_deg": 90, "framing_notes": "Broad coverage outward from the raised unit-7 edge toward the southern part of unit 1 and the departure direction. Shot-specific medium and close crops need not display the distant opening." }, "render_guidance": { "visible_space_directive": "Retain the unit-7 edge in the lower foreground and the southern visible portion of unit 1 beyond it. Keep units 2 and 17 and markers 3, 4 and 5 in their anchor-established positions where the broad cone permits visibility. Do not force all target units, including unit 18, into every crop.", "camera_framing_directive": "Use camera unit 7 at [5, 2], looking toward unit 17 at [8, 5], with wide 90-degree broad coverage. Preserve depth below the foreground raised edge for S28_Shot4. Medium and close consuming-shot framing must retain the specified off-screen destinations rather than forcing opening 3 behind a subject.", "subject_position_directive": "For S28_Shot4, reserve middle-left for C01, middle-right background for C02 and a narrow foreground shoulder above the lower-center unit-7 edge for the seated listener. For S28_Shot21, reserve the left half for the departing back-facing figure and keep the follower outside that crop. For S34_Shot24, reserve the right half for the figure touching the back of the neck, with looking room toward off-screen left. Keep these arrangements separate.", "state_cue_directive": "With clean_background_expected true and no transient markers, no additional committed state cue beyond clean residential space applies. Refrain from inventing additional cues. Apply the staged subdued nighttime illumination, muted saturation and naturalistic contrast without adding a brightness change.", "negative_continuity_directive": "Exclude markers 13, 14, 19, 20, 21, 22, 23 and 24. Avoid moving markers 3, 4 or 5 or the unit-7 edge relative to L08B01. Do not force marker 3 into the S34_Shot24 subject crop or import the transient content of L08B04." }, "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n - selected_refs[0]: ref_bg_id='L08B01' physical_space_id='fp_house_courtyard_space_1_2_6_7'\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 7\n - camera_cell: [5, 2]\n - look_at_unit: 17\n - look_at_cell: [8, 5]\n - lens_enum: 'wide'\n - fov_deg: 90\n - framing_notes: 'Broad coverage outward from the raised unit-7 edge toward the southern part of unit 1 and the departure direction. Shot-specific medium and close crops need not display the distant opening.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Retain the unit-7 edge in the lower foreground and the southern visible portion of unit 1 beyond it. Keep units 2 and 17 and markers 3, 4 and 5 in their anchor-established positions where the broad cone permits visibility. Do not force all target units, including unit 18, into every crop.\n - camera_framing_directive: Use camera unit 7 at [5, 2], looking toward unit 17 at [8, 5], with wide 90-degree broad coverage. Preserve depth below the foreground raised edge for S28_Shot4. Medium and close consuming-shot framing must retain the specified off-screen destinations rather than forcing opening 3 behind a subject.\n - subject_position_directive: For S28_Shot4, reserve middle-left for C01, middle-right background for C02 and a narrow foreground shoulder above the lower-center unit-7 edge for the seated listener. For S28_Shot21, reserve the left half for the departing back-facing figure and keep the follower outside that crop. For S34_Shot24, reserve the right half for the figure touching the back of the neck, with looking room toward off-screen left. Keep these arrangements separate.\n - state_cue_directive: With clean_background_expected true and no transient markers, no additional committed state cue beyond clean residential space applies. Refrain from inventing additional cues. Apply the staged subdued nighttime illumination, muted saturation and naturalistic contrast without adding a brightness change.\n - negative_continuity_directive: Exclude markers 13, 14, 19, 20, 21, 22, 23 and 24. Avoid moving markers 3, 4 or 5 or the unit-7 edge relative to L08B01. Do not force marker 3 into the S34_Shot24 subject crop or import the transient content of L08B04.\n\n", "diagnostics": [] }, "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n - selected_refs[0]: ref_bg_id='L08B01' physical_space_id='fp_house_courtyard_space_1_2_6_7'\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 7\n - camera_cell: [5, 2]\n - look_at_unit: 17\n - look_at_cell: [8, 5]\n - lens_enum: 'wide'\n - fov_deg: 90\n - framing_notes: 'Broad coverage outward from the raised unit-7 edge toward the southern part of unit 1 and the departure direction. Shot-specific medium and close crops need not display the distant opening.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Retain the unit-7 edge in the lower foreground and the southern visible portion of unit 1 beyond it. Keep units 2 and 17 and markers 3, 4 and 5 in their anchor-established positions where the broad cone permits visibility. Do not force all target units, including unit 18, into every crop.\n - camera_framing_directive: Use camera unit 7 at [5, 2], looking toward unit 17 at [8, 5], with wide 90-degree broad coverage. Preserve depth below the foreground raised edge for S28_Shot4. Medium and close consuming-shot framing must retain the specified off-screen destinations rather than forcing opening 3 behind a subject.\n - subject_position_directive: For S28_Shot4, reserve middle-left for C01, middle-right background for C02 and a narrow foreground shoulder above the lower-center unit-7 edge for the seated listener. For S28_Shot21, reserve the left half for the departing back-facing figure and keep the follower outside that crop. For S34_Shot24, reserve the right half for the figure touching the back of the neck, with looking room toward off-screen left. Keep these arrangements separate.\n - state_cue_directive: With clean_background_expected true and no transient markers, no additional committed state cue beyond clean residential space applies. Refrain from inventing additional cues. Apply the staged subdued nighttime illumination, muted saturation and naturalistic contrast without adding a brightness change.\n - negative_continuity_directive: Exclude markers 13, 14, 19, 20, 21, 22, 23 and 24. Avoid moving markers 3, 4 or 5 or the unit-7 edge relative to L08B01. Do not force marker 3 into the S34_Shot24 subject crop or import the transient content of L08B04.\n\n", "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n - selected_refs[0]: ref_bg_id='L08B01' physical_space_id='fp_house_courtyard_space_1_2_6_7'\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 7\n - camera_cell: [5, 2]\n - look_at_unit: 17\n - look_at_cell: [8, 5]\n - lens_enum: 'wide'\n - fov_deg: 90\n - framing_notes: 'Broad coverage outward from the raised unit-7 edge toward the southern part of unit 1 and the departure direction. Shot-specific medium and close crops need not display the distant opening.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Retain the unit-7 edge in the lower foreground and the southern visible portion of unit 1 beyond it. Keep units 2 and 17 and markers 3, 4 and 5 in their anchor-established positions where the broad cone permits visibility. Do not force all target units, including unit 18, into every crop.\n - camera_framing_directive: Use camera unit 7 at [5, 2], looking toward unit 17 at [8, 5], with wide 90-degree broad coverage. Preserve depth below the foreground raised edge for S28_Shot4. Medium and close consuming-shot framing must retain the specified off-screen destinations rather than forcing opening 3 behind a subject.\n - subject_position_directive: For S28_Shot4, reserve middle-left for C01, middle-right background for C02 and a narrow foreground shoulder above the lower-center unit-7 edge for the seated listener. For S28_Shot21, reserve the left half for the departing back-facing figure and keep the follower outside that crop. For S34_Shot24, reserve the right half for the figure touching the back of the neck, with looking room toward off-screen left. Keep these arrangements separate.\n - state_cue_directive: With clean_background_expected true and no transient markers, no additional committed state cue beyond clean residential space applies. Refrain from inventing additional cues. Apply the staged subdued nighttime illumination, muted saturation and naturalistic contrast without adding a brightness change.\n - negative_continuity_directive: Exclude markers 13, 14, 19, 20, 21, 22, 23 and 24. Avoid moving markers 3, 4 or 5 or the unit-7 edge relative to L08B01. Do not force marker 3 into the S34_Shot24 subject crop or import the transient content of L08B04.\n\n20세기 초 대한제국 말기, 전라남도 농촌의 전통 가옥에서 사랑채 아래 마당과 남쪽 대문을 촬영한 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 조용한 밤의 공간이다. 실제 미러리스 카메라에 35밀리미터 렌즈를 장착하고, 동쪽을 향한 사랑채 툇마루의 마당 쪽 가장자리에서 마루 표면보다 약 1.6미터 높은 서 있는 사람의 눈높이로 남남동쪽을 바라본다. 내려다보는 도면 구도가 아니라, 전경의 높직한 툇마루 가장자리에서 중앙의 다져진 흙마당을 지나 남쪽 대문의 문턱과 문 너머 진입로까지 깊이가 이어지는 수평 시선의 현장 사진이다. 참조 평면도는 마당, 툇마루, 대문, 담장과 고정된 사물의 상대적 배치를 파악하는 데만 사용한다. 대문 바로 안쪽 서편에는 걸터앉는 돌이 있고, 마당 남서쪽 가장자리에는 대문으로 이어지는 통행 공간을 비켜 놓인 나무 평상이 있다. 외곽 담장은 건물 가장자리와 대문 사이를 잇는다. 대문의 통로와 바깥 진입로의 연결은 알아볼 수 있게 하되 문짝의 각도를 두드러지게 보여주지 않는다. 당시 남도 농가에 맞는 목조 툇마루와 두꺼운 목재 대문, 흙과 돌로 이루어진 담장의 수수한 재료감을 담는다. 나무의 실제 결, 돌의 거친 표면, 다져진 흙의 미세한 질감과 오래 사용한 재료의 자연스러운 마모와 묵은 때가 가까운 부분에서 은은히 드러난다. 공간은 정돈되어 있으며 흐트러짐 없이 고요하다. 밤하늘에서 들어오는 약한 자연광만으로 마당 바닥과 문턱의 윤곽이 간신히 구분되고 대문 밖은 더 어둡게 이어진다. 흙빛과 낡은 목재의 색은 어둠 속에서 낮은 채도로 남으며, 실제 야간 촬영에 맞는 밝기와 대비, 자연스러운 심도와 어두운 부분의 제한된 세부 묘사를 유지한다. 과도한 보정이나 광고 사진처럼 말끔한 표면 없이 실제 장소 기록 사진으로 보이게 한다. 사람, 얼굴, 인체 형태의 형상은 일절 표현하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThe LAST attached image is a TOP-DOWN INTERIOR FLOOR PLAN of the building at this location — a STRUCTURAL REFERENCE ONLY, never content to draw. It defines the building's real scale: its footprint, room count, and the placement of its doors and windows. Render the scene so the building's exterior size, number of storeys, and the scale and placement of its doors and windows stay consistent with that plan. Do NOT draw the floor plan itself, its lines, text or numbers anywhere in the image.", "camera_decision": { "camera_unit": 7, "camera_cell": [ 5, 2 ], "look_at_unit": 17, "look_at_cell": [ 8, 5 ], "lens_enum": "wide", "fov_deg": 90, "framing_notes": "Broad coverage outward from the raised unit-7 edge toward the southern part of unit 1 and the departure direction. Shot-specific medium and close crops need not display the distant opening." }, "shot_aware_plan_node_index": 4, "shot_aware_plan_mode": "same_physical_space_view", "render_guidance": { "visible_space_directive": "Retain the unit-7 edge in the lower foreground and the southern visible portion of unit 1 beyond it. Keep units 2 and 17 and markers 3, 4 and 5 in their anchor-established positions where the broad cone permits visibility. Do not force all target units, including unit 18, into every crop.", "camera_framing_directive": "Use camera unit 7 at [5, 2], looking toward unit 17 at [8, 5], with wide 90-degree broad coverage. Preserve depth below the foreground raised edge for S28_Shot4. Medium and close consuming-shot framing must retain the specified off-screen destinations rather than forcing opening 3 behind a subject.", "subject_position_directive": "For S28_Shot4, reserve middle-left for C01, middle-right background for C02 and a narrow foreground shoulder above the lower-center unit-7 edge for the seated listener. For S28_Shot21, reserve the left half for the departing back-facing figure and keep the follower outside that crop. For S34_Shot24, reserve the right half for the figure touching the back of the neck, with looking room toward off-screen left. Keep these arrangements separate.", "state_cue_directive": "With clean_background_expected true and no transient markers, no additional committed state cue beyond clean residential space applies. Refrain from inventing additional cues. Apply the staged subdued nighttime illumination, muted saturation and naturalistic contrast without adding a brightness change.", "negative_continuity_directive": "Exclude markers 13, 14, 19, 20, 21, 22, 23 and 24. Avoid moving markers 3, 4 or 5 or the unit-7 edge relative to L08B01. Do not force marker 3 into the S34_Shot24 subject crop or import the transient content of L08B04." }, "attached_reference_lineage": { "fp_id": "fp_house_courtyard", "prior_bg_ids": [ "L08B01" ], "attached_ref_labels": [ "bg:L08B01", "building_fp:fp_sarangchae_room" ], "ref_used": "refs_2", "db_write_policy": "checkpoint_only" }, "building_fp_ref": { "fp_id": "fp_sarangchae_room", "indoor_loc_sid": "L09", "group_id": "bg_tiled_house", "fp_asset_id": "2006cdaf-56ed-4ed0-8a2b-348d67f9badc" } }, "L08B05": { "status": "ok", "is_reuse": false, "render_action": "render_new_plate", "location_id": "L08", "location_name": "", "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/background_chain/L08B05.png", "t2i_prompt": "대한제국 말기, 20세기 초 전라남도 농촌 가옥의 닫힌 곳간 문을 밤에 실제 카메라로 촬영한 다큐멘터리 풍 사진. 마당 동쪽에 있는 곳간의 서향 출입구를 마당 쪽에서 바라본다. 평면도는 곳간과 출입구, 문 맞댐부에 고정된 빗장 철물의 공간 관계만 참고한다. 서 있는 사람의 눈높이인 약 1.6미터에서 문 면을 거의 정면으로 촬영하며, 봉인지의 부착 높이를 임의로 바꾸지 않고 그 위치에 촬영 방향을 맞춘다. 실제 디지털 일안 반사식 카메라의 35밀리미터급 렌즈 촬영본을 좁게 잘라 70밀리미터 근접 촬영에 준하는 구도로 구성한다. 닫힌 나무 문 면과 붉은 압류 봉인지, 그 가까이의 고정된 빗장 철물이 화면을 채운다.\n문에는 붉은 종이 압류 봉인지가 붙어 있다. 앞선 마당 건너편 시점과 이어지는 동일한 문으로, 종이와 문 맞댐선 및 철물 사이의 상대적 위치, 종이 바로 아래 나뭇결과 표면 상태가 바뀌지 않도록 한다. 종이의 실제 섬유질과 표면에 밀착된 가장자리를 보여 주되 읽을 수 있는 문서 문구나 이름, 인장을 임의로 만들지 않는다. 당시 농촌 곳간에 맞는 거친 목재의 결, 오랜 사용으로 닳은 부분과 자연스러운 묵은 얼룩, 수공 철물의 산화된 표면을 사실적인 크기와 질감으로 담는다. 별도의 자물쇠나 다른 물건은 추가하지 않는다.\n약한 밤의 자연 주변광이 문과 종이에 닿아 어두운 목재, 탁한 붉은 종이, 무광 철물의 차이가 식별된다. 밤을 대낮처럼 밝히지 않고 그림자에도 실제 표면 정보가 조금 남게 한다. 절제된 흙빛과 낮은 채도, 현장 그대로의 명암, 종이와 인접 철물에 맞는 자연스러운 피사계 심도. 보정 효과 없이 실제 장소 기록 사진처럼 보이며, 지나치게 말끔한 광고 사진이나 컴퓨터 합성 이미지, 삽화, 건축 조감도가 아니다. 사람, 얼굴, 인체 형태의 형상은 전혀 없다. 위에서 내려다보는 시점이나 평면도 구도가 아닌 눈높이 근접 사진. 16:9 가로 비율, 실제 카메라 촬영본", "shot_guides": [ { "shot_id": "S28_Shot18", "guide_text": "닫힌 곳간 문을 거의 정면으로 좁게 잡아 붉은 압류 봉인지와 인접한 빗장 철물이 함께 보이게 한다. 봉인지가 붙은 높이는 변경하지 않고 눈높이 촬영 위치에서 그쪽으로 구도를 맞춘다. 앞선 넓은 화면과 대조할 때 종이의 위치뿐 아니라 바로 아래 나뭇결, 문 맞댐선과 철물의 관계까지 이어지게 한다. 약한 밤의 주변광 아래 붉은 종이의 재질이 식별되도록 하되 읽을 수 있는 문구는 만들지 않는다. 인물이나 손을 넣지 않는 배경 전용 근접 화면이다." } ], "shot_ids": [ "S28_Shot18" ], "scenes": [], "parent_id": "", "ref_used": "refs_3", "render_attempts": 1, "render_error": "", "variant_label": "", "floor_plan_used": false, "camera_recommendations": { "camera_position": "on number 15 directly west of number 13, facing east squarely toward number 22 on the door face and number 14 beside it", "camera_height": "aligned with the seizure paper; exact mounting height is not specified", "lens_hint": "70mm close-up", "framing_notes": "Frame the closed granary door, attached red seizure paper, and nearby latch hardware. Preserve the same paper position and underlying door surface as the earlier cross-courtyard view. Do not invent legible document wording. Night appearance belongs only to this background." }, "reference_decision": { "bg_id": "L08B05", "fp_id": "fp_house_courtyard", "node_index": 6, "mode": "same_physical_space_view", "is_dwelling_identity_anchor": false, "rationale": "L08B06 establishes the unit-12 frontage, opening 13 and fixture 14. S28_Shot18 requires a much narrower, nearly perpendicular view of the outward-facing surface and marker 22. Moving from unit 7 to unit 1 and aiming directly at opening 13 changes the framing geometry materially; marker 22 remains a transient state overlay rather than a new structural identity.", "reference_paths": [ "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/background_chain/L08B06.png" ], "source_bg_ids": [ "L08B06" ], "fp_included": false, "reference_decision": { "selected_refs": [ { "ref_bg_id": "L08B06", "physical_space_id": "fp_house_courtyard_space_12_15", "space_description": "Unit-12 frontage at opening 13 and fixture 14, adjoining unit 15, established in L08B06." } ], "rejected_refs": [], "same_physical_space_dedup_decision": "single_same_space_representative", "why_single_ref_or_two_refs": "Only the unit-12 frontage is visible in the consuming close shot. L08B06 supplies its fixed identity, so no second reference is needed.", "physical_space_id_per_ref": [ "fp_house_courtyard_space_12_15" ], "same_physical_space_low_delta_candidate": false, "low_delta_reuse_target_bg_id": "", "low_delta_rationale": "" }, "camera_decision": { "camera_unit": 1, "camera_cell": [ 4, 4 ], "look_at_unit": 12, "look_at_cell": [ 4, 7 ], "lens_enum": "telephoto", "fov_deg": 25, "framing_notes": "Narrow direct view aimed at opening marker 13 on the west-facing unit-12 frontage. The axis approaches that surface nearly perpendicularly, unlike L08B06's oblique broad view." }, "render_guidance": { "visible_space_directive": "Limit the visible space to the marker-22-bearing surface at opening 13 on unit 12 and its immediate structural surround. Preserve L08B06's opening dimensions, frontage position and fixture-14 attachment location wherever that fixture falls within the crop.", "camera_framing_directive": "Use camera unit 1 at [4, 4], looking toward unit 12 at [4, 7], with telephoto 25-degree narrow, compressed coverage. Keep marker 22 central and less than one-third of the image, with enough surrounding surface to establish attachment. Preserve the staged direct observation rather than introducing a literal subject viewpoint.", "subject_position_directive": "No committed subject cue is available beyond the listed facts; S28_Shot18 contains no staged visible person. Keep the BG free of invented subjects and retain marker 22 as the central detail.", "state_cue_directive": "Show transient marker 22 attached prominently at the center of the outward-facing surface at opening 13. Do not invent readable wording. Use the staged subdued nighttime exposure and restrained tonal separation. Apply this shot's surface-bearing condition instead of inheriting L08B06's open-access state.", "negative_continuity_directive": "Exclude markers 19, 20, 21, 23 and 24, including reference-carried markers 23 and 24 from L08B06. Avoid relocating opening 13 or fixture 14, importing the reference's subject or opening state, adding uncommitted text to marker 22, or expanding the narrow crop to unrelated units." }, "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n - selected_refs[0]: ref_bg_id='L08B06' physical_space_id='fp_house_courtyard_space_12_15'\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 1\n - camera_cell: [4, 4]\n - look_at_unit: 12\n - look_at_cell: [4, 7]\n - lens_enum: 'telephoto'\n - fov_deg: 25\n - framing_notes: \"Narrow direct view aimed at opening marker 13 on the west-facing unit-12 frontage. The axis approaches that surface nearly perpendicularly, unlike L08B06's oblique broad view.\"\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Limit the visible space to the marker-22-bearing surface at opening 13 on unit 12 and its immediate structural surround. Preserve L08B06's opening dimensions, frontage position and fixture-14 attachment location wherever that fixture falls within the crop.\n - camera_framing_directive: Use camera unit 1 at [4, 4], looking toward unit 12 at [4, 7], with telephoto 25-degree narrow, compressed coverage. Keep marker 22 central and less than one-third of the image, with enough surrounding surface to establish attachment. Preserve the staged direct observation rather than introducing a literal subject viewpoint.\n - subject_position_directive: No committed subject cue is available beyond the listed facts; S28_Shot18 contains no staged visible person. Keep the BG free of invented subjects and retain marker 22 as the central detail.\n - state_cue_directive: Show transient marker 22 attached prominently at the center of the outward-facing surface at opening 13. Do not invent readable wording. Use the staged subdued nighttime exposure and restrained tonal separation. Apply this shot's surface-bearing condition instead of inheriting L08B06's open-access state.\n - negative_continuity_directive: Exclude markers 19, 20, 21, 23 and 24, including reference-carried markers 23 and 24 from L08B06. Avoid relocating opening 13 or fixture 14, importing the reference's subject or opening state, adding uncommitted text to marker 22, or expanding the narrow crop to unrelated units.\n\n", "diagnostics": [] }, "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n - selected_refs[0]: ref_bg_id='L08B06' physical_space_id='fp_house_courtyard_space_12_15'\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 1\n - camera_cell: [4, 4]\n - look_at_unit: 12\n - look_at_cell: [4, 7]\n - lens_enum: 'telephoto'\n - fov_deg: 25\n - framing_notes: \"Narrow direct view aimed at opening marker 13 on the west-facing unit-12 frontage. The axis approaches that surface nearly perpendicularly, unlike L08B06's oblique broad view.\"\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Limit the visible space to the marker-22-bearing surface at opening 13 on unit 12 and its immediate structural surround. Preserve L08B06's opening dimensions, frontage position and fixture-14 attachment location wherever that fixture falls within the crop.\n - camera_framing_directive: Use camera unit 1 at [4, 4], looking toward unit 12 at [4, 7], with telephoto 25-degree narrow, compressed coverage. Keep marker 22 central and less than one-third of the image, with enough surrounding surface to establish attachment. Preserve the staged direct observation rather than introducing a literal subject viewpoint.\n - subject_position_directive: No committed subject cue is available beyond the listed facts; S28_Shot18 contains no staged visible person. Keep the BG free of invented subjects and retain marker 22 as the central detail.\n - state_cue_directive: Show transient marker 22 attached prominently at the center of the outward-facing surface at opening 13. Do not invent readable wording. Use the staged subdued nighttime exposure and restrained tonal separation. Apply this shot's surface-bearing condition instead of inheriting L08B06's open-access state.\n - negative_continuity_directive: Exclude markers 19, 20, 21, 23 and 24, including reference-carried markers 23 and 24 from L08B06. Avoid relocating opening 13 or fixture 14, importing the reference's subject or opening state, adding uncommitted text to marker 22, or expanding the narrow crop to unrelated units.\n\n", "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n - selected_refs[0]: ref_bg_id='L08B06' physical_space_id='fp_house_courtyard_space_12_15'\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 1\n - camera_cell: [4, 4]\n - look_at_unit: 12\n - look_at_cell: [4, 7]\n - lens_enum: 'telephoto'\n - fov_deg: 25\n - framing_notes: \"Narrow direct view aimed at opening marker 13 on the west-facing unit-12 frontage. The axis approaches that surface nearly perpendicularly, unlike L08B06's oblique broad view.\"\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Limit the visible space to the marker-22-bearing surface at opening 13 on unit 12 and its immediate structural surround. Preserve L08B06's opening dimensions, frontage position and fixture-14 attachment location wherever that fixture falls within the crop.\n - camera_framing_directive: Use camera unit 1 at [4, 4], looking toward unit 12 at [4, 7], with telephoto 25-degree narrow, compressed coverage. Keep marker 22 central and less than one-third of the image, with enough surrounding surface to establish attachment. Preserve the staged direct observation rather than introducing a literal subject viewpoint.\n - subject_position_directive: No committed subject cue is available beyond the listed facts; S28_Shot18 contains no staged visible person. Keep the BG free of invented subjects and retain marker 22 as the central detail.\n - state_cue_directive: Show transient marker 22 attached prominently at the center of the outward-facing surface at opening 13. Do not invent readable wording. Use the staged subdued nighttime exposure and restrained tonal separation. Apply this shot's surface-bearing condition instead of inheriting L08B06's open-access state.\n - negative_continuity_directive: Exclude markers 19, 20, 21, 23 and 24, including reference-carried markers 23 and 24 from L08B06. Avoid relocating opening 13 or fixture 14, importing the reference's subject or opening state, adding uncommitted text to marker 22, or expanding the narrow crop to unrelated units.\n\n대한제국 말기, 20세기 초 전라남도 농촌 가옥의 닫힌 곳간 문을 밤에 실제 카메라로 촬영한 다큐멘터리 풍 사진. 마당 동쪽에 있는 곳간의 서향 출입구를 마당 쪽에서 바라본다. 평면도는 곳간과 출입구, 문 맞댐부에 고정된 빗장 철물의 공간 관계만 참고한다. 서 있는 사람의 눈높이인 약 1.6미터에서 문 면을 거의 정면으로 촬영하며, 봉인지의 부착 높이를 임의로 바꾸지 않고 그 위치에 촬영 방향을 맞춘다. 실제 디지털 일안 반사식 카메라의 35밀리미터급 렌즈 촬영본을 좁게 잘라 70밀리미터 근접 촬영에 준하는 구도로 구성한다. 닫힌 나무 문 면과 붉은 압류 봉인지, 그 가까이의 고정된 빗장 철물이 화면을 채운다.\n문에는 붉은 종이 압류 봉인지가 붙어 있다. 앞선 마당 건너편 시점과 이어지는 동일한 문으로, 종이와 문 맞댐선 및 철물 사이의 상대적 위치, 종이 바로 아래 나뭇결과 표면 상태가 바뀌지 않도록 한다. 종이의 실제 섬유질과 표면에 밀착된 가장자리를 보여 주되 읽을 수 있는 문서 문구나 이름, 인장을 임의로 만들지 않는다. 당시 농촌 곳간에 맞는 거친 목재의 결, 오랜 사용으로 닳은 부분과 자연스러운 묵은 얼룩, 수공 철물의 산화된 표면을 사실적인 크기와 질감으로 담는다. 별도의 자물쇠나 다른 물건은 추가하지 않는다.\n약한 밤의 자연 주변광이 문과 종이에 닿아 어두운 목재, 탁한 붉은 종이, 무광 철물의 차이가 식별된다. 밤을 대낮처럼 밝히지 않고 그림자에도 실제 표면 정보가 조금 남게 한다. 절제된 흙빛과 낮은 채도, 현장 그대로의 명암, 종이와 인접 철물에 맞는 자연스러운 피사계 심도. 보정 효과 없이 실제 장소 기록 사진처럼 보이며, 지나치게 말끔한 광고 사진이나 컴퓨터 합성 이미지, 삽화, 건축 조감도가 아니다. 사람, 얼굴, 인체 형태의 형상은 전혀 없다. 위에서 내려다보는 시점이나 평면도 구도가 아닌 눈높이 근접 사진. 16:9 가로 비율, 실제 카메라 촬영본\n\nOne attached image is a PHOTOREAL RENDER of this SAME place — the same physical location, possibly seen from a different angle or at a different moment. Treat it as the PLACE IDENTITY reference. Keep this render consistent with it: the same spatial layout and architecture, the same surface materials and colors, and the same permanently installed fixtures and furniture. Lettering visible in the reference is reproduced EXACTLY — same characters, same mark, same position; never invent different wording from render to render. Camera angle, framing, lighting, time of day and weather follow THIS prompt — do NOT copy the reference's composition or mood; only the place's physical identity carries over.\n\nThe LAST attached image is a TOP-DOWN INTERIOR FLOOR PLAN of the building at this location — a STRUCTURAL REFERENCE ONLY, never content to draw. It defines the building's real scale: its footprint, room count, and the placement of its doors and windows. Render the scene so the building's exterior size, number of storeys, and the scale and placement of its doors and windows stay consistent with that plan. Do NOT draw the floor plan itself, its lines, text or numbers anywhere in the image.", "camera_decision": { "camera_unit": 1, "camera_cell": [ 4, 4 ], "look_at_unit": 12, "look_at_cell": [ 4, 7 ], "lens_enum": "telephoto", "fov_deg": 25, "framing_notes": "Narrow direct view aimed at opening marker 13 on the west-facing unit-12 frontage. The axis approaches that surface nearly perpendicularly, unlike L08B06's oblique broad view." }, "shot_aware_plan_node_index": 6, "shot_aware_plan_mode": "same_physical_space_view", "render_guidance": { "visible_space_directive": "Limit the visible space to the marker-22-bearing surface at opening 13 on unit 12 and its immediate structural surround. Preserve L08B06's opening dimensions, frontage position and fixture-14 attachment location wherever that fixture falls within the crop.", "camera_framing_directive": "Use camera unit 1 at [4, 4], looking toward unit 12 at [4, 7], with telephoto 25-degree narrow, compressed coverage. Keep marker 22 central and less than one-third of the image, with enough surrounding surface to establish attachment. Preserve the staged direct observation rather than introducing a literal subject viewpoint.", "subject_position_directive": "No committed subject cue is available beyond the listed facts; S28_Shot18 contains no staged visible person. Keep the BG free of invented subjects and retain marker 22 as the central detail.", "state_cue_directive": "Show transient marker 22 attached prominently at the center of the outward-facing surface at opening 13. Do not invent readable wording. Use the staged subdued nighttime exposure and restrained tonal separation. Apply this shot's surface-bearing condition instead of inheriting L08B06's open-access state.", "negative_continuity_directive": "Exclude markers 19, 20, 21, 23 and 24, including reference-carried markers 23 and 24 from L08B06. Avoid relocating opening 13 or fixture 14, importing the reference's subject or opening state, adding uncommitted text to marker 22, or expanding the narrow crop to unrelated units." }, "attached_reference_lineage": { "fp_id": "fp_house_courtyard", "prior_bg_ids": [ "L08B06" ], "attached_ref_labels": [ "bg:L08B06", "same_loc_anchor:L08B01", "building_fp:fp_sarangchae_room" ], "ref_used": "refs_3", "db_write_policy": "checkpoint_only" }, "building_fp_ref": { "fp_id": "fp_sarangchae_room", "indoor_loc_sid": "L09", "group_id": "bg_tiled_house", "fp_asset_id": "2006cdaf-56ed-4ed0-8a2b-348d67f9badc" }, "same_loc_anchor_ref": { "anchor_bg_id": "L08B01", "loc_id": "L08" } }, "L08B06": { "status": "ok", "is_reuse": false, "render_action": "render_new_plate", "location_id": "L08", "location_name": "", "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/background_chain/L08B06.png", "t2i_prompt": "대한제국 말기인 20세기 초, 전라남도 보성 일대 농촌 가옥의 곳간 앞과 사랑채에서 이어지는 빈 마당을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실제 장소를 기록한 사진과 구별되지 않는 사실성을 유지한다. 35밀리미터 판형의 미러리스 카메라와 28밀리미터 광각 렌즈를 사용하고, 지면에서 약 1.6미터 높이의 서 있는 사람 눈높이로 촬영한다. 곳간 앞 짐 싣는 공간의 남쪽 끝, 남쪽으로 이어지는 통행로의 동쪽에 카메라를 두고 북북서 방향으로 마당을 비스듬히 바라본다. 가까운 수레와 쌀가마니, 열린 곳간 입구가 함께 읽히며, 건너편 사랑채 툇마루와 북쪽 안채 출입구까지 외부 공간의 연결이 드러나는 구도다.\n\n배치도는 건물과 출입구, 고정 시설의 위치 관계를 확인하는 용도로만 사용한다. 중앙의 다져진 흙마당을 사이에 두고 서쪽에는 사랑채, 동쪽에는 곳간이 놓인다. 사랑채의 동향 출입구 앞에는 마당보다 높게 놓인 나무 툇마루가 있으며, 북쪽 안채의 남향 출입구와 그 앞 진입 공간은 마당으로 연결된다. 곳간의 서향 출입구 바로 앞이 짐 싣는 공간이며, 남쪽으로 이어지는 길은 화면 앞쪽 밖으로 계속된다. 곳간 동쪽과 북쪽을 돌아 마당으로 이어지는 뒷길은 실제 시야에 드러나는 진입 부분으로 연결 관계를 보여준다. 보이지 않는 건물 뒤편을 투시하지 않는다.\n\n곳간 문은 열려 있고 맞물림 부위의 걸쇠와 자물쇠는 풀린 상태다. 넓은 문짝 면은 카메라를 향하지 않도록 돌아가 있어 문간의 깊이와 금속 부속의 상태가 자연스럽게 보인다. 문 앞 짐 싣는 공간에는 당시 농촌에서 쓰던 목제 운반 수레가 남쪽 통행로를 따라 나갈 수 있는 방향으로 놓여 있다. 곳간 문턱과 수레 사이에는 짚으로 엮은 쌀가마니가 놓여 있고, 일부는 수레 적재함에 실려 있어 질서 있게 짐을 옮기던 단계가 드러난다. 수레와 가마니 옆으로는 사랑채와 안채에서 접근할 수 있는 통행 폭을 남긴다. 공간의 긴장은 열린 출입구와 적재 중인 물건의 배치만으로 전달하며, 마당과 건물은 정돈된 일상적 상태를 유지한다.\n\n당시 남도 농촌 가옥에 맞는 목구조와 흙벽, 나무 판재 문, 낮은 돌기단을 자연스럽게 표현한다. 툇마루와 수레의 실제 나뭇결, 손때 묻은 문 가장자리, 걸쇠의 오래된 쇠 표면과 옅은 녹, 가마니의 거친 짚 섬유와 눌린 부피, 흙마당의 생활 마모가 가까이서도 설득력 있게 보인다. 부드러운 자연 주광이 마당을 밝히고 처마 아래와 곳간 내부는 물리적으로 타당한 그늘로 남는다. 흙과 목재 본래의 차분한 색, 자연스러운 명암과 원근, 실제 렌즈의 자연스러운 피사계 심도를 유지하며 인위적인 색 보정이나 과도한 선명화를 하지 않는다. 사람, 얼굴, 신체 일부, 사람 형태의 형상은 전혀 없는 배경이다. 지나치게 말끔한 광고 사진이 아니라 생활 사용감이 남은 현장 기록 사진이며, 삽화나 컴퓨터 생성 모형 이미지, 건축 조감도나 평면도가 아니다. 16:9 가로 비율, 실제 카메라 촬영본", "shot_guides": [ { "shot_id": "S34_Shot8", "guide_text": "열린 곳간 입구와 그 앞 수레, 문턱에서 수레로 이어지는 쌀가마니 배치를 함께 보여주는 넓은 배경으로 사용한다. 눈높이 시점을 유지하고 남쪽으로 빠져나가는 길이 화면 앞쪽으로 이어지게 한다. 사람 없이도 짐을 옮기는 공간의 연결이 읽히도록 물건 사이의 간격을 확보한다." }, { "shot_id": "S34_Shot16", "guide_text": "동일한 문 개방 상태와 수레·쌀가마니 위치를 유지한다. 사랑채 툇마루에서 곳간 앞까지 이어지는 빈 마당과 안채 쪽 접근 공간을 충분히 남겨 외부 동선을 읽을 수 있게 한다. 추가 사건 흔적이나 인물은 배경에 그리지 않으며, 자연광과 재질 표현을 동일하게 유지한다." } ], "shot_ids": [ "S34_Shot8", "S34_Shot16" ], "scenes": [], "parent_id": "", "ref_used": "refs_3", "render_attempts": 1, "render_error": "", "variant_label": "", "floor_plan_used": false, "camera_recommendations": { "camera_position": "near the southern end of number 15, east of the gate route, facing north-northwest across numbers 23 and 24 toward number 13, with numbers 7 and 10 beyond", "camera_height": "eye-level standing, approximately 1.6 m", "lens_hint": "28mm wide angle", "framing_notes": "Show the open granary entrance, released lock hardware, cart, rice sacks, and connected exterior space where the staged blow occurs. Preserve access from both residential wings and the granary rear passage. Keep the broad door-leaf surface turned out of view rather than inventing a torn or destroyed seizure paper. The gateward route continues out of the foreground. No actual wreckage, blood, or uncontrolled scattering." }, "reference_decision": { "bg_id": "L08B06", "fp_id": "fp_house_courtyard", "node_index": 5, "mode": "same_physical_space_view", "is_dwelling_identity_anchor": false, "rationale": "L08B06 turns across the same connected unit-1 space toward units 15 and 12. L08B07 commits the unit-7 camera-side structure and nighttime continuity, but this eastward direction reveals opening 13 and fixture 14 not present in its southward view. The new structural slice requires a new plate for S34_Shot8 and the limited ground context of S34_Shot16.", "reference_paths": [ "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/background_chain/L08B07.png" ], "source_bg_ids": [ "L08B07" ], "fp_included": false, "reference_decision": { "selected_refs": [ { "ref_bg_id": "L08B07", "physical_space_id": "fp_house_courtyard_space_1_2_6_7", "space_description": "The connected unit-1 exterior and unit-7 edge, now viewed toward units 15 and 12." } ], "rejected_refs": [], "same_physical_space_dedup_decision": "single_same_space_representative", "why_single_ref_or_two_refs": "L08B07 fixes the shared camera-side and connecting space. No earlier independent reference establishes the unit-12 frontage, so a second reference would add no distinct visible-space identity.", "physical_space_id_per_ref": [ "fp_house_courtyard_space_1_2_6_7" ], "same_physical_space_low_delta_candidate": false, "low_delta_reuse_target_bg_id": "", "low_delta_rationale": "" }, "camera_decision": { "camera_unit": 7, "camera_cell": [ 5, 2 ], "look_at_unit": 12, "look_at_cell": [ 5, 8 ], "lens_enum": "wide", "fov_deg": 90, "framing_notes": "Broad eastward cross-space view toward unit 12, with unit 15 in front and opening 13 seen obliquely. This is a new direction from L08B07 despite the matching camera cell." }, "render_guidance": { "visible_space_directive": "Keep L08B07's unit-7 edge and connected unit-1 geometry fixed. Extend the view toward unit 15 and the unit-12 frontage, locating opening 13 at [4, 7] and fixture 14 at [5, 8] according to the readback. Include only in-cone portions of units 11 and 16; the visibility supersets do not establish unrestricted interior access.", "camera_framing_directive": "Use camera unit 7 at [5, 2], looking toward unit 12 at [5, 8], with wide 90-degree broad coverage. Preserve separation between the foreground action region, unit 15 and opening 13. S34_Shot8 and S34_Shot16 use their staged medium and close subject compositions within this fixed spatial context.", "subject_position_directive": "For S34_Shot8, reserve a slim left foreground shoulder and a center-right upper body receiving marker 24, held across the lower torso at about a quarter of the lower image. For S34_Shot16, separately reserve lower-right for the bowed neck and shoulders and upper-left for the entering striking hand and partial second figure. Preserve the staged contact detail without combining the two actions.", "state_cue_directive": "Carry transient markers 23 and 24, with marker 24 being received in S34_Shot8; do not invent a precise position for marker 23 where staging provides none. Opening 13 is open wide with unobstructed access in S34_Shot8. Preserve restrained nighttime ambient light, muted saturation and the absence of added impact illumination.", "negative_continuity_directive": "Exclude markers 19, 20, 21 and 22. Avoid rotating the fixed layout with the camera, relocating opening 13 or fixture 14, importing L08B07's subjects, or adding visibility beyond the eastward cone." }, "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n - selected_refs[0]: ref_bg_id='L08B07' physical_space_id='fp_house_courtyard_space_1_2_6_7'\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 7\n - camera_cell: [5, 2]\n - look_at_unit: 12\n - look_at_cell: [5, 8]\n - lens_enum: 'wide'\n - fov_deg: 90\n - framing_notes: 'Broad eastward cross-space view toward unit 12, with unit 15 in front and opening 13 seen obliquely. This is a new direction from L08B07 despite the matching camera cell.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Keep L08B07's unit-7 edge and connected unit-1 geometry fixed. Extend the view toward unit 15 and the unit-12 frontage, locating opening 13 at [4, 7] and fixture 14 at [5, 8] according to the readback. Include only in-cone portions of units 11 and 16; the visibility supersets do not establish unrestricted interior access.\n - camera_framing_directive: Use camera unit 7 at [5, 2], looking toward unit 12 at [5, 8], with wide 90-degree broad coverage. Preserve separation between the foreground action region, unit 15 and opening 13. S34_Shot8 and S34_Shot16 use their staged medium and close subject compositions within this fixed spatial context.\n - subject_position_directive: For S34_Shot8, reserve a slim left foreground shoulder and a center-right upper body receiving marker 24, held across the lower torso at about a quarter of the lower image. For S34_Shot16, separately reserve lower-right for the bowed neck and shoulders and upper-left for the entering striking hand and partial second figure. Preserve the staged contact detail without combining the two actions.\n - state_cue_directive: Carry transient markers 23 and 24, with marker 24 being received in S34_Shot8; do not invent a precise position for marker 23 where staging provides none. Opening 13 is open wide with unobstructed access in S34_Shot8. Preserve restrained nighttime ambient light, muted saturation and the absence of added impact illumination.\n - negative_continuity_directive: Exclude markers 19, 20, 21 and 22. Avoid rotating the fixed layout with the camera, relocating opening 13 or fixture 14, importing L08B07's subjects, or adding visibility beyond the eastward cone.\n\n", "diagnostics": [] }, "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n - selected_refs[0]: ref_bg_id='L08B07' physical_space_id='fp_house_courtyard_space_1_2_6_7'\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 7\n - camera_cell: [5, 2]\n - look_at_unit: 12\n - look_at_cell: [5, 8]\n - lens_enum: 'wide'\n - fov_deg: 90\n - framing_notes: 'Broad eastward cross-space view toward unit 12, with unit 15 in front and opening 13 seen obliquely. This is a new direction from L08B07 despite the matching camera cell.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Keep L08B07's unit-7 edge and connected unit-1 geometry fixed. Extend the view toward unit 15 and the unit-12 frontage, locating opening 13 at [4, 7] and fixture 14 at [5, 8] according to the readback. Include only in-cone portions of units 11 and 16; the visibility supersets do not establish unrestricted interior access.\n - camera_framing_directive: Use camera unit 7 at [5, 2], looking toward unit 12 at [5, 8], with wide 90-degree broad coverage. Preserve separation between the foreground action region, unit 15 and opening 13. S34_Shot8 and S34_Shot16 use their staged medium and close subject compositions within this fixed spatial context.\n - subject_position_directive: For S34_Shot8, reserve a slim left foreground shoulder and a center-right upper body receiving marker 24, held across the lower torso at about a quarter of the lower image. For S34_Shot16, separately reserve lower-right for the bowed neck and shoulders and upper-left for the entering striking hand and partial second figure. Preserve the staged contact detail without combining the two actions.\n - state_cue_directive: Carry transient markers 23 and 24, with marker 24 being received in S34_Shot8; do not invent a precise position for marker 23 where staging provides none. Opening 13 is open wide with unobstructed access in S34_Shot8. Preserve restrained nighttime ambient light, muted saturation and the absence of added impact illumination.\n - negative_continuity_directive: Exclude markers 19, 20, 21 and 22. Avoid rotating the fixed layout with the camera, relocating opening 13 or fixture 14, importing L08B07's subjects, or adding visibility beyond the eastward cone.\n\n", "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n - selected_refs[0]: ref_bg_id='L08B07' physical_space_id='fp_house_courtyard_space_1_2_6_7'\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 7\n - camera_cell: [5, 2]\n - look_at_unit: 12\n - look_at_cell: [5, 8]\n - lens_enum: 'wide'\n - fov_deg: 90\n - framing_notes: 'Broad eastward cross-space view toward unit 12, with unit 15 in front and opening 13 seen obliquely. This is a new direction from L08B07 despite the matching camera cell.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Keep L08B07's unit-7 edge and connected unit-1 geometry fixed. Extend the view toward unit 15 and the unit-12 frontage, locating opening 13 at [4, 7] and fixture 14 at [5, 8] according to the readback. Include only in-cone portions of units 11 and 16; the visibility supersets do not establish unrestricted interior access.\n - camera_framing_directive: Use camera unit 7 at [5, 2], looking toward unit 12 at [5, 8], with wide 90-degree broad coverage. Preserve separation between the foreground action region, unit 15 and opening 13. S34_Shot8 and S34_Shot16 use their staged medium and close subject compositions within this fixed spatial context.\n - subject_position_directive: For S34_Shot8, reserve a slim left foreground shoulder and a center-right upper body receiving marker 24, held across the lower torso at about a quarter of the lower image. For S34_Shot16, separately reserve lower-right for the bowed neck and shoulders and upper-left for the entering striking hand and partial second figure. Preserve the staged contact detail without combining the two actions.\n - state_cue_directive: Carry transient markers 23 and 24, with marker 24 being received in S34_Shot8; do not invent a precise position for marker 23 where staging provides none. Opening 13 is open wide with unobstructed access in S34_Shot8. Preserve restrained nighttime ambient light, muted saturation and the absence of added impact illumination.\n - negative_continuity_directive: Exclude markers 19, 20, 21 and 22. Avoid rotating the fixed layout with the camera, relocating opening 13 or fixture 14, importing L08B07's subjects, or adding visibility beyond the eastward cone.\n\n대한제국 말기인 20세기 초, 전라남도 보성 일대 농촌 가옥의 곳간 앞과 사랑채에서 이어지는 빈 마당을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실제 장소를 기록한 사진과 구별되지 않는 사실성을 유지한다. 35밀리미터 판형의 미러리스 카메라와 28밀리미터 광각 렌즈를 사용하고, 지면에서 약 1.6미터 높이의 서 있는 사람 눈높이로 촬영한다. 곳간 앞 짐 싣는 공간의 남쪽 끝, 남쪽으로 이어지는 통행로의 동쪽에 카메라를 두고 북북서 방향으로 마당을 비스듬히 바라본다. 가까운 수레와 쌀가마니, 열린 곳간 입구가 함께 읽히며, 건너편 사랑채 툇마루와 북쪽 안채 출입구까지 외부 공간의 연결이 드러나는 구도다.\n\n배치도는 건물과 출입구, 고정 시설의 위치 관계를 확인하는 용도로만 사용한다. 중앙의 다져진 흙마당을 사이에 두고 서쪽에는 사랑채, 동쪽에는 곳간이 놓인다. 사랑채의 동향 출입구 앞에는 마당보다 높게 놓인 나무 툇마루가 있으며, 북쪽 안채의 남향 출입구와 그 앞 진입 공간은 마당으로 연결된다. 곳간의 서향 출입구 바로 앞이 짐 싣는 공간이며, 남쪽으로 이어지는 길은 화면 앞쪽 밖으로 계속된다. 곳간 동쪽과 북쪽을 돌아 마당으로 이어지는 뒷길은 실제 시야에 드러나는 진입 부분으로 연결 관계를 보여준다. 보이지 않는 건물 뒤편을 투시하지 않는다.\n\n곳간 문은 열려 있고 맞물림 부위의 걸쇠와 자물쇠는 풀린 상태다. 넓은 문짝 면은 카메라를 향하지 않도록 돌아가 있어 문간의 깊이와 금속 부속의 상태가 자연스럽게 보인다. 문 앞 짐 싣는 공간에는 당시 농촌에서 쓰던 목제 운반 수레가 남쪽 통행로를 따라 나갈 수 있는 방향으로 놓여 있다. 곳간 문턱과 수레 사이에는 짚으로 엮은 쌀가마니가 놓여 있고, 일부는 수레 적재함에 실려 있어 질서 있게 짐을 옮기던 단계가 드러난다. 수레와 가마니 옆으로는 사랑채와 안채에서 접근할 수 있는 통행 폭을 남긴다. 공간의 긴장은 열린 출입구와 적재 중인 물건의 배치만으로 전달하며, 마당과 건물은 정돈된 일상적 상태를 유지한다.\n\n당시 남도 농촌 가옥에 맞는 목구조와 흙벽, 나무 판재 문, 낮은 돌기단을 자연스럽게 표현한다. 툇마루와 수레의 실제 나뭇결, 손때 묻은 문 가장자리, 걸쇠의 오래된 쇠 표면과 옅은 녹, 가마니의 거친 짚 섬유와 눌린 부피, 흙마당의 생활 마모가 가까이서도 설득력 있게 보인다. 부드러운 자연 주광이 마당을 밝히고 처마 아래와 곳간 내부는 물리적으로 타당한 그늘로 남는다. 흙과 목재 본래의 차분한 색, 자연스러운 명암과 원근, 실제 렌즈의 자연스러운 피사계 심도를 유지하며 인위적인 색 보정이나 과도한 선명화를 하지 않는다. 사람, 얼굴, 신체 일부, 사람 형태의 형상은 전혀 없는 배경이다. 지나치게 말끔한 광고 사진이 아니라 생활 사용감이 남은 현장 기록 사진이며, 삽화나 컴퓨터 생성 모형 이미지, 건축 조감도나 평면도가 아니다. 16:9 가로 비율, 실제 카메라 촬영본\n\nOne attached image is a PHOTOREAL RENDER of this SAME place — the same physical location, possibly seen from a different angle or at a different moment. Treat it as the PLACE IDENTITY reference. Keep this render consistent with it: the same spatial layout and architecture, the same surface materials and colors, and the same permanently installed fixtures and furniture. Lettering visible in the reference is reproduced EXACTLY — same characters, same mark, same position; never invent different wording from render to render. Camera angle, framing, lighting, time of day and weather follow THIS prompt — do NOT copy the reference's composition or mood; only the place's physical identity carries over.\n\nThe LAST attached image is a TOP-DOWN INTERIOR FLOOR PLAN of the building at this location — a STRUCTURAL REFERENCE ONLY, never content to draw. It defines the building's real scale: its footprint, room count, and the placement of its doors and windows. Render the scene so the building's exterior size, number of storeys, and the scale and placement of its doors and windows stay consistent with that plan. Do NOT draw the floor plan itself, its lines, text or numbers anywhere in the image.", "camera_decision": { "camera_unit": 7, "camera_cell": [ 5, 2 ], "look_at_unit": 12, "look_at_cell": [ 5, 8 ], "lens_enum": "wide", "fov_deg": 90, "framing_notes": "Broad eastward cross-space view toward unit 12, with unit 15 in front and opening 13 seen obliquely. This is a new direction from L08B07 despite the matching camera cell." }, "shot_aware_plan_node_index": 5, "shot_aware_plan_mode": "same_physical_space_view", "render_guidance": { "visible_space_directive": "Keep L08B07's unit-7 edge and connected unit-1 geometry fixed. Extend the view toward unit 15 and the unit-12 frontage, locating opening 13 at [4, 7] and fixture 14 at [5, 8] according to the readback. Include only in-cone portions of units 11 and 16; the visibility supersets do not establish unrestricted interior access.", "camera_framing_directive": "Use camera unit 7 at [5, 2], looking toward unit 12 at [5, 8], with wide 90-degree broad coverage. Preserve separation between the foreground action region, unit 15 and opening 13. S34_Shot8 and S34_Shot16 use their staged medium and close subject compositions within this fixed spatial context.", "subject_position_directive": "For S34_Shot8, reserve a slim left foreground shoulder and a center-right upper body receiving marker 24, held across the lower torso at about a quarter of the lower image. For S34_Shot16, separately reserve lower-right for the bowed neck and shoulders and upper-left for the entering striking hand and partial second figure. Preserve the staged contact detail without combining the two actions.", "state_cue_directive": "Carry transient markers 23 and 24, with marker 24 being received in S34_Shot8; do not invent a precise position for marker 23 where staging provides none. Opening 13 is open wide with unobstructed access in S34_Shot8. Preserve restrained nighttime ambient light, muted saturation and the absence of added impact illumination.", "negative_continuity_directive": "Exclude markers 19, 20, 21 and 22. Avoid rotating the fixed layout with the camera, relocating opening 13 or fixture 14, importing L08B07's subjects, or adding visibility beyond the eastward cone." }, "attached_reference_lineage": { "fp_id": "fp_house_courtyard", "prior_bg_ids": [ "L08B07" ], "attached_ref_labels": [ "bg:L08B07", "same_loc_anchor:L08B01", "building_fp:fp_sarangchae_room" ], "ref_used": "refs_3", "db_write_policy": "checkpoint_only" }, "building_fp_ref": { "fp_id": "fp_sarangchae_room", "indoor_loc_sid": "L09", "group_id": "bg_tiled_house", "fp_asset_id": "2006cdaf-56ed-4ed0-8a2b-348d67f9badc" }, "same_loc_anchor_ref": { "anchor_bg_id": "L08B01", "loc_id": "L08" } }, "L08B01": { "status": "ok", "is_reuse": false, "render_action": "render_new_plate", "location_id": "L08", "location_name": "", "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/background_chain/L08B01.png", "t2i_prompt": "대한제국 말기인 20세기 초 전라남도 농촌 가옥의 사랑채 앞마당과 대문을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 실제 장소 기록 사진으로, 삽화나 건축 시각화가 아닌 자연스럽고 사실적인 촬영본이다. 제공된 평면도는 공간 배치만 참고한다. 마당 북동쪽의 안채 방향 접근로 곁에서 남서쪽을 바라보며, 지면에서 약 1.6미터 높이의 서 있는 사람 눈높이로 촬영한다. 35밀리미터 규격의 전면형 감지기를 갖춘 디지털 카메라와 28밀리미터 광각 렌즈를 사용한 시야로, 과도한 원근 왜곡 없이 사랑채 출입구와 대문을 한 화면에 담는다. 위에서 내려다보는 구도나 평면도 같은 화면은 피한다.\n\n마당 서쪽 가장자리에 사랑채가 있고, 마당 쪽인 동쪽을 향한 높은 툇마루와 그 위로 이어지는 출입구가 보인다. 남쪽 중앙 경계에는 대문과 문턱이 자리하며 그 바깥으로 진입로가 이어지는 공간 관계를 유지한다. 대문 바로 안쪽 서편에는 앉는 돌이 있고, 마당 남서쪽 가장자리에는 대문 통행로에서 벗어난 평상이 놓여 있다. 건물 가장자리와 대문을 잇는 경계 담장이 공간을 둘러싼다. 사랑채 툇마루 아래에서 대문 문턱까지 이어지는 마당을 넓게 보여 주고, 중앙의 보행 공간은 비워 둔다. 화면은 사랑채와 대문 쪽에 집중한다.\n\n당시 남도 농촌 가옥에 맞는 목구조 사랑채, 흙미장 벽면, 자연석 기단, 나무 툇마루, 널로 짠 대문과 다져진 흙마당을 표현한다. 실제 목재의 나뭇결과 생활 마모, 돌의 불규칙한 표면, 흙벽의 입자감과 대문 철물의 오래된 금속 질감이 가까이 보아도 자연스럽다. 낮의 자연광이 마당을 밝히고 처마 아래에는 부드러운 그늘이 생기며, 그늘 속 목재와 출입구의 세부도 실제 노출 범위 안에서 읽힌다. 흙빛과 나무빛을 중심으로 실제 재료의 차분한 색을 유지하고, 인위적인 색 보정이나 과장된 명암 없이 자연스러운 피사계 심도로 촬영한다. 공간은 정돈된 평상시 상태다. 사람, 얼굴, 사람 모양의 형상은 전혀 묘사하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본", "shot_guides": [ { "shot_id": "S40_Shot4", "guide_text": "사랑채 출입구와 남쪽 대문이 함께 읽히는 넓은 눈높이 구도를 사용한다. 마당 중앙의 빈 공간과 두 출입 지점 사이의 거리가 명확하게 보이도록 하며, 인물이나 사건성 흔적은 배경에 추가하지 않는다." }, { "shot_id": "S40_Shot12", "guide_text": "같은 북동쪽 시점에서 사랑채 툇마루 아래와 대문 문턱을 연결하는 마당의 연속성을 유지한다. 대문 안쪽의 돌과 남서쪽 평상을 이동하거나 중복 배치하지 않고, 낮의 밝기와 처마 아래 그늘을 동일하게 유지한다." }, { "shot_id": "S40_Shot13", "guide_text": "대문과 문턱을 주요 공간 기준점으로 삼되 사랑채 쪽 마당과의 연결 관계가 남도록 화면을 잡는다. 기본 배경의 정돈된 상태, 목재와 흙의 질감, 눈높이 원근을 유지하고 별도의 일시적 상태나 인물을 그리지 않는다." } ], "shot_ids": [ "S40_Shot4", "S40_Shot12", "S40_Shot13" ], "scenes": [], "parent_id": "", "ref_used": "refs_2", "render_attempts": 1, "render_error": "", "variant_label": "", "floor_plan_used": true, "camera_recommendations": { "camera_position": "near the northeast corner of number 1 beside number 11, facing southwest across the reception-side courtyard toward number 3 and number 17", "camera_height": "eye-level standing, approximately 1.6 m", "lens_hint": "28mm wide angle", "framing_notes": "Keep the opened gate and the reception exit in the same composition, with open space for the household gathering and removal route. The gate has been forced open but is not broken. Preserve all buildings and the courtyard without search debris. Keep the granary door outside the frame to avoid asserting an undocumented later seal state." }, "reference_decision": { "bg_id": "L08B01", "fp_id": "fp_house_courtyard", "node_index": 0, "mode": "fp_seeded_anchor", "is_dwelling_identity_anchor": true, "rationale": "L08B01 is an eligible clean anchor. The broad view from unit 11 toward the marker-4 side of unit 2 establishes the shared fixed layout and accommodates the departure in S40_Shot13 while retaining the western frontage used by S40_Shot4. The medium subject compositions remain shot-specific rather than being combined into one tableau.", "reference_paths": [ "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/floor_plan/fp_house_courtyard.png" ], "source_bg_ids": [], "fp_included": true, "reference_decision": { "selected_refs": [], "rejected_refs": [], "same_physical_space_dedup_decision": "no_prior_reference", "why_single_ref_or_two_refs": "Seed the dwelling identity directly from the floor plan; the reference catalog is empty.", "physical_space_id_per_ref": [], "same_physical_space_low_delta_candidate": false, "low_delta_reuse_target_bg_id": "", "low_delta_rationale": "" }, "camera_decision": { "camera_unit": 11, "camera_cell": [ 2, 5 ], "look_at_unit": 2, "look_at_cell": [ 7, 3 ], "lens_enum": "wide", "fov_deg": 90, "framing_notes": "Broad southward, slightly westward coverage, aiming at fixture marker 4 beside unit 2. Establish a representative plate for the wide departure; preserve the fixed western frontage for the medium compositions." }, "render_guidance": { "visible_space_directive": "Show unit 1 extending toward units 2 and 17, opening 3, fixed markers 4 and 5, and the in-cone frontage of units 6 and 7 with opening 8. Retain the visible portion of boundary unit 18. Unit 11 is the camera location, not an additional distant frontage. Visibility supersets do not authorize views through unverified walls.", "camera_framing_directive": "Use camera unit 11 at [2, 5], looking toward unit 2 at [7, 3], with wide 90-degree coverage. Keep the route to opening 3 readable in the upper background for S40_Shot13. Treat the medium shots as separate subject compositions over the established layout, not simultaneous action.", "subject_position_directive": "For S40_Shot4, reserve the right side for the chin-lifting figure and the left margin for the addressed figure, with the unit-6 frontage behind the latter. For S40_Shot12, preserve a near shoulder at the left edge and the other figure's face and restraining grip on the right. For S40_Shot13, reserve central full-body clearance for the departing figure between two escorts, seen from behind. Do not combine these subject arrangements.", "state_cue_directive": "With clean_background_expected true and no transient markers, no additional committed state cue beyond clean residential space applies. Refrain from inventing additional cues. Retain the staged open condition of marker 3 and natural daytime illumination with restrained saturation and contrast.", "negative_continuity_directive": "Exclude markers 13, 14, 19, 20, 21, 22, 23 and 24. Avoid relocating markers 3, 4, 5 or 8 to accommodate subjects, extending the view beyond its cone, or inventing visibility through unverified openings." }, "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 11\n - camera_cell: [2, 5]\n - look_at_unit: 2\n - look_at_cell: [7, 3]\n - lens_enum: 'wide'\n - fov_deg: 90\n - framing_notes: 'Broad southward, slightly westward coverage, aiming at fixture marker 4 beside unit 2. Establish a representative plate for the wide departure; preserve the fixed western frontage for the medium compositions.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Show unit 1 extending toward units 2 and 17, opening 3, fixed markers 4 and 5, and the in-cone frontage of units 6 and 7 with opening 8. Retain the visible portion of boundary unit 18. Unit 11 is the camera location, not an additional distant frontage. Visibility supersets do not authorize views through unverified walls.\n - camera_framing_directive: Use camera unit 11 at [2, 5], looking toward unit 2 at [7, 3], with wide 90-degree coverage. Keep the route to opening 3 readable in the upper background for S40_Shot13. Treat the medium shots as separate subject compositions over the established layout, not simultaneous action.\n - subject_position_directive: For S40_Shot4, reserve the right side for the chin-lifting figure and the left margin for the addressed figure, with the unit-6 frontage behind the latter. For S40_Shot12, preserve a near shoulder at the left edge and the other figure's face and restraining grip on the right. For S40_Shot13, reserve central full-body clearance for the departing figure between two escorts, seen from behind. Do not combine these subject arrangements.\n - state_cue_directive: With clean_background_expected true and no transient markers, no additional committed state cue beyond clean residential space applies. Refrain from inventing additional cues. Retain the staged open condition of marker 3 and natural daytime illumination with restrained saturation and contrast.\n - negative_continuity_directive: Exclude markers 13, 14, 19, 20, 21, 22, 23 and 24. Avoid relocating markers 3, 4, 5 or 8 to accommodate subjects, extending the view beyond its cone, or inventing visibility through unverified openings.\n\n", "diagnostics": [] }, "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 11\n - camera_cell: [2, 5]\n - look_at_unit: 2\n - look_at_cell: [7, 3]\n - lens_enum: 'wide'\n - fov_deg: 90\n - framing_notes: 'Broad southward, slightly westward coverage, aiming at fixture marker 4 beside unit 2. Establish a representative plate for the wide departure; preserve the fixed western frontage for the medium compositions.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Show unit 1 extending toward units 2 and 17, opening 3, fixed markers 4 and 5, and the in-cone frontage of units 6 and 7 with opening 8. Retain the visible portion of boundary unit 18. Unit 11 is the camera location, not an additional distant frontage. Visibility supersets do not authorize views through unverified walls.\n - camera_framing_directive: Use camera unit 11 at [2, 5], looking toward unit 2 at [7, 3], with wide 90-degree coverage. Keep the route to opening 3 readable in the upper background for S40_Shot13. Treat the medium shots as separate subject compositions over the established layout, not simultaneous action.\n - subject_position_directive: For S40_Shot4, reserve the right side for the chin-lifting figure and the left margin for the addressed figure, with the unit-6 frontage behind the latter. For S40_Shot12, preserve a near shoulder at the left edge and the other figure's face and restraining grip on the right. For S40_Shot13, reserve central full-body clearance for the departing figure between two escorts, seen from behind. Do not combine these subject arrangements.\n - state_cue_directive: With clean_background_expected true and no transient markers, no additional committed state cue beyond clean residential space applies. Refrain from inventing additional cues. Retain the staged open condition of marker 3 and natural daytime illumination with restrained saturation and contrast.\n - negative_continuity_directive: Exclude markers 13, 14, 19, 20, 21, 22, 23 and 24. Avoid relocating markers 3, 4, 5 or 8 to accommodate subjects, extending the view beyond its cone, or inventing visibility through unverified openings.\n\n", "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 11\n - camera_cell: [2, 5]\n - look_at_unit: 2\n - look_at_cell: [7, 3]\n - lens_enum: 'wide'\n - fov_deg: 90\n - framing_notes: 'Broad southward, slightly westward coverage, aiming at fixture marker 4 beside unit 2. Establish a representative plate for the wide departure; preserve the fixed western frontage for the medium compositions.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Show unit 1 extending toward units 2 and 17, opening 3, fixed markers 4 and 5, and the in-cone frontage of units 6 and 7 with opening 8. Retain the visible portion of boundary unit 18. Unit 11 is the camera location, not an additional distant frontage. Visibility supersets do not authorize views through unverified walls.\n - camera_framing_directive: Use camera unit 11 at [2, 5], looking toward unit 2 at [7, 3], with wide 90-degree coverage. Keep the route to opening 3 readable in the upper background for S40_Shot13. Treat the medium shots as separate subject compositions over the established layout, not simultaneous action.\n - subject_position_directive: For S40_Shot4, reserve the right side for the chin-lifting figure and the left margin for the addressed figure, with the unit-6 frontage behind the latter. For S40_Shot12, preserve a near shoulder at the left edge and the other figure's face and restraining grip on the right. For S40_Shot13, reserve central full-body clearance for the departing figure between two escorts, seen from behind. Do not combine these subject arrangements.\n - state_cue_directive: With clean_background_expected true and no transient markers, no additional committed state cue beyond clean residential space applies. Refrain from inventing additional cues. Retain the staged open condition of marker 3 and natural daytime illumination with restrained saturation and contrast.\n - negative_continuity_directive: Exclude markers 13, 14, 19, 20, 21, 22, 23 and 24. Avoid relocating markers 3, 4, 5 or 8 to accommodate subjects, extending the view beyond its cone, or inventing visibility through unverified openings.\n\n대한제국 말기인 20세기 초 전라남도 농촌 가옥의 사랑채 앞마당과 대문을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 실제 장소 기록 사진으로, 삽화나 건축 시각화가 아닌 자연스럽고 사실적인 촬영본이다. 제공된 평면도는 공간 배치만 참고한다. 마당 북동쪽의 안채 방향 접근로 곁에서 남서쪽을 바라보며, 지면에서 약 1.6미터 높이의 서 있는 사람 눈높이로 촬영한다. 35밀리미터 규격의 전면형 감지기를 갖춘 디지털 카메라와 28밀리미터 광각 렌즈를 사용한 시야로, 과도한 원근 왜곡 없이 사랑채 출입구와 대문을 한 화면에 담는다. 위에서 내려다보는 구도나 평면도 같은 화면은 피한다.\n\n마당 서쪽 가장자리에 사랑채가 있고, 마당 쪽인 동쪽을 향한 높은 툇마루와 그 위로 이어지는 출입구가 보인다. 남쪽 중앙 경계에는 대문과 문턱이 자리하며 그 바깥으로 진입로가 이어지는 공간 관계를 유지한다. 대문 바로 안쪽 서편에는 앉는 돌이 있고, 마당 남서쪽 가장자리에는 대문 통행로에서 벗어난 평상이 놓여 있다. 건물 가장자리와 대문을 잇는 경계 담장이 공간을 둘러싼다. 사랑채 툇마루 아래에서 대문 문턱까지 이어지는 마당을 넓게 보여 주고, 중앙의 보행 공간은 비워 둔다. 화면은 사랑채와 대문 쪽에 집중한다.\n\n당시 남도 농촌 가옥에 맞는 목구조 사랑채, 흙미장 벽면, 자연석 기단, 나무 툇마루, 널로 짠 대문과 다져진 흙마당을 표현한다. 실제 목재의 나뭇결과 생활 마모, 돌의 불규칙한 표면, 흙벽의 입자감과 대문 철물의 오래된 금속 질감이 가까이 보아도 자연스럽다. 낮의 자연광이 마당을 밝히고 처마 아래에는 부드러운 그늘이 생기며, 그늘 속 목재와 출입구의 세부도 실제 노출 범위 안에서 읽힌다. 흙빛과 나무빛을 중심으로 실제 재료의 차분한 색을 유지하고, 인위적인 색 보정이나 과장된 명암 없이 자연스러운 피사계 심도로 촬영한다. 공간은 정돈된 평상시 상태다. 사람, 얼굴, 사람 모양의 형상은 전혀 묘사하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThe LAST attached image is a TOP-DOWN INTERIOR FLOOR PLAN of the building at this location — a STRUCTURAL REFERENCE ONLY, never content to draw. It defines the building's real scale: its footprint, room count, and the placement of its doors and windows. Render the scene so the building's exterior size, number of storeys, and the scale and placement of its doors and windows stay consistent with that plan. Do NOT draw the floor plan itself, its lines, text or numbers anywhere in the image.", "camera_decision": { "camera_unit": 11, "camera_cell": [ 2, 5 ], "look_at_unit": 2, "look_at_cell": [ 7, 3 ], "lens_enum": "wide", "fov_deg": 90, "framing_notes": "Broad southward, slightly westward coverage, aiming at fixture marker 4 beside unit 2. Establish a representative plate for the wide departure; preserve the fixed western frontage for the medium compositions." }, "shot_aware_plan_node_index": 0, "shot_aware_plan_mode": "fp_seeded_anchor", "render_guidance": { "visible_space_directive": "Show unit 1 extending toward units 2 and 17, opening 3, fixed markers 4 and 5, and the in-cone frontage of units 6 and 7 with opening 8. Retain the visible portion of boundary unit 18. Unit 11 is the camera location, not an additional distant frontage. Visibility supersets do not authorize views through unverified walls.", "camera_framing_directive": "Use camera unit 11 at [2, 5], looking toward unit 2 at [7, 3], with wide 90-degree coverage. Keep the route to opening 3 readable in the upper background for S40_Shot13. Treat the medium shots as separate subject compositions over the established layout, not simultaneous action.", "subject_position_directive": "For S40_Shot4, reserve the right side for the chin-lifting figure and the left margin for the addressed figure, with the unit-6 frontage behind the latter. For S40_Shot12, preserve a near shoulder at the left edge and the other figure's face and restraining grip on the right. For S40_Shot13, reserve central full-body clearance for the departing figure between two escorts, seen from behind. Do not combine these subject arrangements.", "state_cue_directive": "With clean_background_expected true and no transient markers, no additional committed state cue beyond clean residential space applies. Refrain from inventing additional cues. Retain the staged open condition of marker 3 and natural daytime illumination with restrained saturation and contrast.", "negative_continuity_directive": "Exclude markers 13, 14, 19, 20, 21, 22, 23 and 24. Avoid relocating markers 3, 4, 5 or 8 to accommodate subjects, extending the view beyond its cone, or inventing visibility through unverified openings." }, "attached_reference_lineage": { "fp_id": "fp_house_courtyard", "prior_bg_ids": [], "attached_ref_labels": [ "fp:fp_house_courtyard", "building_fp:fp_sarangchae_room" ], "ref_used": "refs_2", "db_write_policy": "checkpoint_only" }, "building_fp_ref": { "fp_id": "fp_sarangchae_room", "indoor_loc_sid": "L09", "group_id": "bg_tiled_house", "fp_asset_id": "2006cdaf-56ed-4ed0-8a2b-348d67f9badc" } }, "L11B01": { "status": "ok", "is_reuse": false, "render_action": "render_new_plate", "location_id": "L11", "location_name": "", "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/background_chain/L11B01.png", "t2i_prompt": "20세기 초 대한제국 말기, 한반도 남부 지방의 소박한 옥사 감방을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 감방과 바로 앞 복도를 담은 실제 장소 기록 사진처럼 표현한다. 풀프레임 미러리스 카메라의 35밀리미터 렌즈를 사용하고, 복도에서 감방문 바로 남동쪽에 서서 약 1.6미터 눈높이로 북서쪽을 비스듬히 바라본다. 화면 앞쪽에는 굵은 철창과 감방문, 아래쪽에는 복도 바닥 일부가 보이고, 철창 너머로 감방 안쪽의 빈 바닥과 뒷벽이 자연스럽게 드러난다. 내려다보는 시점이나 평면도 구도가 아닌 서 있는 사람의 관찰 시점이다.\n\n감방은 북쪽 뒷벽과 동서 양쪽 벽으로 둘러싸여 있다. 뒷벽 서쪽 절반에는 벽에 기대앉을 수 있는 빈 바닥 자리가 있으며, 이 자리와 구별되는 북동쪽 구석의 빈 자리가 화면 안쪽 오른편에 함께 보인다. 두 자리에 가구나 깔개를 덧붙이지 않는다. 복도를 향한 남쪽 전면은 굵은 고정 철창이고, 그 동쪽 끝에 같은 재질의 닫힌 철창문이 있다. 문의 동쪽 문설주에 달린 경첩과 복도 쪽으로 열리는 구조가 현실적인 접합부로 드러난다. 복도는 철창 앞을 따라 좌우로 이어진다.\n\n지방 옥사의 검소한 축조 방식에 맞는 거친 흙회벽과 단단히 다져진 바닥, 문설주의 오래된 목재 결, 손으로 가공한 철창의 불균일한 표면과 산화 흔적을 사실적으로 담는다. 벽 하단의 오랜 습기 얼룩과 일상적인 마모는 절제하여 표현한다. 밤의 낮은 조도 속에서 화면 밖 복도 쪽에서 스며드는 약한 주변광이 철창 가장자리와 벽면 일부에 닿고, 안쪽 구석으로 갈수록 밝기가 점차 낮아진다. 광원의 실제 감쇠와 어두운 부분의 재질 차이를 유지하며, 과장된 색조나 인위적인 보정 없이 흙빛과 탁한 회갈색이 자연스럽게 보이게 한다.\n\n철창과 감방문 바깥의 복도 바닥에는 통로 방향으로 이어지는 불규칙한 핏자국이 보인다. 어두운 적갈색 흔적은 복도 바닥의 실제 질감에 스며들고, 문 경계를 넘어 감방 안으로 이어지지 않는다. 감방 내부 바닥은 본래의 재질이 드러나게 유지한다. 인물, 얼굴, 신체 일부, 사람 형태의 물체나 그림자는 전혀 없다. 철창부터 뒷벽까지 공간 관계를 읽을 수 있는 자연스러운 피사계 심도와 현실적인 원근을 사용한다. 삽화나 컴퓨터 합성 이미지, 건축 시각화가 아닌 가공하지 않은 실제 현장 사진의 질감. 16:9 가로 비율, 실제 카메라 촬영본", "shot_guides": [ { "shot_id": "S9_Shot1", "guide_text": "철창 전면과 감방문을 전경에 두고 뒷벽 서쪽의 빈 자리와 오른쪽 깊숙한 구석을 함께 읽을 수 있게 한다. 복도 핏자국은 문밖 바닥에만 한정하며 인물 없이 공간만 제시한다." }, { "shot_id": "S9_Shot11", "guide_text": "같은 벽과 철창의 배치, 낮은 밤 조도, 표면 재질을 유지한다. 구도를 좁히더라도 뒷벽의 자리와 북동쪽 구석을 서로 바꾸지 않으며 복도 핏자국을 감방 안으로 옮기지 않는다." }, { "shot_id": "S9_Shot15", "guide_text": "동일한 감방문의 위치와 동쪽 경첩 구조를 유지한다. 별도 쇼트 지시로 개방 상태가 확정될 때에만 복도 쪽으로 열리는 구조를 적용하고, 현재 배경 자체에서는 임의로 개방 상태를 추가하지 않는다." } ], "shot_ids": [ "S9_Shot1", "S9_Shot11", "S9_Shot15" ], "scenes": [], "parent_id": "", "ref_used": "fp_only", "render_attempts": 1, "render_error": "", "variant_label": "", "floor_plan_used": true, "camera_recommendations": { "camera_position": "In number 9 (corridor), just southeast of number 8 (cell door), facing diagonally northwest through the frontage toward number 5 (wall-backed sitting area), with number 6 (corner sitting area) visible deeper to the right.", "camera_height": "eye-level standing, approximately 1.5-1.6 m", "lens_hint": "28-35mm wide angle", "framing_notes": "Use the same camera for all listed shots. Keep numbers 7 and 8 prominent in the foreground, both sitting areas readable beyond them, and a strip of corridor floor visible outside the door. Preserve opaque wall and bar occlusion. Number 10 is applicable only after the corridor beating and dragging event; omit it in the earlier state even though this shared background ID spans both moments. Change only the leaf position of number 8 for the release moment, retaining its hinge, aperture, and surrounding bars. Never add a large bloodstain inside number 1. Do not bake nighttime illumination, people, or event states into the floor plan." }, "reference_decision": { "bg_id": "L11B01", "fp_id": "fp_police_cell", "node_index": 0, "mode": "fp_seeded_anchor", "is_dwelling_identity_anchor": true, "rationale": "L11B01 is the sole ready BG and sole supplied anchor candidate. Select it under the explicitly documented fallback, preserving clean_background_expected=false and transient marker 10 rather than treating it as clean. With no reference catalog, establish identity directly from the base plan. Camera unit 6 looking toward unit 9 at opening 8 prioritizes S9_Shot15's wide interior-to-threshold composition. S9_Shot1 and S9_Shot11 commit different framings, including an opposite-side camera for S9_Shot11; this single plate cannot simultaneously instantiate those views.", "reference_paths": [ "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/floor_plan/fp_police_cell.png" ], "source_bg_ids": [], "fp_included": true, "reference_decision": { "selected_refs": [], "rejected_refs": [], "same_physical_space_dedup_decision": "no_prior_reference", "why_single_ref_or_two_refs": "Fresh anchor required; no earlier same-fp node or catalog reference exists.", "physical_space_id_per_ref": [], "same_physical_space_low_delta_candidate": false, "low_delta_reuse_target_bg_id": "", "low_delta_rationale": "" }, "camera_decision": { "camera_unit": 6, "camera_cell": [ 1, 7 ], "look_at_unit": 9, "look_at_cell": [ 6, 6 ], "lens_enum": "wide", "fov_deg": 90, "framing_notes": "Use the exact listed camera and look-at candidates. The look-at cell is opening marker 8 at the approach to unit 9, not unit 9's center. Broad, level oblique coverage prioritizes S9_Shot15, with opening 8 and its threshold in the middle-right background. This does not substitute for S9_Shot11's exterior-side view." }, "render_guidance": { "visible_space_directive": "From unit 6, show the forward portion of unit 1 toward opening 8 and the exposed portion of unit 9 beyond it. Include opening 7 within the broad frontage coverage. Preserve opening 7 west of opening 8, opening 8's east-jamb hinge and outward swing toward unit 9, and the base enclosure positions. Treat visibility candidates as supersets; do not force all target units into this view.", "camera_framing_directive": "Place the camera in unit 6 at [1, 7], looking toward unit 9 through the exact aim point [6, 6] at opening 8. Use wide, 90-degree broad coverage with the level oblique framing committed by S9_Shot15. Keep opening 8 and its visible threshold in the middle-right background, reserving left foreground space for the seated profile and right-side space for the complete departing rear figure.", "subject_position_directive": "For the selected S9_Shot15 composition, retain the staged seated profile on the left near the camera, with hands paused over ties and gaze raised toward the departing figure. Position the departing figure on the right at opening 8, back to camera, with one foot beyond the threshold and gaze into unit 9 off-screen. These are placement constraints for this view; do not combine S9_Shot1's contact pose or S9_Shot11's gripping pose into this composition.", "state_cue_directive": "Use S9_Shot15's open state for marker 8 and retain subdued nighttime ambient illumination without a new light cue. Carry the committed overlay marker 10, labeled Corridor blood trail, only on the visible portion of unit 9; its detailed extent is unspecified. clean_background_expected is false. Preserve the staged paused-hands and worn-ties detail where included, without adding further state cues.", "negative_continuity_directive": "No ignore_numbered_elements or ignored_state_overlay_marker_numbers are listed. Avoid relocating markers 7 or 8, reversing marker 8's hinge or swing, moving marker 10 into unit 1, or forcing units outside the selected forward view into frame. Do not merge the incompatible camera sides and subject states of S9_Shot1, S9_Shot11, and S9_Shot15 into one simultaneous view. Do not treat marker 10 as permanent structure." }, "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 6\n - camera_cell: [1, 7]\n - look_at_unit: 9\n - look_at_cell: [6, 6]\n - lens_enum: 'wide'\n - fov_deg: 90\n - framing_notes: \"Use the exact listed camera and look-at candidates. The look-at cell is opening marker 8 at the approach to unit 9, not unit 9's center. Broad, level oblique coverage prioritizes S9_Shot15, with opening 8 and its threshold in the middle-right background. This does not substitute for S9_Shot11's exterior-side view.\"\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: From unit 6, show the forward portion of unit 1 toward opening 8 and the exposed portion of unit 9 beyond it. Include opening 7 within the broad frontage coverage. Preserve opening 7 west of opening 8, opening 8's east-jamb hinge and outward swing toward unit 9, and the base enclosure positions. Treat visibility candidates as supersets; do not force all target units into this view.\n - camera_framing_directive: Place the camera in unit 6 at [1, 7], looking toward unit 9 through the exact aim point [6, 6] at opening 8. Use wide, 90-degree broad coverage with the level oblique framing committed by S9_Shot15. Keep opening 8 and its visible threshold in the middle-right background, reserving left foreground space for the seated profile and right-side space for the complete departing rear figure.\n - subject_position_directive: For the selected S9_Shot15 composition, retain the staged seated profile on the left near the camera, with hands paused over ties and gaze raised toward the departing figure. Position the departing figure on the right at opening 8, back to camera, with one foot beyond the threshold and gaze into unit 9 off-screen. These are placement constraints for this view; do not combine S9_Shot1's contact pose or S9_Shot11's gripping pose into this composition.\n - state_cue_directive: Use S9_Shot15's open state for marker 8 and retain subdued nighttime ambient illumination without a new light cue. Carry the committed overlay marker 10, labeled Corridor blood trail, only on the visible portion of unit 9; its detailed extent is unspecified. clean_background_expected is false. Preserve the staged paused-hands and worn-ties detail where included, without adding further state cues.\n - negative_continuity_directive: No ignore_numbered_elements or ignored_state_overlay_marker_numbers are listed. Avoid relocating markers 7 or 8, reversing marker 8's hinge or swing, moving marker 10 into unit 1, or forcing units outside the selected forward view into frame. Do not merge the incompatible camera sides and subject states of S9_Shot1, S9_Shot11, and S9_Shot15 into one simultaneous view. Do not treat marker 10 as permanent structure.\n\n", "diagnostics": [] }, "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 6\n - camera_cell: [1, 7]\n - look_at_unit: 9\n - look_at_cell: [6, 6]\n - lens_enum: 'wide'\n - fov_deg: 90\n - framing_notes: \"Use the exact listed camera and look-at candidates. The look-at cell is opening marker 8 at the approach to unit 9, not unit 9's center. Broad, level oblique coverage prioritizes S9_Shot15, with opening 8 and its threshold in the middle-right background. This does not substitute for S9_Shot11's exterior-side view.\"\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: From unit 6, show the forward portion of unit 1 toward opening 8 and the exposed portion of unit 9 beyond it. Include opening 7 within the broad frontage coverage. Preserve opening 7 west of opening 8, opening 8's east-jamb hinge and outward swing toward unit 9, and the base enclosure positions. Treat visibility candidates as supersets; do not force all target units into this view.\n - camera_framing_directive: Place the camera in unit 6 at [1, 7], looking toward unit 9 through the exact aim point [6, 6] at opening 8. Use wide, 90-degree broad coverage with the level oblique framing committed by S9_Shot15. Keep opening 8 and its visible threshold in the middle-right background, reserving left foreground space for the seated profile and right-side space for the complete departing rear figure.\n - subject_position_directive: For the selected S9_Shot15 composition, retain the staged seated profile on the left near the camera, with hands paused over ties and gaze raised toward the departing figure. Position the departing figure on the right at opening 8, back to camera, with one foot beyond the threshold and gaze into unit 9 off-screen. These are placement constraints for this view; do not combine S9_Shot1's contact pose or S9_Shot11's gripping pose into this composition.\n - state_cue_directive: Use S9_Shot15's open state for marker 8 and retain subdued nighttime ambient illumination without a new light cue. Carry the committed overlay marker 10, labeled Corridor blood trail, only on the visible portion of unit 9; its detailed extent is unspecified. clean_background_expected is false. Preserve the staged paused-hands and worn-ties detail where included, without adding further state cues.\n - negative_continuity_directive: No ignore_numbered_elements or ignored_state_overlay_marker_numbers are listed. Avoid relocating markers 7 or 8, reversing marker 8's hinge or swing, moving marker 10 into unit 1, or forcing units outside the selected forward view into frame. Do not merge the incompatible camera sides and subject states of S9_Shot1, S9_Shot11, and S9_Shot15 into one simultaneous view. Do not treat marker 10 as permanent structure.\n\n", "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 6\n - camera_cell: [1, 7]\n - look_at_unit: 9\n - look_at_cell: [6, 6]\n - lens_enum: 'wide'\n - fov_deg: 90\n - framing_notes: \"Use the exact listed camera and look-at candidates. The look-at cell is opening marker 8 at the approach to unit 9, not unit 9's center. Broad, level oblique coverage prioritizes S9_Shot15, with opening 8 and its threshold in the middle-right background. This does not substitute for S9_Shot11's exterior-side view.\"\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: From unit 6, show the forward portion of unit 1 toward opening 8 and the exposed portion of unit 9 beyond it. Include opening 7 within the broad frontage coverage. Preserve opening 7 west of opening 8, opening 8's east-jamb hinge and outward swing toward unit 9, and the base enclosure positions. Treat visibility candidates as supersets; do not force all target units into this view.\n - camera_framing_directive: Place the camera in unit 6 at [1, 7], looking toward unit 9 through the exact aim point [6, 6] at opening 8. Use wide, 90-degree broad coverage with the level oblique framing committed by S9_Shot15. Keep opening 8 and its visible threshold in the middle-right background, reserving left foreground space for the seated profile and right-side space for the complete departing rear figure.\n - subject_position_directive: For the selected S9_Shot15 composition, retain the staged seated profile on the left near the camera, with hands paused over ties and gaze raised toward the departing figure. Position the departing figure on the right at opening 8, back to camera, with one foot beyond the threshold and gaze into unit 9 off-screen. These are placement constraints for this view; do not combine S9_Shot1's contact pose or S9_Shot11's gripping pose into this composition.\n - state_cue_directive: Use S9_Shot15's open state for marker 8 and retain subdued nighttime ambient illumination without a new light cue. Carry the committed overlay marker 10, labeled Corridor blood trail, only on the visible portion of unit 9; its detailed extent is unspecified. clean_background_expected is false. Preserve the staged paused-hands and worn-ties detail where included, without adding further state cues.\n - negative_continuity_directive: No ignore_numbered_elements or ignored_state_overlay_marker_numbers are listed. Avoid relocating markers 7 or 8, reversing marker 8's hinge or swing, moving marker 10 into unit 1, or forcing units outside the selected forward view into frame. Do not merge the incompatible camera sides and subject states of S9_Shot1, S9_Shot11, and S9_Shot15 into one simultaneous view. Do not treat marker 10 as permanent structure.\n\n20세기 초 대한제국 말기, 한반도 남부 지방의 소박한 옥사 감방을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 감방과 바로 앞 복도를 담은 실제 장소 기록 사진처럼 표현한다. 풀프레임 미러리스 카메라의 35밀리미터 렌즈를 사용하고, 복도에서 감방문 바로 남동쪽에 서서 약 1.6미터 눈높이로 북서쪽을 비스듬히 바라본다. 화면 앞쪽에는 굵은 철창과 감방문, 아래쪽에는 복도 바닥 일부가 보이고, 철창 너머로 감방 안쪽의 빈 바닥과 뒷벽이 자연스럽게 드러난다. 내려다보는 시점이나 평면도 구도가 아닌 서 있는 사람의 관찰 시점이다.\n\n감방은 북쪽 뒷벽과 동서 양쪽 벽으로 둘러싸여 있다. 뒷벽 서쪽 절반에는 벽에 기대앉을 수 있는 빈 바닥 자리가 있으며, 이 자리와 구별되는 북동쪽 구석의 빈 자리가 화면 안쪽 오른편에 함께 보인다. 두 자리에 가구나 깔개를 덧붙이지 않는다. 복도를 향한 남쪽 전면은 굵은 고정 철창이고, 그 동쪽 끝에 같은 재질의 닫힌 철창문이 있다. 문의 동쪽 문설주에 달린 경첩과 복도 쪽으로 열리는 구조가 현실적인 접합부로 드러난다. 복도는 철창 앞을 따라 좌우로 이어진다.\n\n지방 옥사의 검소한 축조 방식에 맞는 거친 흙회벽과 단단히 다져진 바닥, 문설주의 오래된 목재 결, 손으로 가공한 철창의 불균일한 표면과 산화 흔적을 사실적으로 담는다. 벽 하단의 오랜 습기 얼룩과 일상적인 마모는 절제하여 표현한다. 밤의 낮은 조도 속에서 화면 밖 복도 쪽에서 스며드는 약한 주변광이 철창 가장자리와 벽면 일부에 닿고, 안쪽 구석으로 갈수록 밝기가 점차 낮아진다. 광원의 실제 감쇠와 어두운 부분의 재질 차이를 유지하며, 과장된 색조나 인위적인 보정 없이 흙빛과 탁한 회갈색이 자연스럽게 보이게 한다.\n\n철창과 감방문 바깥의 복도 바닥에는 통로 방향으로 이어지는 불규칙한 핏자국이 보인다. 어두운 적갈색 흔적은 복도 바닥의 실제 질감에 스며들고, 문 경계를 넘어 감방 안으로 이어지지 않는다. 감방 내부 바닥은 본래의 재질이 드러나게 유지한다. 인물, 얼굴, 신체 일부, 사람 형태의 물체나 그림자는 전혀 없다. 철창부터 뒷벽까지 공간 관계를 읽을 수 있는 자연스러운 피사계 심도와 현실적인 원근을 사용한다. 삽화나 컴퓨터 합성 이미지, 건축 시각화가 아닌 가공하지 않은 실제 현장 사진의 질감. 16:9 가로 비율, 실제 카메라 촬영본", "camera_decision": { "camera_unit": 6, "camera_cell": [ 1, 7 ], "look_at_unit": 9, "look_at_cell": [ 6, 6 ], "lens_enum": "wide", "fov_deg": 90, "framing_notes": "Use the exact listed camera and look-at candidates. The look-at cell is opening marker 8 at the approach to unit 9, not unit 9's center. Broad, level oblique coverage prioritizes S9_Shot15, with opening 8 and its threshold in the middle-right background. This does not substitute for S9_Shot11's exterior-side view." }, "shot_aware_plan_node_index": 0, "shot_aware_plan_mode": "fp_seeded_anchor", "render_guidance": { "visible_space_directive": "From unit 6, show the forward portion of unit 1 toward opening 8 and the exposed portion of unit 9 beyond it. Include opening 7 within the broad frontage coverage. Preserve opening 7 west of opening 8, opening 8's east-jamb hinge and outward swing toward unit 9, and the base enclosure positions. Treat visibility candidates as supersets; do not force all target units into this view.", "camera_framing_directive": "Place the camera in unit 6 at [1, 7], looking toward unit 9 through the exact aim point [6, 6] at opening 8. Use wide, 90-degree broad coverage with the level oblique framing committed by S9_Shot15. Keep opening 8 and its visible threshold in the middle-right background, reserving left foreground space for the seated profile and right-side space for the complete departing rear figure.", "subject_position_directive": "For the selected S9_Shot15 composition, retain the staged seated profile on the left near the camera, with hands paused over ties and gaze raised toward the departing figure. Position the departing figure on the right at opening 8, back to camera, with one foot beyond the threshold and gaze into unit 9 off-screen. These are placement constraints for this view; do not combine S9_Shot1's contact pose or S9_Shot11's gripping pose into this composition.", "state_cue_directive": "Use S9_Shot15's open state for marker 8 and retain subdued nighttime ambient illumination without a new light cue. Carry the committed overlay marker 10, labeled Corridor blood trail, only on the visible portion of unit 9; its detailed extent is unspecified. clean_background_expected is false. Preserve the staged paused-hands and worn-ties detail where included, without adding further state cues.", "negative_continuity_directive": "No ignore_numbered_elements or ignored_state_overlay_marker_numbers are listed. Avoid relocating markers 7 or 8, reversing marker 8's hinge or swing, moving marker 10 into unit 1, or forcing units outside the selected forward view into frame. Do not merge the incompatible camera sides and subject states of S9_Shot1, S9_Shot11, and S9_Shot15 into one simultaneous view. Do not treat marker 10 as permanent structure." }, "attached_reference_lineage": { "fp_id": "fp_police_cell", "prior_bg_ids": [], "attached_ref_labels": [ "fp:fp_police_cell" ], "ref_used": "fp_only", "db_write_policy": "checkpoint_only" } }, "L22B03": { "status": "ok", "is_reuse": false, "render_action": "render_new_plate", "location_id": "L22", "location_name": "", "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/background_chain/L22B03.png", "t2i_prompt": "대한제국 말기인 20세기 초, 한반도 남부 지방의 소박한 징세 집무실을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실제 장소 기록 사진과 구별되지 않는 사실적인 실내 사진으로, 미러리스 카메라의 35밀리미터 렌즈를 사용하고 바닥에서 약 1.6미터 높이의 서 있는 사람 눈높이에서 촬영한다. 방문객이 서는 중앙 바닥 공간의 남쪽에서 북쪽을 바라본다. 전경에는 비어 있는 입식 공간, 중경에는 동서로 긴 목제 사무 책상, 그 뒤에는 남쪽을 향한 빈 집무 의자가 보인다. 책상 서쪽 끝에 이어져 북쪽으로 꺾이는 문서용 보조 탁자는 화면 왼쪽에 놓이고, 북쪽 벽의 작은 창은 의자 오른편에 보인다. 평면도는 이러한 공간 관계를 파악하는 데만 사용하며, 구도는 수평에 가까운 눈높이의 실내 원근으로 표현한다.\n책상과 의자의 높이, 방문객 자리 사이의 거리를 현실적으로 유지하고 책상 상판이 자연스럽게 내려다보일 정도만 카메라를 기울인다. 책상 중앙의 의자 바로 앞에는 종이로 된 징세 장부가 놓여 있다. 장부 왼쪽인 책상 서쪽에는 목제 주판이 있으며 보조 탁자의 영역을 침범하지 않는다. 장부 오른쪽인 책상 동쪽에는 붉은 인주가 담긴 인주갑이 있고, 업무용 도장은 그 바로 옆에 가지런히 놓여 있다. 네 물건은 서로 가려지지 않고 각각의 위치와 재질을 알아볼 수 있다. 문서에 작품 속 고유명사나 특정 인물의 이름을 넣지 않는다.\n직사각형 실내는 당시 지방 업무 공간에 어울리는 소박한 미장 벽면과 목재 바닥, 장식이 적은 실용적인 목제 가구, 작은 목제 창틀로 이루어진다. 실제 나뭇결과 손이 닿아 닳은 책상 가장자리, 종이 장부의 섬유질과 두께, 주판알의 잔잔한 사용감, 인주의 불투명한 붉은 질감을 정확하게 표현한다. 벽과 바닥에는 오랜 일상 사용에 따른 미세한 색바램과 옅은 생활 얼룩만 있고, 공간은 정돈된 업무 환경을 유지한다.\n밤의 실내로, 창밖은 어둡고 창을 통한 미약한 푸른 야간광과 화면 밖의 은은한 따뜻한 실내 광원이 물리적으로 자연스럽게 섞인다. 조명 기구를 새로 화면에 추가하지 않는다. 책상 위 물건을 확인할 수 있는 밝기를 확보하면서 방 구석은 자연스럽게 어두워지고, 그림자는 실제 빛의 방향과 물건의 접촉면에 맞는다. 흙빛과 목재 본연의 갈색을 중심으로 과도한 채도나 후보정 없이 실제 야간 실내의 색과 명암을 기록한다. 책상과 뒤쪽 의자의 관계가 읽히는 자연스러운 피사계 심도를 사용한다. 사람, 얼굴, 신체 일부, 사람 형상의 물체나 그림자는 전혀 없는 빈 배경이다. 지나치게 말끔한 광고 사진이 아닌 실제 생활 장소의 사진이며, 삽화나 컴퓨터 그래픽 또는 건축 시각화가 아니다. 위에서 내려다보는 시점, 평면도, 건축 도해로 표현하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본", "shot_guides": [ { "shot_id": "S25_Shot3", "guide_text": "책상 남쪽의 빈 입식 공간에서 북쪽을 바라보는 눈높이 구도를 사용한다. 책상 뒤 빈 의자와 화면 왼쪽 보조 탁자를 함께 보여 공간 관계를 확립한다. 장부는 중앙, 주판은 왼쪽, 인주갑과 도장은 오른쪽에 유지하고 사람 없이 배경만 촬영한다." }, { "shot_id": "S25_Shot8", "guide_text": "동일한 야간 조명과 남쪽에서 북쪽을 향하는 촬영 축을 유지한다. 책상 상판의 장부·주판·인주갑·도장이 서로 가려지지 않도록 하되, 이를 보이기 위해 물건을 옮기거나 높은 부감으로 바꾸지 않는다. 맞은편 입식 공간과 집무 의자는 비워 둔다." }, { "shot_id": "S25_Shot13", "guide_text": "앞선 배경과 책상·의자·보조 탁자·창의 위치, 목재의 사용감과 야간 노출을 일치시킨다. 중앙 장부, 서쪽 주판, 동쪽의 서로 인접한 인주갑과 도장 배치를 그대로 유지한다. 별도의 사건 흔적이나 추가 물건 없이 비어 있는 정돈된 업무 공간을 보여 준다." } ], "shot_ids": [ "S25_Shot3", "S25_Shot8", "S25_Shot13" ], "scenes": [], "parent_id": "", "ref_used": "refs_2", "render_attempts": 1, "render_error": "", "variant_label": "", "floor_plan_used": false, "camera_recommendations": { "camera_position": "south of number 3, facing north toward number 5 and number 6, with number 7 on frame left", "camera_height": "standing eye level, approximately 1.6 m", "lens_hint": "35mm moderate wide angle", "framing_notes": "Maintain the standing visitor opposite the seated official. Show numbers 12, 13, 14, and 15 in their consistent desktop positions. Keep the room orderly; the nighttime treatment belongs to the downstream background, not the plan." }, "reference_decision": { "bg_id": "L22B03", "fp_id": "fp_tomiishi_office", "node_index": 2, "mode": "same_physical_space_view", "is_dwelling_identity_anchor": false, "rationale": "L22B03 depicts the same enclosing unit 1 and fixed markers 5, 6 and 7 already established by L22B01. Its lateral camera in unit 4 differs from both earlier cameras and reveals a different slice and projection of the fixed structure, requiring its own view rather than low-delta plate reuse. The three consuming shots retain this lateral continuity but vary subject framing and downward angle, which a single grid camera cannot fully encode.", "reference_paths": [ "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/background_chain/L22B01.png" ], "source_bg_ids": [ "L22B01" ], "fp_included": false, "reference_decision": { "selected_refs": [ { "ref_bg_id": "L22B01", "physical_space_id": "fp_tomiishi_office:unit_1", "space_description": "Enclosing unit 1 with fixed markers 5, 6 and 7 visible in the broader reference." } ], "rejected_refs": [ { "ref_bg_id": "L22B02", "reason": "Same physical-space identity as L22B01; deduplicated in favor of L22B01's broader structural coverage rather than adding a second reference to the same enclosure." } ], "same_physical_space_dedup_decision": "retain_broader_same_space_reference", "why_single_ref_or_two_refs": "L22B01 supplies the lateral view's fixed-layout continuity. L22B02 depicts the same physical space and would not contribute a distinct co-visible space.", "physical_space_id_per_ref": [ "fp_tomiishi_office:unit_1" ], "same_physical_space_low_delta_candidate": false, "low_delta_reuse_target_bg_id": "", "low_delta_rationale": "" }, "camera_decision": { "camera_unit": 4, "camera_cell": [ 4, 8 ], "look_at_unit": 1, "look_at_cell": [ 3, 5 ], "lens_enum": "normal", "fov_deg": 50, "framing_notes": "Neutral lateral coverage toward marker 5 within unit 1, retaining the same side for the consuming shots. This unit-4 camera differs genuinely from the unit-2 wide reference. Shot-specific eye heights, close crops and the steep downward detail are not separately encoded in the grid." }, "render_guidance": { "visible_space_directive": "Show the lateral portion of unit 1 toward marker 5 from unit 4, with the nearby portion of unit 3 and marker 7 only as the framing permits. Preserve L22B01's fixed positions: marker 5 north-central with its long axis east-west, marker 6 north of 5, and marker 7 attached at its western end. Preserve marker 9's north-boundary location even when it falls outside this narrower view; do not force every dossier marker into the image.", "camera_framing_directive": "Use camera unit 4 at [4, 8], looking within unit 1 at [3, 5], with normal 50-degree neutral coverage. Retain the staged lateral-edge continuity. S25_Shot3 calls for a restrained lower foreground edge, S25_Shot8 for a close subject crop, and S25_Shot13 for a steep downward detail; these are consuming-shot constraints rather than additional camera coordinates or motions established by this readback.", "subject_position_directive": "For S25_Shot3, place the staged standing subject just right of center with joined hands in the lower frame and lowered gaze. For S25_Shot8, retain the staged subject's face in the right two-thirds with gaze directed toward the off-screen counterpart at screen left. S25_Shot13 commits no visible person; keep its crop free of invented subjects and do not combine the three shot arrangements.", "state_cue_directive": "Use markers 12, 13, 14 and 15 while retaining the committed tidy supporting surface. In S25_Shot13, marker 15 is pressed against marker 12 near lower center, its upper portion extending beyond the top crop and its size below one-fifth of the image; retain the visible numerical entries and red correction on marker 12. Continue restrained nighttime illumination and muted saturation without a new light source or exaggerated contrast.", "negative_continuity_directive": "Exclude markers 10 and 11; specifically remove marker 10's transient state carried by L22B01. Avoid relocating fixed markers 5, 6, 7 or 9 to imitate the reference's screen positions from this different camera. Do not force markers or openings outside the 50-degree view into the crop, reverse the committed lateral continuity, or merge mutually separate shot-specific subject states." }, "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n - selected_refs[0]: ref_bg_id='L22B01' physical_space_id='fp_tomiishi_office:unit_1'\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 4\n - camera_cell: [4, 8]\n - look_at_unit: 1\n - look_at_cell: [3, 5]\n - lens_enum: 'normal'\n - fov_deg: 50\n - framing_notes: 'Neutral lateral coverage toward marker 5 within unit 1, retaining the same side for the consuming shots. This unit-4 camera differs genuinely from the unit-2 wide reference. Shot-specific eye heights, close crops and the steep downward detail are not separately encoded in the grid.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Show the lateral portion of unit 1 toward marker 5 from unit 4, with the nearby portion of unit 3 and marker 7 only as the framing permits. Preserve L22B01's fixed positions: marker 5 north-central with its long axis east-west, marker 6 north of 5, and marker 7 attached at its western end. Preserve marker 9's north-boundary location even when it falls outside this narrower view; do not force every dossier marker into the image.\n - camera_framing_directive: Use camera unit 4 at [4, 8], looking within unit 1 at [3, 5], with normal 50-degree neutral coverage. Retain the staged lateral-edge continuity. S25_Shot3 calls for a restrained lower foreground edge, S25_Shot8 for a close subject crop, and S25_Shot13 for a steep downward detail; these are consuming-shot constraints rather than additional camera coordinates or motions established by this readback.\n - subject_position_directive: For S25_Shot3, place the staged standing subject just right of center with joined hands in the lower frame and lowered gaze. For S25_Shot8, retain the staged subject's face in the right two-thirds with gaze directed toward the off-screen counterpart at screen left. S25_Shot13 commits no visible person; keep its crop free of invented subjects and do not combine the three shot arrangements.\n - state_cue_directive: Use markers 12, 13, 14 and 15 while retaining the committed tidy supporting surface. In S25_Shot13, marker 15 is pressed against marker 12 near lower center, its upper portion extending beyond the top crop and its size below one-fifth of the image; retain the visible numerical entries and red correction on marker 12. Continue restrained nighttime illumination and muted saturation without a new light source or exaggerated contrast.\n - negative_continuity_directive: Exclude markers 10 and 11; specifically remove marker 10's transient state carried by L22B01. Avoid relocating fixed markers 5, 6, 7 or 9 to imitate the reference's screen positions from this different camera. Do not force markers or openings outside the 50-degree view into the crop, reverse the committed lateral continuity, or merge mutually separate shot-specific subject states.\n\n", "diagnostics": [] }, "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n - selected_refs[0]: ref_bg_id='L22B01' physical_space_id='fp_tomiishi_office:unit_1'\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 4\n - camera_cell: [4, 8]\n - look_at_unit: 1\n - look_at_cell: [3, 5]\n - lens_enum: 'normal'\n - fov_deg: 50\n - framing_notes: 'Neutral lateral coverage toward marker 5 within unit 1, retaining the same side for the consuming shots. This unit-4 camera differs genuinely from the unit-2 wide reference. Shot-specific eye heights, close crops and the steep downward detail are not separately encoded in the grid.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Show the lateral portion of unit 1 toward marker 5 from unit 4, with the nearby portion of unit 3 and marker 7 only as the framing permits. Preserve L22B01's fixed positions: marker 5 north-central with its long axis east-west, marker 6 north of 5, and marker 7 attached at its western end. Preserve marker 9's north-boundary location even when it falls outside this narrower view; do not force every dossier marker into the image.\n - camera_framing_directive: Use camera unit 4 at [4, 8], looking within unit 1 at [3, 5], with normal 50-degree neutral coverage. Retain the staged lateral-edge continuity. S25_Shot3 calls for a restrained lower foreground edge, S25_Shot8 for a close subject crop, and S25_Shot13 for a steep downward detail; these are consuming-shot constraints rather than additional camera coordinates or motions established by this readback.\n - subject_position_directive: For S25_Shot3, place the staged standing subject just right of center with joined hands in the lower frame and lowered gaze. For S25_Shot8, retain the staged subject's face in the right two-thirds with gaze directed toward the off-screen counterpart at screen left. S25_Shot13 commits no visible person; keep its crop free of invented subjects and do not combine the three shot arrangements.\n - state_cue_directive: Use markers 12, 13, 14 and 15 while retaining the committed tidy supporting surface. In S25_Shot13, marker 15 is pressed against marker 12 near lower center, its upper portion extending beyond the top crop and its size below one-fifth of the image; retain the visible numerical entries and red correction on marker 12. Continue restrained nighttime illumination and muted saturation without a new light source or exaggerated contrast.\n - negative_continuity_directive: Exclude markers 10 and 11; specifically remove marker 10's transient state carried by L22B01. Avoid relocating fixed markers 5, 6, 7 or 9 to imitate the reference's screen positions from this different camera. Do not force markers or openings outside the 50-degree view into the crop, reverse the committed lateral continuity, or merge mutually separate shot-specific subject states.\n\n", "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n - selected_refs[0]: ref_bg_id='L22B01' physical_space_id='fp_tomiishi_office:unit_1'\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 4\n - camera_cell: [4, 8]\n - look_at_unit: 1\n - look_at_cell: [3, 5]\n - lens_enum: 'normal'\n - fov_deg: 50\n - framing_notes: 'Neutral lateral coverage toward marker 5 within unit 1, retaining the same side for the consuming shots. This unit-4 camera differs genuinely from the unit-2 wide reference. Shot-specific eye heights, close crops and the steep downward detail are not separately encoded in the grid.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Show the lateral portion of unit 1 toward marker 5 from unit 4, with the nearby portion of unit 3 and marker 7 only as the framing permits. Preserve L22B01's fixed positions: marker 5 north-central with its long axis east-west, marker 6 north of 5, and marker 7 attached at its western end. Preserve marker 9's north-boundary location even when it falls outside this narrower view; do not force every dossier marker into the image.\n - camera_framing_directive: Use camera unit 4 at [4, 8], looking within unit 1 at [3, 5], with normal 50-degree neutral coverage. Retain the staged lateral-edge continuity. S25_Shot3 calls for a restrained lower foreground edge, S25_Shot8 for a close subject crop, and S25_Shot13 for a steep downward detail; these are consuming-shot constraints rather than additional camera coordinates or motions established by this readback.\n - subject_position_directive: For S25_Shot3, place the staged standing subject just right of center with joined hands in the lower frame and lowered gaze. For S25_Shot8, retain the staged subject's face in the right two-thirds with gaze directed toward the off-screen counterpart at screen left. S25_Shot13 commits no visible person; keep its crop free of invented subjects and do not combine the three shot arrangements.\n - state_cue_directive: Use markers 12, 13, 14 and 15 while retaining the committed tidy supporting surface. In S25_Shot13, marker 15 is pressed against marker 12 near lower center, its upper portion extending beyond the top crop and its size below one-fifth of the image; retain the visible numerical entries and red correction on marker 12. Continue restrained nighttime illumination and muted saturation without a new light source or exaggerated contrast.\n - negative_continuity_directive: Exclude markers 10 and 11; specifically remove marker 10's transient state carried by L22B01. Avoid relocating fixed markers 5, 6, 7 or 9 to imitate the reference's screen positions from this different camera. Do not force markers or openings outside the 50-degree view into the crop, reverse the committed lateral continuity, or merge mutually separate shot-specific subject states.\n\n대한제국 말기인 20세기 초, 한반도 남부 지방의 소박한 징세 집무실을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실제 장소 기록 사진과 구별되지 않는 사실적인 실내 사진으로, 미러리스 카메라의 35밀리미터 렌즈를 사용하고 바닥에서 약 1.6미터 높이의 서 있는 사람 눈높이에서 촬영한다. 방문객이 서는 중앙 바닥 공간의 남쪽에서 북쪽을 바라본다. 전경에는 비어 있는 입식 공간, 중경에는 동서로 긴 목제 사무 책상, 그 뒤에는 남쪽을 향한 빈 집무 의자가 보인다. 책상 서쪽 끝에 이어져 북쪽으로 꺾이는 문서용 보조 탁자는 화면 왼쪽에 놓이고, 북쪽 벽의 작은 창은 의자 오른편에 보인다. 평면도는 이러한 공간 관계를 파악하는 데만 사용하며, 구도는 수평에 가까운 눈높이의 실내 원근으로 표현한다.\n책상과 의자의 높이, 방문객 자리 사이의 거리를 현실적으로 유지하고 책상 상판이 자연스럽게 내려다보일 정도만 카메라를 기울인다. 책상 중앙의 의자 바로 앞에는 종이로 된 징세 장부가 놓여 있다. 장부 왼쪽인 책상 서쪽에는 목제 주판이 있으며 보조 탁자의 영역을 침범하지 않는다. 장부 오른쪽인 책상 동쪽에는 붉은 인주가 담긴 인주갑이 있고, 업무용 도장은 그 바로 옆에 가지런히 놓여 있다. 네 물건은 서로 가려지지 않고 각각의 위치와 재질을 알아볼 수 있다. 문서에 작품 속 고유명사나 특정 인물의 이름을 넣지 않는다.\n직사각형 실내는 당시 지방 업무 공간에 어울리는 소박한 미장 벽면과 목재 바닥, 장식이 적은 실용적인 목제 가구, 작은 목제 창틀로 이루어진다. 실제 나뭇결과 손이 닿아 닳은 책상 가장자리, 종이 장부의 섬유질과 두께, 주판알의 잔잔한 사용감, 인주의 불투명한 붉은 질감을 정확하게 표현한다. 벽과 바닥에는 오랜 일상 사용에 따른 미세한 색바램과 옅은 생활 얼룩만 있고, 공간은 정돈된 업무 환경을 유지한다.\n밤의 실내로, 창밖은 어둡고 창을 통한 미약한 푸른 야간광과 화면 밖의 은은한 따뜻한 실내 광원이 물리적으로 자연스럽게 섞인다. 조명 기구를 새로 화면에 추가하지 않는다. 책상 위 물건을 확인할 수 있는 밝기를 확보하면서 방 구석은 자연스럽게 어두워지고, 그림자는 실제 빛의 방향과 물건의 접촉면에 맞는다. 흙빛과 목재 본연의 갈색을 중심으로 과도한 채도나 후보정 없이 실제 야간 실내의 색과 명암을 기록한다. 책상과 뒤쪽 의자의 관계가 읽히는 자연스러운 피사계 심도를 사용한다. 사람, 얼굴, 신체 일부, 사람 형상의 물체나 그림자는 전혀 없는 빈 배경이다. 지나치게 말끔한 광고 사진이 아닌 실제 생활 장소의 사진이며, 삽화나 컴퓨터 그래픽 또는 건축 시각화가 아니다. 위에서 내려다보는 시점, 평면도, 건축 도해로 표현하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본\n\nOne attached image is a PHOTOREAL RENDER of this SAME place — the same physical location, possibly seen from a different angle or at a different moment. Treat it as the PLACE IDENTITY reference. Keep this render consistent with it: the same spatial layout and architecture, the same surface materials and colors, and the same permanently installed fixtures and furniture. Lettering visible in the reference is reproduced EXACTLY — same characters, same mark, same position; never invent different wording from render to render. Camera angle, framing, lighting, time of day and weather follow THIS prompt — do NOT copy the reference's composition or mood; only the place's physical identity carries over.", "camera_decision": { "camera_unit": 4, "camera_cell": [ 4, 8 ], "look_at_unit": 1, "look_at_cell": [ 3, 5 ], "lens_enum": "normal", "fov_deg": 50, "framing_notes": "Neutral lateral coverage toward marker 5 within unit 1, retaining the same side for the consuming shots. This unit-4 camera differs genuinely from the unit-2 wide reference. Shot-specific eye heights, close crops and the steep downward detail are not separately encoded in the grid." }, "shot_aware_plan_node_index": 2, "shot_aware_plan_mode": "same_physical_space_view", "render_guidance": { "visible_space_directive": "Show the lateral portion of unit 1 toward marker 5 from unit 4, with the nearby portion of unit 3 and marker 7 only as the framing permits. Preserve L22B01's fixed positions: marker 5 north-central with its long axis east-west, marker 6 north of 5, and marker 7 attached at its western end. Preserve marker 9's north-boundary location even when it falls outside this narrower view; do not force every dossier marker into the image.", "camera_framing_directive": "Use camera unit 4 at [4, 8], looking within unit 1 at [3, 5], with normal 50-degree neutral coverage. Retain the staged lateral-edge continuity. S25_Shot3 calls for a restrained lower foreground edge, S25_Shot8 for a close subject crop, and S25_Shot13 for a steep downward detail; these are consuming-shot constraints rather than additional camera coordinates or motions established by this readback.", "subject_position_directive": "For S25_Shot3, place the staged standing subject just right of center with joined hands in the lower frame and lowered gaze. For S25_Shot8, retain the staged subject's face in the right two-thirds with gaze directed toward the off-screen counterpart at screen left. S25_Shot13 commits no visible person; keep its crop free of invented subjects and do not combine the three shot arrangements.", "state_cue_directive": "Use markers 12, 13, 14 and 15 while retaining the committed tidy supporting surface. In S25_Shot13, marker 15 is pressed against marker 12 near lower center, its upper portion extending beyond the top crop and its size below one-fifth of the image; retain the visible numerical entries and red correction on marker 12. Continue restrained nighttime illumination and muted saturation without a new light source or exaggerated contrast.", "negative_continuity_directive": "Exclude markers 10 and 11; specifically remove marker 10's transient state carried by L22B01. Avoid relocating fixed markers 5, 6, 7 or 9 to imitate the reference's screen positions from this different camera. Do not force markers or openings outside the 50-degree view into the crop, reverse the committed lateral continuity, or merge mutually separate shot-specific subject states." }, "attached_reference_lineage": { "fp_id": "fp_tomiishi_office", "prior_bg_ids": [ "L22B01" ], "attached_ref_labels": [ "bg:L22B01", "same_loc_anchor:L22B02" ], "ref_used": "refs_2", "db_write_policy": "checkpoint_only" }, "same_loc_anchor_ref": { "anchor_bg_id": "L22B02", "loc_id": "L22" } }, "L22B01": { "status": "ok", "is_reuse": false, "render_action": "render_new_plate", "location_id": "L22", "location_name": "", "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/background_chain/L22B01.png", "t2i_prompt": "대한제국 말기, 20세기 초 한반도 남부 지방의 소박한 행정 집무실을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 인물 없이 공간과 환경 소품만 담는다. 실제 장소를 기록한 사진과 구별되지 않는 재질과 노출을 유지하며, 삽화나 컴퓨터 생성 영상, 건축 시각화가 아니다. 바닥 평면도나 내려다보는 시점이 아니라, 남서쪽 출입 문턱 가까이에서 북동쪽을 바라보는 약 1.6미터 높이의 눈높이 시점이다. 전면형 감지기를 갖춘 실제 미러리스 카메라와 권장된 28밀리미터 광각 렌즈로 촬영하여 전경 바닥, 뒤쪽 책상, 오른쪽 벽을 함께 담는다. 과도한 원근 왜곡 없이 자연스러운 피사계 심도를 사용한다.\n\n참조 평면도는 구조와 가구의 상대적 위치를 파악하는 자료로만 사용한다. 직사각형 집무실의 북쪽 중앙에는 동서 방향으로 긴 목제 사무 책상이 있고, 그 북쪽에는 남쪽을 향하는 목제 의자가 놓여 있다. 책상 서쪽 끝에는 북쪽으로 뻗는 보조 문서 탁자가 직각으로 이어진다. 의자의 동쪽에 해당하는 북쪽 벽에는 작은 창이 있다. 책상 남쪽 중앙 바닥과 책상 동쪽 끝에서 동쪽 벽까지 이어지는 바닥은 충분히 넓게 비워 둔다. 남서쪽 출입 문턱에서 실내로 이어지는 통로도 확보한다. 당시 지방 관청 실내에 어울리는 회벽과 목재 바닥, 실용적인 목제 가구를 사용하며, 실제 나뭇결과 모서리의 오래된 마모, 회벽의 미세한 표면 편차를 사실적으로 드러낸다.\n\n보조 문서 탁자 남쪽의 중앙에서 남서쪽에 걸친 바닥에는 흰 천을 낮고 평평하게 펼쳐 화면 왼쪽 아래 전경에 담는다. 천은 실제 면직물의 짜임과 바닥에 닿는 자연스러운 주름만 보이게 하며, 사람이나 얼굴, 신체 일부 또는 인체를 닮은 덩어리와 윤곽은 전혀 만들지 않는다. 흰 천은 출입 통로와 동쪽 통로를 침범하지 않는다. 책상 중앙의 의자 바로 앞에는 종이 세금 장부를 놓고, 그 서쪽에는 문서 탁자와 겹치지 않게 나무 주판을 둔다. 장부 동쪽에는 붉은 인주가 담긴 인주함과 바로 옆의 행정용 도장을 놓는다. 이 도구들은 일상적인 크기로 책상 위에 조용히 자리하며 화면의 주제가 되지 않는다.\n\n어두운 밤의 실내로, 작은 창으로 스며드는 매우 약한 외부의 자연광과 실내의 미약한 주변 반사광이 공간을 겨우 구분하게 한다. 낮처럼 밝히지 않되 흰 천의 직조, 책상의 나뭇결, 동쪽 벽과 빈 바닥의 경계는 읽을 수 있게 한다. 낮은 채도의 흙빛과 목재 본래의 색, 실제 저조도 촬영에 가까운 명암을 유지하고 인위적인 색 보정이나 과장된 조명 효과는 사용하지 않는다. 생활 속 사용감은 절제하며 바닥과 벽, 가구는 정돈된 상태를 유지한다. 16:9 가로 비율, 실제 카메라 촬영본", "shot_guides": [ { "shot_id": "S32_Shot1", "guide_text": "남서쪽 출입 문턱 가까운 눈높이에서 실내 전체의 관계를 읽게 한다. 왼쪽 아래 전경의 평평한 흰 천, 뒤쪽 책상과 의자, 오른쪽 동쪽 벽을 함께 담는다. 중앙 바닥과 동쪽 통로는 비워 두고 인물이나 인체형 윤곽은 배경에 포함하지 않는다." }, { "shot_id": "S32_Shot10", "guide_text": "동일한 밤 조명과 가구 배치를 유지하며 책상 동쪽 끝에서 오른쪽 벽까지 이어지는 빈 바닥이 분명히 보이도록 한다. 책상 위 도구의 위치와 전경 흰 천의 위치를 유지하고, 추가적인 벽면 손상이나 어질러진 소품을 만들지 않는다. 후속 동작을 위한 공간만 제공하고 인물은 그리지 않는다." } ], "shot_ids": [ "S32_Shot1", "S32_Shot10" ], "scenes": [], "parent_id": "", "ref_used": "refs_1", "render_attempts": 1, "render_error": "", "variant_label": "", "floor_plan_used": false, "camera_recommendations": { "camera_position": "near number 2 just inside number 8, facing diagonally northeast across number 10 toward number 5 and number 4", "camera_height": "standing eye level, approximately 1.6 m", "lens_hint": "28mm wide angle", "framing_notes": "Include the white-covered corpse in the lower-left or central foreground, the desk beyond it, and the east wall on the right. Preserve the unobstructed desk-to-wall action space and room for two wounded standing soldiers. Actor positions are staging metadata, not floor-plan glyphs. Do not add extensive blood, impact marks, or generalized disorder. Established desk tools may remain in place without becoming the emphasis." }, "reference_decision": { "bg_id": "L22B01", "fp_id": "fp_tomiishi_office", "node_index": 1, "mode": "same_physical_space_view", "is_dwelling_identity_anchor": false, "rationale": "L22B01 shares enclosing unit 1 and base marker 7 with L22B02, so its fixed layout must inherit that anchor rather than be composed as a new space. Camera unit 2 provides the entrance-side broad coverage committed by S32_Shot1, exposing substantially more structure than the anchor's narrow marker-7 view. S32_Shot10 requires a separate close wall-side composition that this single representative camera cannot also encode.", "reference_paths": [ "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/background_chain/L22B02.png" ], "source_bg_ids": [ "L22B02" ], "fp_included": false, "reference_decision": { "selected_refs": [ { "ref_bg_id": "L22B02", "physical_space_id": "fp_tomiishi_office:unit_1", "space_description": "Enclosing unit 1, with base marker 7 established by the anchor." } ], "rejected_refs": [], "same_physical_space_dedup_decision": "single_same_physical_space_reference", "why_single_ref_or_two_refs": "One reference establishes the shared physical enclosure. Units 2, 3 and 4 are areas within that enclosure, not evidence of two distinct reference spaces.", "physical_space_id_per_ref": [ "fp_tomiishi_office:unit_1" ], "same_physical_space_low_delta_candidate": false, "low_delta_reuse_target_bg_id": "", "low_delta_rationale": "" }, "camera_decision": { "camera_unit": 2, "camera_cell": [ 9, 2 ], "look_at_unit": 1, "look_at_cell": [ 3, 5 ], "lens_enum": "wide", "fov_deg": 90, "framing_notes": "Entrance-side representative view toward base marker 5 within enclosing unit 1, with broad coverage toward units 3 and 4. S32_Shot1 governs this camera. The readback does not encode its elevated pitch or the separate S32_Shot10 wall-side close camera." }, "render_guidance": { "visible_space_directive": "From unit 2, show the forward portion of unit 1 around unit 3 and toward unit 4, with base markers 5, 6, 7 and 9 where supported by the broad view. Keep marker 7 in the anchor-established position, marker 5 north-central, marker 6 north of 5, marker 7 adjoining the western end of 5, and marker 9 on the north boundary. Opening 8 is not a required visible element of this forward-facing view.", "camera_framing_directive": "Use camera unit 2 at [9, 2], looking within unit 1 at [3, 5], with wide 90-degree broad coverage. Follow S32_Shot1's oblique establishing composition, keeping the staged foreground surface below two-fifths of the image. Height and pitch are not resolved by these cells. S32_Shot10's narrow wall-side strip is a separate consuming-shot framing requirement, not a simultaneous view from this camera.", "subject_position_directive": "For S32_Shot1, retain the seated subject in the left middle ground, the covered prone subject lower center, and the four standing subjects unevenly distributed along the right background toward unit 4, using their committed lowered gazes and shoulder tension. S32_Shot10 instead places the gripping subject left-center and the compressed shoulder at the right edge; do not combine these different shot states into one simultaneous arrangement.", "state_cue_directive": "Use transient markers 10, 12, 13, 14 and 15 with the listed base elements. Marker 10 remains covered. S32_Shot1 commits handling of upward-angled surfaces whose contents are not legible at that distance; S32_Shot10 commits bodily pressure rather than a new environmental state. Maintain dim nighttime exposure, restrained saturation and readable shadows without adding a visible light source.", "negative_continuity_directive": "Exclude marker 11, including its state from L22B02. Avoid shifting marker 7 or the fixed relationships among markers 5, 6, 7 and 9 while widening the view. Do not treat visibility supersets as proof of opening adjacency, expose out-of-cone spaces, or merge the two consuming shots' subject arrangements." }, "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n - selected_refs[0]: ref_bg_id='L22B02' physical_space_id='fp_tomiishi_office:unit_1'\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 2\n - camera_cell: [9, 2]\n - look_at_unit: 1\n - look_at_cell: [3, 5]\n - lens_enum: 'wide'\n - fov_deg: 90\n - framing_notes: 'Entrance-side representative view toward base marker 5 within enclosing unit 1, with broad coverage toward units 3 and 4. S32_Shot1 governs this camera. The readback does not encode its elevated pitch or the separate S32_Shot10 wall-side close camera.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: From unit 2, show the forward portion of unit 1 around unit 3 and toward unit 4, with base markers 5, 6, 7 and 9 where supported by the broad view. Keep marker 7 in the anchor-established position, marker 5 north-central, marker 6 north of 5, marker 7 adjoining the western end of 5, and marker 9 on the north boundary. Opening 8 is not a required visible element of this forward-facing view.\n - camera_framing_directive: Use camera unit 2 at [9, 2], looking within unit 1 at [3, 5], with wide 90-degree broad coverage. Follow S32_Shot1's oblique establishing composition, keeping the staged foreground surface below two-fifths of the image. Height and pitch are not resolved by these cells. S32_Shot10's narrow wall-side strip is a separate consuming-shot framing requirement, not a simultaneous view from this camera.\n - subject_position_directive: For S32_Shot1, retain the seated subject in the left middle ground, the covered prone subject lower center, and the four standing subjects unevenly distributed along the right background toward unit 4, using their committed lowered gazes and shoulder tension. S32_Shot10 instead places the gripping subject left-center and the compressed shoulder at the right edge; do not combine these different shot states into one simultaneous arrangement.\n - state_cue_directive: Use transient markers 10, 12, 13, 14 and 15 with the listed base elements. Marker 10 remains covered. S32_Shot1 commits handling of upward-angled surfaces whose contents are not legible at that distance; S32_Shot10 commits bodily pressure rather than a new environmental state. Maintain dim nighttime exposure, restrained saturation and readable shadows without adding a visible light source.\n - negative_continuity_directive: Exclude marker 11, including its state from L22B02. Avoid shifting marker 7 or the fixed relationships among markers 5, 6, 7 and 9 while widening the view. Do not treat visibility supersets as proof of opening adjacency, expose out-of-cone spaces, or merge the two consuming shots' subject arrangements.\n\n", "diagnostics": [] }, "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n - selected_refs[0]: ref_bg_id='L22B02' physical_space_id='fp_tomiishi_office:unit_1'\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 2\n - camera_cell: [9, 2]\n - look_at_unit: 1\n - look_at_cell: [3, 5]\n - lens_enum: 'wide'\n - fov_deg: 90\n - framing_notes: 'Entrance-side representative view toward base marker 5 within enclosing unit 1, with broad coverage toward units 3 and 4. S32_Shot1 governs this camera. The readback does not encode its elevated pitch or the separate S32_Shot10 wall-side close camera.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: From unit 2, show the forward portion of unit 1 around unit 3 and toward unit 4, with base markers 5, 6, 7 and 9 where supported by the broad view. Keep marker 7 in the anchor-established position, marker 5 north-central, marker 6 north of 5, marker 7 adjoining the western end of 5, and marker 9 on the north boundary. Opening 8 is not a required visible element of this forward-facing view.\n - camera_framing_directive: Use camera unit 2 at [9, 2], looking within unit 1 at [3, 5], with wide 90-degree broad coverage. Follow S32_Shot1's oblique establishing composition, keeping the staged foreground surface below two-fifths of the image. Height and pitch are not resolved by these cells. S32_Shot10's narrow wall-side strip is a separate consuming-shot framing requirement, not a simultaneous view from this camera.\n - subject_position_directive: For S32_Shot1, retain the seated subject in the left middle ground, the covered prone subject lower center, and the four standing subjects unevenly distributed along the right background toward unit 4, using their committed lowered gazes and shoulder tension. S32_Shot10 instead places the gripping subject left-center and the compressed shoulder at the right edge; do not combine these different shot states into one simultaneous arrangement.\n - state_cue_directive: Use transient markers 10, 12, 13, 14 and 15 with the listed base elements. Marker 10 remains covered. S32_Shot1 commits handling of upward-angled surfaces whose contents are not legible at that distance; S32_Shot10 commits bodily pressure rather than a new environmental state. Maintain dim nighttime exposure, restrained saturation and readable shadows without adding a visible light source.\n - negative_continuity_directive: Exclude marker 11, including its state from L22B02. Avoid shifting marker 7 or the fixed relationships among markers 5, 6, 7 and 9 while widening the view. Do not treat visibility supersets as proof of opening adjacency, expose out-of-cone spaces, or merge the two consuming shots' subject arrangements.\n\n", "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n - selected_refs[0]: ref_bg_id='L22B02' physical_space_id='fp_tomiishi_office:unit_1'\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 2\n - camera_cell: [9, 2]\n - look_at_unit: 1\n - look_at_cell: [3, 5]\n - lens_enum: 'wide'\n - fov_deg: 90\n - framing_notes: 'Entrance-side representative view toward base marker 5 within enclosing unit 1, with broad coverage toward units 3 and 4. S32_Shot1 governs this camera. The readback does not encode its elevated pitch or the separate S32_Shot10 wall-side close camera.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: From unit 2, show the forward portion of unit 1 around unit 3 and toward unit 4, with base markers 5, 6, 7 and 9 where supported by the broad view. Keep marker 7 in the anchor-established position, marker 5 north-central, marker 6 north of 5, marker 7 adjoining the western end of 5, and marker 9 on the north boundary. Opening 8 is not a required visible element of this forward-facing view.\n - camera_framing_directive: Use camera unit 2 at [9, 2], looking within unit 1 at [3, 5], with wide 90-degree broad coverage. Follow S32_Shot1's oblique establishing composition, keeping the staged foreground surface below two-fifths of the image. Height and pitch are not resolved by these cells. S32_Shot10's narrow wall-side strip is a separate consuming-shot framing requirement, not a simultaneous view from this camera.\n - subject_position_directive: For S32_Shot1, retain the seated subject in the left middle ground, the covered prone subject lower center, and the four standing subjects unevenly distributed along the right background toward unit 4, using their committed lowered gazes and shoulder tension. S32_Shot10 instead places the gripping subject left-center and the compressed shoulder at the right edge; do not combine these different shot states into one simultaneous arrangement.\n - state_cue_directive: Use transient markers 10, 12, 13, 14 and 15 with the listed base elements. Marker 10 remains covered. S32_Shot1 commits handling of upward-angled surfaces whose contents are not legible at that distance; S32_Shot10 commits bodily pressure rather than a new environmental state. Maintain dim nighttime exposure, restrained saturation and readable shadows without adding a visible light source.\n - negative_continuity_directive: Exclude marker 11, including its state from L22B02. Avoid shifting marker 7 or the fixed relationships among markers 5, 6, 7 and 9 while widening the view. Do not treat visibility supersets as proof of opening adjacency, expose out-of-cone spaces, or merge the two consuming shots' subject arrangements.\n\n대한제국 말기, 20세기 초 한반도 남부 지방의 소박한 행정 집무실을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 인물 없이 공간과 환경 소품만 담는다. 실제 장소를 기록한 사진과 구별되지 않는 재질과 노출을 유지하며, 삽화나 컴퓨터 생성 영상, 건축 시각화가 아니다. 바닥 평면도나 내려다보는 시점이 아니라, 남서쪽 출입 문턱 가까이에서 북동쪽을 바라보는 약 1.6미터 높이의 눈높이 시점이다. 전면형 감지기를 갖춘 실제 미러리스 카메라와 권장된 28밀리미터 광각 렌즈로 촬영하여 전경 바닥, 뒤쪽 책상, 오른쪽 벽을 함께 담는다. 과도한 원근 왜곡 없이 자연스러운 피사계 심도를 사용한다.\n\n참조 평면도는 구조와 가구의 상대적 위치를 파악하는 자료로만 사용한다. 직사각형 집무실의 북쪽 중앙에는 동서 방향으로 긴 목제 사무 책상이 있고, 그 북쪽에는 남쪽을 향하는 목제 의자가 놓여 있다. 책상 서쪽 끝에는 북쪽으로 뻗는 보조 문서 탁자가 직각으로 이어진다. 의자의 동쪽에 해당하는 북쪽 벽에는 작은 창이 있다. 책상 남쪽 중앙 바닥과 책상 동쪽 끝에서 동쪽 벽까지 이어지는 바닥은 충분히 넓게 비워 둔다. 남서쪽 출입 문턱에서 실내로 이어지는 통로도 확보한다. 당시 지방 관청 실내에 어울리는 회벽과 목재 바닥, 실용적인 목제 가구를 사용하며, 실제 나뭇결과 모서리의 오래된 마모, 회벽의 미세한 표면 편차를 사실적으로 드러낸다.\n\n보조 문서 탁자 남쪽의 중앙에서 남서쪽에 걸친 바닥에는 흰 천을 낮고 평평하게 펼쳐 화면 왼쪽 아래 전경에 담는다. 천은 실제 면직물의 짜임과 바닥에 닿는 자연스러운 주름만 보이게 하며, 사람이나 얼굴, 신체 일부 또는 인체를 닮은 덩어리와 윤곽은 전혀 만들지 않는다. 흰 천은 출입 통로와 동쪽 통로를 침범하지 않는다. 책상 중앙의 의자 바로 앞에는 종이 세금 장부를 놓고, 그 서쪽에는 문서 탁자와 겹치지 않게 나무 주판을 둔다. 장부 동쪽에는 붉은 인주가 담긴 인주함과 바로 옆의 행정용 도장을 놓는다. 이 도구들은 일상적인 크기로 책상 위에 조용히 자리하며 화면의 주제가 되지 않는다.\n\n어두운 밤의 실내로, 작은 창으로 스며드는 매우 약한 외부의 자연광과 실내의 미약한 주변 반사광이 공간을 겨우 구분하게 한다. 낮처럼 밝히지 않되 흰 천의 직조, 책상의 나뭇결, 동쪽 벽과 빈 바닥의 경계는 읽을 수 있게 한다. 낮은 채도의 흙빛과 목재 본래의 색, 실제 저조도 촬영에 가까운 명암을 유지하고 인위적인 색 보정이나 과장된 조명 효과는 사용하지 않는다. 생활 속 사용감은 절제하며 바닥과 벽, 가구는 정돈된 상태를 유지한다. 16:9 가로 비율, 실제 카메라 촬영본", "camera_decision": { "camera_unit": 2, "camera_cell": [ 9, 2 ], "look_at_unit": 1, "look_at_cell": [ 3, 5 ], "lens_enum": "wide", "fov_deg": 90, "framing_notes": "Entrance-side representative view toward base marker 5 within enclosing unit 1, with broad coverage toward units 3 and 4. S32_Shot1 governs this camera. The readback does not encode its elevated pitch or the separate S32_Shot10 wall-side close camera." }, "shot_aware_plan_node_index": 1, "shot_aware_plan_mode": "same_physical_space_view", "render_guidance": { "visible_space_directive": "From unit 2, show the forward portion of unit 1 around unit 3 and toward unit 4, with base markers 5, 6, 7 and 9 where supported by the broad view. Keep marker 7 in the anchor-established position, marker 5 north-central, marker 6 north of 5, marker 7 adjoining the western end of 5, and marker 9 on the north boundary. Opening 8 is not a required visible element of this forward-facing view.", "camera_framing_directive": "Use camera unit 2 at [9, 2], looking within unit 1 at [3, 5], with wide 90-degree broad coverage. Follow S32_Shot1's oblique establishing composition, keeping the staged foreground surface below two-fifths of the image. Height and pitch are not resolved by these cells. S32_Shot10's narrow wall-side strip is a separate consuming-shot framing requirement, not a simultaneous view from this camera.", "subject_position_directive": "For S32_Shot1, retain the seated subject in the left middle ground, the covered prone subject lower center, and the four standing subjects unevenly distributed along the right background toward unit 4, using their committed lowered gazes and shoulder tension. S32_Shot10 instead places the gripping subject left-center and the compressed shoulder at the right edge; do not combine these different shot states into one simultaneous arrangement.", "state_cue_directive": "Use transient markers 10, 12, 13, 14 and 15 with the listed base elements. Marker 10 remains covered. S32_Shot1 commits handling of upward-angled surfaces whose contents are not legible at that distance; S32_Shot10 commits bodily pressure rather than a new environmental state. Maintain dim nighttime exposure, restrained saturation and readable shadows without adding a visible light source.", "negative_continuity_directive": "Exclude marker 11, including its state from L22B02. Avoid shifting marker 7 or the fixed relationships among markers 5, 6, 7 and 9 while widening the view. Do not treat visibility supersets as proof of opening adjacency, expose out-of-cone spaces, or merge the two consuming shots' subject arrangements." }, "attached_reference_lineage": { "fp_id": "fp_tomiishi_office", "prior_bg_ids": [ "L22B02" ], "attached_ref_labels": [ "bg:L22B02" ], "ref_used": "refs_1", "db_write_policy": "checkpoint_only" } }, "L22B02": { "status": "ok", "is_reuse": false, "render_action": "render_new_plate", "location_id": "L22", "location_name": "", "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/background_chain/L22B02.png", "t2i_prompt": "대한제국 말기, 20세기 초 한반도 남부 지역 집무실의 문서 테이블 상판을 촬영한 실제 카메라의 다큐멘터리 풍 사진. 실제 미러리스 카메라와 35밀리미터급 렌즈를 사용하고, 서 있는 사람의 눈높이인 바닥에서 약 1.6미터, 상판에서 약 0.8미터 위에서 비스듬히 내려다본다. 수직으로 내려찍지 않으며, 왜곡이 적은 화면 중앙부를 좁게 잘라 서류 한 장과 그 둘레의 넉넉한 상판 여백만 담는다. 테이블의 위치와 방향은 배치 참고 이미지에 근거한다.\n문서 테이블 중앙에 당시의 기록용 종이로 된 신원 식별 서류 한 장이 평평하게 놓여 있다. 종이에는 짙은 먹으로 쓴 한자 붓글씨가 보이며, 실제 붓의 눌림과 획의 굵기 차이, 종이 섬유에 스며든 먹의 가장자리가 자연스럽게 드러난다. 글씨는 종이 표면의 평면적인 문자 정보로만 표현한다. 서류 바로 주변에는 다른 물건을 덧붙이지 않고 나무 상판의 여백을 충분히 확보한다. 이 국소적인 여백을 집무실 전체가 비워지거나 청소된 상태로 확대 해석하지 않는다.\n밤의 실내에서 화면 밖 생활 조명이 종이와 상판을 은은하게 비춘다. 빛의 세기와 그림자 변화는 실제 실내 촬영처럼 자연스럽고, 종이의 미색과 나무의 갈색이 과장 없이 보인다. 오래 사용한 목재의 실제 나뭇결, 잔잔한 마모와 배어든 생활 얼룩, 종이의 섬유 결을 선명하게 기록한다. 글씨와 종이 중심부에 초점을 맞추고 상판의 먼 부분은 자연스러운 피사계 심도로 조금 부드럽게 보이게 한다. 새 가구를 진열한 상품 사진이 아니라 실제 역사적 공간의 자료 사진처럼 담백하게 촬영하며, 인위적인 색 보정이나 합성 효과를 사용하지 않는다. 사람, 얼굴, 신체 일부, 사람 형태의 형상은 전혀 묘사하지 않는다. 그림이나 건축 시각화가 아닌 실제 장소 촬영 사진이며 평면도 시점이 아니다. 16:9 가로 비율, 실제 카메라 촬영본.", "shot_guides": [ { "shot_id": "S32_Shot22", "guide_text": "문서 테이블 중앙의 붓글씨 서류를 강조하는 근접 삽입 화면. 종이 전체와 사방의 상판 여백을 담고, 짙은 먹의 획과 종이 섬유가 구별되도록 초점을 맞춘다. 상판을 비스듬히 바라보는 원근과 밤의 자연스러운 실내 조명을 유지한다. 종이 주변의 여백만 보여 주며 집무실 전체의 상태를 설명하는 넓은 구도로 확장하지 않는다. 사람이나 손, 얼굴, 초상은 넣지 않는다." } ], "shot_ids": [ "S32_Shot22" ], "scenes": [], "parent_id": "", "ref_used": "fp_only", "render_attempts": 1, "render_error": "", "variant_label": "", "floor_plan_used": true, "camera_recommendations": { "camera_position": "directly above number 7, aimed downward at number 11", "camera_height": "approximately 0.5 to 0.8 m above the tabletop", "lens_hint": "65mm close-up, low distortion", "framing_notes": "Frame the sheet and a generous margin of bare tabletop only. The overlay supplies the exact source-script inscription as flat writing on the paper; do not turn its named subject into a person in the room. Excluded incident and desk objects are outside this insert, not removed from the office. Do not imply that the room has been emptied or cleaned." }, "reference_decision": { "bg_id": "L22B02", "fp_id": "fp_tomiishi_office", "node_index": 0, "mode": "fp_seeded_anchor", "is_dwelling_identity_anchor": true, "rationale": "L22B02 is the sole permitted anchor candidate under the supplied fallback metadata, despite clean_background_expected being false. Establish identity fresh around base marker 7 for S32_Shot22. Camera unit 1 targets marker 7 with narrow coverage. The supplied grid supports this target but does not encode the height or pitch needed to certify the shot's exact vertical overhead composition.", "reference_paths": [ "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/floor_plan/fp_tomiishi_office.png" ], "source_bg_ids": [], "fp_included": true, "reference_decision": { "selected_refs": [], "rejected_refs": [], "same_physical_space_dedup_decision": "no_prior_reference", "why_single_ref_or_two_refs": "The first node establishes identity without a prior reference; the candidate catalog is empty.", "physical_space_id_per_ref": [], "same_physical_space_low_delta_candidate": false, "low_delta_reuse_target_bg_id": "", "low_delta_rationale": "" }, "camera_decision": { "camera_unit": 1, "camera_cell": [ 1, 1 ], "look_at_unit": 1, "look_at_cell": [ 3, 2 ], "lens_enum": "telephoto", "fov_deg": 25, "framing_notes": "Narrow target coverage of marker 7 within enclosing unit 1. Both coordinates are exact candidate copies. S32_Shot22 requires a static vertical overhead close view; height and pitch are absent from the readback, so this horizontal plan cannot certify that requirement." }, "render_guidance": { "visible_space_directive": "Limit the visible background to the portion of base marker 7 and adjacent floor within unit 1 needed for S32_Shot22. The opening and unit visibility lists are supersets, not requirements to expose additional spaces.", "camera_framing_directive": "Use camera unit 1 at [1, 1], looking within unit 1 at [3, 2], with telephoto 25-degree narrow coverage. Center marker 11, retaining the nearby boundary of marker 7 and a strip of floor; keep marker 11 within two-fifths of the frame. Preserve the staged overhead requirement as an unresolved height/pitch constraint rather than claiming the grid establishes a vertical view.", "subject_position_directive": "No committed subject cue is available beyond the listed facts; S32_Shot22 explicitly excludes people and hands from this crop. Keep the background free of invented subjects without implying that the entire space is unoccupied.", "state_cue_directive": "Include transient marker 11 supported by marker 7. Its upward-facing surface carries the completed dark brush-written '巨魁 安圭洪' in readable orientation. Continue the committed restrained nighttime exposure with clear separation between lettering and its supporting surface.", "negative_continuity_directive": "Exclude markers 10, 12, 13, 14 and 15. Avoid expanding this isolated crop to include units or openings merely because they occur in visibility supersets. Do not infer an unoccupied whole-space state from the subject-free crop." }, "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 1\n - camera_cell: [1, 1]\n - look_at_unit: 1\n - look_at_cell: [3, 2]\n - lens_enum: 'telephoto'\n - fov_deg: 25\n - framing_notes: 'Narrow target coverage of marker 7 within enclosing unit 1. Both coordinates are exact candidate copies. S32_Shot22 requires a static vertical overhead close view; height and pitch are absent from the readback, so this horizontal plan cannot certify that requirement.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Limit the visible background to the portion of base marker 7 and adjacent floor within unit 1 needed for S32_Shot22. The opening and unit visibility lists are supersets, not requirements to expose additional spaces.\n - camera_framing_directive: Use camera unit 1 at [1, 1], looking within unit 1 at [3, 2], with telephoto 25-degree narrow coverage. Center marker 11, retaining the nearby boundary of marker 7 and a strip of floor; keep marker 11 within two-fifths of the frame. Preserve the staged overhead requirement as an unresolved height/pitch constraint rather than claiming the grid establishes a vertical view.\n - subject_position_directive: No committed subject cue is available beyond the listed facts; S32_Shot22 explicitly excludes people and hands from this crop. Keep the background free of invented subjects without implying that the entire space is unoccupied.\n - state_cue_directive: Include transient marker 11 supported by marker 7. Its upward-facing surface carries the completed dark brush-written '巨魁 安圭洪' in readable orientation. Continue the committed restrained nighttime exposure with clear separation between lettering and its supporting surface.\n - negative_continuity_directive: Exclude markers 10, 12, 13, 14 and 15. Avoid expanding this isolated crop to include units or openings merely because they occur in visibility supersets. Do not infer an unoccupied whole-space state from the subject-free crop.\n\n", "diagnostics": [] }, "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 1\n - camera_cell: [1, 1]\n - look_at_unit: 1\n - look_at_cell: [3, 2]\n - lens_enum: 'telephoto'\n - fov_deg: 25\n - framing_notes: 'Narrow target coverage of marker 7 within enclosing unit 1. Both coordinates are exact candidate copies. S32_Shot22 requires a static vertical overhead close view; height and pitch are absent from the readback, so this horizontal plan cannot certify that requirement.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Limit the visible background to the portion of base marker 7 and adjacent floor within unit 1 needed for S32_Shot22. The opening and unit visibility lists are supersets, not requirements to expose additional spaces.\n - camera_framing_directive: Use camera unit 1 at [1, 1], looking within unit 1 at [3, 2], with telephoto 25-degree narrow coverage. Center marker 11, retaining the nearby boundary of marker 7 and a strip of floor; keep marker 11 within two-fifths of the frame. Preserve the staged overhead requirement as an unresolved height/pitch constraint rather than claiming the grid establishes a vertical view.\n - subject_position_directive: No committed subject cue is available beyond the listed facts; S32_Shot22 explicitly excludes people and hands from this crop. Keep the background free of invented subjects without implying that the entire space is unoccupied.\n - state_cue_directive: Include transient marker 11 supported by marker 7. Its upward-facing surface carries the completed dark brush-written '巨魁 安圭洪' in readable orientation. Continue the committed restrained nighttime exposure with clear separation between lettering and its supporting surface.\n - negative_continuity_directive: Exclude markers 10, 12, 13, 14 and 15. Avoid expanding this isolated crop to include units or openings merely because they occur in visibility supersets. Do not infer an unoccupied whole-space state from the subject-free crop.\n\n", "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 1\n - camera_cell: [1, 1]\n - look_at_unit: 1\n - look_at_cell: [3, 2]\n - lens_enum: 'telephoto'\n - fov_deg: 25\n - framing_notes: 'Narrow target coverage of marker 7 within enclosing unit 1. Both coordinates are exact candidate copies. S32_Shot22 requires a static vertical overhead close view; height and pitch are absent from the readback, so this horizontal plan cannot certify that requirement.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Limit the visible background to the portion of base marker 7 and adjacent floor within unit 1 needed for S32_Shot22. The opening and unit visibility lists are supersets, not requirements to expose additional spaces.\n - camera_framing_directive: Use camera unit 1 at [1, 1], looking within unit 1 at [3, 2], with telephoto 25-degree narrow coverage. Center marker 11, retaining the nearby boundary of marker 7 and a strip of floor; keep marker 11 within two-fifths of the frame. Preserve the staged overhead requirement as an unresolved height/pitch constraint rather than claiming the grid establishes a vertical view.\n - subject_position_directive: No committed subject cue is available beyond the listed facts; S32_Shot22 explicitly excludes people and hands from this crop. Keep the background free of invented subjects without implying that the entire space is unoccupied.\n - state_cue_directive: Include transient marker 11 supported by marker 7. Its upward-facing surface carries the completed dark brush-written '巨魁 安圭洪' in readable orientation. Continue the committed restrained nighttime exposure with clear separation between lettering and its supporting surface.\n - negative_continuity_directive: Exclude markers 10, 12, 13, 14 and 15. Avoid expanding this isolated crop to include units or openings merely because they occur in visibility supersets. Do not infer an unoccupied whole-space state from the subject-free crop.\n\n대한제국 말기, 20세기 초 한반도 남부 지역 집무실의 문서 테이블 상판을 촬영한 실제 카메라의 다큐멘터리 풍 사진. 실제 미러리스 카메라와 35밀리미터급 렌즈를 사용하고, 서 있는 사람의 눈높이인 바닥에서 약 1.6미터, 상판에서 약 0.8미터 위에서 비스듬히 내려다본다. 수직으로 내려찍지 않으며, 왜곡이 적은 화면 중앙부를 좁게 잘라 서류 한 장과 그 둘레의 넉넉한 상판 여백만 담는다. 테이블의 위치와 방향은 배치 참고 이미지에 근거한다.\n문서 테이블 중앙에 당시의 기록용 종이로 된 신원 식별 서류 한 장이 평평하게 놓여 있다. 종이에는 짙은 먹으로 쓴 한자 붓글씨가 보이며, 실제 붓의 눌림과 획의 굵기 차이, 종이 섬유에 스며든 먹의 가장자리가 자연스럽게 드러난다. 글씨는 종이 표면의 평면적인 문자 정보로만 표현한다. 서류 바로 주변에는 다른 물건을 덧붙이지 않고 나무 상판의 여백을 충분히 확보한다. 이 국소적인 여백을 집무실 전체가 비워지거나 청소된 상태로 확대 해석하지 않는다.\n밤의 실내에서 화면 밖 생활 조명이 종이와 상판을 은은하게 비춘다. 빛의 세기와 그림자 변화는 실제 실내 촬영처럼 자연스럽고, 종이의 미색과 나무의 갈색이 과장 없이 보인다. 오래 사용한 목재의 실제 나뭇결, 잔잔한 마모와 배어든 생활 얼룩, 종이의 섬유 결을 선명하게 기록한다. 글씨와 종이 중심부에 초점을 맞추고 상판의 먼 부분은 자연스러운 피사계 심도로 조금 부드럽게 보이게 한다. 새 가구를 진열한 상품 사진이 아니라 실제 역사적 공간의 자료 사진처럼 담백하게 촬영하며, 인위적인 색 보정이나 합성 효과를 사용하지 않는다. 사람, 얼굴, 신체 일부, 사람 형태의 형상은 전혀 묘사하지 않는다. 그림이나 건축 시각화가 아닌 실제 장소 촬영 사진이며 평면도 시점이 아니다. 16:9 가로 비율, 실제 카메라 촬영본.", "camera_decision": { "camera_unit": 1, "camera_cell": [ 1, 1 ], "look_at_unit": 1, "look_at_cell": [ 3, 2 ], "lens_enum": "telephoto", "fov_deg": 25, "framing_notes": "Narrow target coverage of marker 7 within enclosing unit 1. Both coordinates are exact candidate copies. S32_Shot22 requires a static vertical overhead close view; height and pitch are absent from the readback, so this horizontal plan cannot certify that requirement." }, "shot_aware_plan_node_index": 0, "shot_aware_plan_mode": "fp_seeded_anchor", "render_guidance": { "visible_space_directive": "Limit the visible background to the portion of base marker 7 and adjacent floor within unit 1 needed for S32_Shot22. The opening and unit visibility lists are supersets, not requirements to expose additional spaces.", "camera_framing_directive": "Use camera unit 1 at [1, 1], looking within unit 1 at [3, 2], with telephoto 25-degree narrow coverage. Center marker 11, retaining the nearby boundary of marker 7 and a strip of floor; keep marker 11 within two-fifths of the frame. Preserve the staged overhead requirement as an unresolved height/pitch constraint rather than claiming the grid establishes a vertical view.", "subject_position_directive": "No committed subject cue is available beyond the listed facts; S32_Shot22 explicitly excludes people and hands from this crop. Keep the background free of invented subjects without implying that the entire space is unoccupied.", "state_cue_directive": "Include transient marker 11 supported by marker 7. Its upward-facing surface carries the completed dark brush-written '巨魁 安圭洪' in readable orientation. Continue the committed restrained nighttime exposure with clear separation between lettering and its supporting surface.", "negative_continuity_directive": "Exclude markers 10, 12, 13, 14 and 15. Avoid expanding this isolated crop to include units or openings merely because they occur in visibility supersets. Do not infer an unoccupied whole-space state from the subject-free crop." }, "attached_reference_lineage": { "fp_id": "fp_tomiishi_office", "prior_bg_ids": [], "attached_ref_labels": [ "fp:fp_tomiishi_office" ], "ref_used": "fp_only", "db_write_policy": "checkpoint_only" } }, "L18B03": { "status": "ok", "is_reuse": false, "render_action": "render_new_plate", "location_id": "L18", "location_name": "", "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/background_chain/L18B03.png", "t2i_prompt": "20세기 초 대한제국 말기, 한반도 남부 농촌의 소박한 헛간 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실제 장소를 기록한 사진과 구별되지 않는 사실적인 배경으로 표현한다. 직사각형의 단일 실내이며, 북쪽부터 중앙까지 넓은 바닥이 이어지고 남동쪽 바닥도 칸막이 없이 같은 공간으로 연결된다. 남쪽 벽의 서쪽 끝 가까이에 있는 출입문 바로 안쪽, 문턱 부근에서 북동쪽 실내 끝을 바라본다. 가까운 화면 가장자리에 목재 문설주와 문턱 일부가 걸려 출입구와 내부 바닥의 관계를 보여준다. 넓은 바닥을 중심으로 구도를 잡고 남동쪽 공간까지 비어 있는 상태로 담는다.\n\n카메라는 높이 약 1.5미터의 서 있는 사람 눈높이에 두고, 35밀리미터 풀프레임 미러리스 카메라의 28밀리미터 광각 렌즈로 촬영한다. 과장된 원근 왜곡 없이 바닥에서 먼 벽으로 이어지는 실제 깊이와 자연스러운 피사계 심도를 유지한다. 당시 남부 농촌 헛간에 맞는 투박한 흙벽, 목재 출입문과 문설주, 단단하게 다져진 흙바닥을 표현한다. 흙의 입자와 무광 표면, 목재의 실제 나뭇결과 오랜 사용으로 매끈해진 가장자리가 자연스럽게 보인다.\n\n낮이지만 내부는 어둡다. 출입구에서 들어오는 제한적인 자연광이 문턱과 가까운 바닥을 밝히고, 실내 깊숙한 곳으로 갈수록 서서히 약해진다. 어두운 부분에도 흙과 나무의 질감이 희미하게 읽히며, 흙빛과 갈색은 실제 재료의 차분한 색 그대로 유지한다. 공간은 정돈되어 있고 흐트러짐 없이 고요하다. 사람, 얼굴, 사람 형태의 형상은 전혀 묘사하지 않는다. 인위적인 보정이나 장식적 조명 없이 실제 현장의 생활감과 재료 질감을 담으며, 광고용으로 말끔하게 꾸민 사진이나 컴퓨터 생성 이미지, 삽화, 건축 시각화가 아니다. 위에서 내려다보는 시점이나 평면도, 건축 도면이 아닌 수평에 가까운 눈높이 사진이다. 16:9 가로 비율, 실제 카메라 촬영본", "shot_guides": [ { "shot_id": "S21_Shot1", "guide_text": "출입문 바로 안쪽에서 약 1.5미터 높이로 북동쪽을 바라보는 넓은 구도. 가까운 가장자리의 문설주와 문턱을 기준으로 중앙과 북쪽의 넓은 바닥, 칸막이 없이 이어지는 남동쪽 공간을 함께 보여준다. 바닥에 충분한 여백을 확보하되 배경에는 사람이나 사람 형태의 형상을 넣지 않는다. 낮의 빛은 출입구 부근에 제한하고 먼 벽 쪽은 질감이 읽힐 정도의 어둠으로 유지하여 정적이고 고요한 실내를 담는다." } ], "shot_ids": [ "S21_Shot1" ], "scenes": [], "parent_id": "", "ref_used": "fp_only", "render_attempts": 1, "render_error": "", "variant_label": "", "floor_plan_used": true, "camera_recommendations": { "camera_position": "Near number 4, just inside number 5, facing northeast across number 2 toward the far side of number 1.", "camera_height": "Standing eye level, approximately 1.5 m", "lens_hint": "28mm wide angle", "framing_notes": "Establish the broad resting floor with space for seven exhausted men, without encoding people into the base plan. Keep number 3 empty before the meal. A near-edge glimpse of the entrance jamb anchors the layout. The daytime interior remains dim, without background bloodstains or damage." }, "reference_decision": { "bg_id": "L18B03", "fp_id": "fp_isolated_barn", "node_index": 0, "mode": "fp_seeded_anchor", "is_dwelling_identity_anchor": true, "rationale": "L18B03 is the sole eligible clean anchor and is ready for S21_Shot1. Establish the continuous enclosure and fixed opening from the floor plan without a prior reference. Unit 1 with a wide lens provides broad coverage toward unit 4. The mandatory look-at candidate is opening marker 5 at [7, 2]; it differs from the direction-record endpoint, so the supplied geometry does not establish complete target coverage or the staged right-edge placement of the opening.", "reference_paths": [ "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/floor_plan/fp_isolated_barn.png" ], "source_bg_ids": [], "fp_included": true, "reference_decision": { "selected_refs": [], "rejected_refs": [], "same_physical_space_dedup_decision": "no_reference_anchor", "why_single_ref_or_two_refs": "The clean identity anchor is seeded directly from the floor plan; the reference catalog is empty.", "physical_space_id_per_ref": [], "same_physical_space_low_delta_candidate": false, "low_delta_reuse_target_bg_id": "", "low_delta_rationale": "" }, "camera_decision": { "camera_unit": 1, "camera_cell": [ 1, 1 ], "look_at_unit": 4, "look_at_cell": [ 7, 2 ], "lens_enum": "wide", "fov_deg": 90, "framing_notes": "Broad static plate from unit 1 toward the unit 4 threshold region, with the exact permitted aim point at marker 5. S21_Shot1 requests a high interior overview. Candidate visibility lists are supersets, and the direction records use a different endpoint; neither full coverage of units 2 and 3 nor right-edge placement of marker 5 is certified." }, "render_guidance": { "visible_space_directive": "Establish the visible portion of unit 1 toward unit 4 and base opening marker 5. Preserve the continuous, unpartitioned relationship of base units 2 and 3 wherever they enter the actual wide view. Units 2, 3, and 4 are visibility candidates, not a guarantee that every target fits this framing.", "camera_framing_directive": "Use camera unit 1 at [1, 1], looking toward unit 4 with the required look-at cell [7, 2], and wide 90-degree coverage. Retain the staged static overview intent. The exact aim lands on marker 5, so do not claim that the geometry supplies its requested right-edge placement or substitute an unlisted aim point.", "subject_position_directive": "Keep the clean background plate free of rendered subjects while preserving space for the committed S21_Shot1 staging: seven full-body figures at irregular intervals, one near center-left, two at differing central depths, one rear-left, and three across the remaining floor. Their lowered attention and varied resting poses belong to the consuming shot; preserve its unobstructed approach route without adding an arriving subject.", "state_cue_directive": "No committed background state cue beyond \"clean residential space\" applies to this clean plate; refrain from inventing additional cues and omit transient markers 6 and 7. Preserve the supplied subdued daytime interior illumination. The staged not-yet-opened condition of marker 5 belongs to the consuming shot rather than an invented permanent change.", "negative_continuity_directive": "Exclude markers 6 and 7, including ignored state overlays 6 and 7. Avoid adding partitions between units 2 and 3, moving marker 5, or treating candidate visibility supersets as committed visibility. Do not change the permitted coordinates to force all target markers or the requested edge composition into view." }, "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 1\n - camera_cell: [1, 1]\n - look_at_unit: 4\n - look_at_cell: [7, 2]\n - lens_enum: 'wide'\n - fov_deg: 90\n - framing_notes: 'Broad static plate from unit 1 toward the unit 4 threshold region, with the exact permitted aim point at marker 5. S21_Shot1 requests a high interior overview. Candidate visibility lists are supersets, and the direction records use a different endpoint; neither full coverage of units 2 and 3 nor right-edge placement of marker 5 is certified.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Establish the visible portion of unit 1 toward unit 4 and base opening marker 5. Preserve the continuous, unpartitioned relationship of base units 2 and 3 wherever they enter the actual wide view. Units 2, 3, and 4 are visibility candidates, not a guarantee that every target fits this framing.\n - camera_framing_directive: Use camera unit 1 at [1, 1], looking toward unit 4 with the required look-at cell [7, 2], and wide 90-degree coverage. Retain the staged static overview intent. The exact aim lands on marker 5, so do not claim that the geometry supplies its requested right-edge placement or substitute an unlisted aim point.\n - subject_position_directive: Keep the clean background plate free of rendered subjects while preserving space for the committed S21_Shot1 staging: seven full-body figures at irregular intervals, one near center-left, two at differing central depths, one rear-left, and three across the remaining floor. Their lowered attention and varied resting poses belong to the consuming shot; preserve its unobstructed approach route without adding an arriving subject.\n - state_cue_directive: No committed background state cue beyond \"clean residential space\" applies to this clean plate; refrain from inventing additional cues and omit transient markers 6 and 7. Preserve the supplied subdued daytime interior illumination. The staged not-yet-opened condition of marker 5 belongs to the consuming shot rather than an invented permanent change.\n - negative_continuity_directive: Exclude markers 6 and 7, including ignored state overlays 6 and 7. Avoid adding partitions between units 2 and 3, moving marker 5, or treating candidate visibility supersets as committed visibility. Do not change the permitted coordinates to force all target markers or the requested edge composition into view.\n\n", "diagnostics": [] }, "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 1\n - camera_cell: [1, 1]\n - look_at_unit: 4\n - look_at_cell: [7, 2]\n - lens_enum: 'wide'\n - fov_deg: 90\n - framing_notes: 'Broad static plate from unit 1 toward the unit 4 threshold region, with the exact permitted aim point at marker 5. S21_Shot1 requests a high interior overview. Candidate visibility lists are supersets, and the direction records use a different endpoint; neither full coverage of units 2 and 3 nor right-edge placement of marker 5 is certified.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Establish the visible portion of unit 1 toward unit 4 and base opening marker 5. Preserve the continuous, unpartitioned relationship of base units 2 and 3 wherever they enter the actual wide view. Units 2, 3, and 4 are visibility candidates, not a guarantee that every target fits this framing.\n - camera_framing_directive: Use camera unit 1 at [1, 1], looking toward unit 4 with the required look-at cell [7, 2], and wide 90-degree coverage. Retain the staged static overview intent. The exact aim lands on marker 5, so do not claim that the geometry supplies its requested right-edge placement or substitute an unlisted aim point.\n - subject_position_directive: Keep the clean background plate free of rendered subjects while preserving space for the committed S21_Shot1 staging: seven full-body figures at irregular intervals, one near center-left, two at differing central depths, one rear-left, and three across the remaining floor. Their lowered attention and varied resting poses belong to the consuming shot; preserve its unobstructed approach route without adding an arriving subject.\n - state_cue_directive: No committed background state cue beyond \"clean residential space\" applies to this clean plate; refrain from inventing additional cues and omit transient markers 6 and 7. Preserve the supplied subdued daytime interior illumination. The staged not-yet-opened condition of marker 5 belongs to the consuming shot rather than an invented permanent change.\n - negative_continuity_directive: Exclude markers 6 and 7, including ignored state overlays 6 and 7. Avoid adding partitions between units 2 and 3, moving marker 5, or treating candidate visibility supersets as committed visibility. Do not change the permitted coordinates to force all target markers or the requested edge composition into view.\n\n", "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 1\n - camera_cell: [1, 1]\n - look_at_unit: 4\n - look_at_cell: [7, 2]\n - lens_enum: 'wide'\n - fov_deg: 90\n - framing_notes: 'Broad static plate from unit 1 toward the unit 4 threshold region, with the exact permitted aim point at marker 5. S21_Shot1 requests a high interior overview. Candidate visibility lists are supersets, and the direction records use a different endpoint; neither full coverage of units 2 and 3 nor right-edge placement of marker 5 is certified.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Establish the visible portion of unit 1 toward unit 4 and base opening marker 5. Preserve the continuous, unpartitioned relationship of base units 2 and 3 wherever they enter the actual wide view. Units 2, 3, and 4 are visibility candidates, not a guarantee that every target fits this framing.\n - camera_framing_directive: Use camera unit 1 at [1, 1], looking toward unit 4 with the required look-at cell [7, 2], and wide 90-degree coverage. Retain the staged static overview intent. The exact aim lands on marker 5, so do not claim that the geometry supplies its requested right-edge placement or substitute an unlisted aim point.\n - subject_position_directive: Keep the clean background plate free of rendered subjects while preserving space for the committed S21_Shot1 staging: seven full-body figures at irregular intervals, one near center-left, two at differing central depths, one rear-left, and three across the remaining floor. Their lowered attention and varied resting poses belong to the consuming shot; preserve its unobstructed approach route without adding an arriving subject.\n - state_cue_directive: No committed background state cue beyond \"clean residential space\" applies to this clean plate; refrain from inventing additional cues and omit transient markers 6 and 7. Preserve the supplied subdued daytime interior illumination. The staged not-yet-opened condition of marker 5 belongs to the consuming shot rather than an invented permanent change.\n - negative_continuity_directive: Exclude markers 6 and 7, including ignored state overlays 6 and 7. Avoid adding partitions between units 2 and 3, moving marker 5, or treating candidate visibility supersets as committed visibility. Do not change the permitted coordinates to force all target markers or the requested edge composition into view.\n\n20세기 초 대한제국 말기, 한반도 남부 농촌의 소박한 헛간 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실제 장소를 기록한 사진과 구별되지 않는 사실적인 배경으로 표현한다. 직사각형의 단일 실내이며, 북쪽부터 중앙까지 넓은 바닥이 이어지고 남동쪽 바닥도 칸막이 없이 같은 공간으로 연결된다. 남쪽 벽의 서쪽 끝 가까이에 있는 출입문 바로 안쪽, 문턱 부근에서 북동쪽 실내 끝을 바라본다. 가까운 화면 가장자리에 목재 문설주와 문턱 일부가 걸려 출입구와 내부 바닥의 관계를 보여준다. 넓은 바닥을 중심으로 구도를 잡고 남동쪽 공간까지 비어 있는 상태로 담는다.\n\n카메라는 높이 약 1.5미터의 서 있는 사람 눈높이에 두고, 35밀리미터 풀프레임 미러리스 카메라의 28밀리미터 광각 렌즈로 촬영한다. 과장된 원근 왜곡 없이 바닥에서 먼 벽으로 이어지는 실제 깊이와 자연스러운 피사계 심도를 유지한다. 당시 남부 농촌 헛간에 맞는 투박한 흙벽, 목재 출입문과 문설주, 단단하게 다져진 흙바닥을 표현한다. 흙의 입자와 무광 표면, 목재의 실제 나뭇결과 오랜 사용으로 매끈해진 가장자리가 자연스럽게 보인다.\n\n낮이지만 내부는 어둡다. 출입구에서 들어오는 제한적인 자연광이 문턱과 가까운 바닥을 밝히고, 실내 깊숙한 곳으로 갈수록 서서히 약해진다. 어두운 부분에도 흙과 나무의 질감이 희미하게 읽히며, 흙빛과 갈색은 실제 재료의 차분한 색 그대로 유지한다. 공간은 정돈되어 있고 흐트러짐 없이 고요하다. 사람, 얼굴, 사람 형태의 형상은 전혀 묘사하지 않는다. 인위적인 보정이나 장식적 조명 없이 실제 현장의 생활감과 재료 질감을 담으며, 광고용으로 말끔하게 꾸민 사진이나 컴퓨터 생성 이미지, 삽화, 건축 시각화가 아니다. 위에서 내려다보는 시점이나 평면도, 건축 도면이 아닌 수평에 가까운 눈높이 사진이다. 16:9 가로 비율, 실제 카메라 촬영본", "camera_decision": { "camera_unit": 1, "camera_cell": [ 1, 1 ], "look_at_unit": 4, "look_at_cell": [ 7, 2 ], "lens_enum": "wide", "fov_deg": 90, "framing_notes": "Broad static plate from unit 1 toward the unit 4 threshold region, with the exact permitted aim point at marker 5. S21_Shot1 requests a high interior overview. Candidate visibility lists are supersets, and the direction records use a different endpoint; neither full coverage of units 2 and 3 nor right-edge placement of marker 5 is certified." }, "shot_aware_plan_node_index": 0, "shot_aware_plan_mode": "fp_seeded_anchor", "render_guidance": { "visible_space_directive": "Establish the visible portion of unit 1 toward unit 4 and base opening marker 5. Preserve the continuous, unpartitioned relationship of base units 2 and 3 wherever they enter the actual wide view. Units 2, 3, and 4 are visibility candidates, not a guarantee that every target fits this framing.", "camera_framing_directive": "Use camera unit 1 at [1, 1], looking toward unit 4 with the required look-at cell [7, 2], and wide 90-degree coverage. Retain the staged static overview intent. The exact aim lands on marker 5, so do not claim that the geometry supplies its requested right-edge placement or substitute an unlisted aim point.", "subject_position_directive": "Keep the clean background plate free of rendered subjects while preserving space for the committed S21_Shot1 staging: seven full-body figures at irregular intervals, one near center-left, two at differing central depths, one rear-left, and three across the remaining floor. Their lowered attention and varied resting poses belong to the consuming shot; preserve its unobstructed approach route without adding an arriving subject.", "state_cue_directive": "No committed background state cue beyond \"clean residential space\" applies to this clean plate; refrain from inventing additional cues and omit transient markers 6 and 7. Preserve the supplied subdued daytime interior illumination. The staged not-yet-opened condition of marker 5 belongs to the consuming shot rather than an invented permanent change.", "negative_continuity_directive": "Exclude markers 6 and 7, including ignored state overlays 6 and 7. Avoid adding partitions between units 2 and 3, moving marker 5, or treating candidate visibility supersets as committed visibility. Do not change the permitted coordinates to force all target markers or the requested edge composition into view." }, "attached_reference_lineage": { "fp_id": "fp_isolated_barn", "prior_bg_ids": [], "attached_ref_labels": [ "fp:fp_isolated_barn" ], "ref_used": "fp_only", "db_write_policy": "checkpoint_only" } }, "L18B01": { "status": "ok", "is_reuse": true, "render_action": "reuse_existing_plate", "reuse_target_bg_id": "L18B03", "reused_from_bg_id": "L18B03", "location_id": "L18", "location_name": "", "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/background_chain/L18B03.png", "t2i_prompt": "20세기 초 대한제국 말기 한반도 남부 농촌 헛간의 어두운 낮 실내를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 바닥 중심의 가까운 구도다. 참고 평면도는 공간의 위치 관계만 파악하는 자료로 사용한다. 남동쪽 식사 자리의 동쪽 가장자리에서 서쪽을 향해 바닥을 비스듬히 내려다보며, 그 너머로 북쪽과 중앙의 넓은 휴식 바닥 일부가 이어진다. 두 바닥 영역 사이에는 칸막이가 없다. 실제 미러리스 카메라와 35밀리미터급 렌즈를 사용하고, 약 1.6미터의 서 있는 눈높이에서 아래로 기울여 촬영한다. 수직으로 내려다보는 항공 시점이 아니라 바닥의 거리감과 사선 원근이 드러나는 구도이며, 보자기 주변을 중심으로 좁게 잡는다.\n식사 자리 중앙 부근의 다져진 흙바닥에 소박한 직물 보자기가 임시로 펼쳐져 있고, 그 위에는 식사 중 남아 있는 주먹밥이 놓여 있다. 보자기는 바닥의 미세한 굴곡을 따라 눌리고 접힌 자국과 자연스러운 가장자리 주름이 보인다. 거친 직물의 짜임과 손으로 뭉친 주먹밥의 불규칙한 윤곽, 서로 붙어 있는 쌀알이 실제 크기와 질감으로 드러난다. 보자기와 주먹밥을 초점의 중심에 두되 화면 여러 가장자리에는 여유 바닥을 남긴다. 사람, 손을 비롯한 신체 일부, 얼굴, 사람 형태의 형상은 전혀 담지 않는다.\n실내에 간접적으로 들어오는 약한 낮빛만으로 보자기와 음식의 형태가 식별되며 주변 바닥은 어둡게 이어진다. 남부 농촌 헛간의 오래 다져진 흙 표면과 일상적인 마모, 보자기의 낡은 섬유 질감을 과장 없이 기록한다. 절제된 흙빛과 낮은 채도, 실제 어두운 실내에 맞는 자연스러운 명암 및 심도를 유지한다. 별도의 장식이나 생활 집기를 덧붙이지 않는다. 매끈한 광고 사진이 아닌 실제 현장 기록 사진으로, 인위적인 색 보정이나 도식적 표현 없이 촬영한 모습이다. 16:9 가로 비율, 실제 카메라 촬영본", "shot_guides": [ { "shot_id": "S21_Shot7", "guide_text": "식사 자리 동쪽에서 서쪽을 향해 비스듬히 내려다보는 바닥 중심 삽입 화면. 보자기와 그 위의 주먹밥을 선명하게 두고, 화면 위쪽에는 이어지는 휴식 바닥 일부만 보이게 한다. 여러 방향의 후속 동작을 수용할 수 있도록 보자기 둘레와 화면 가장자리에 공간을 남기되, 배경 자체에는 손이나 다른 신체 일부를 그리지 않는다. 어두운 낮의 간접 자연광과 기존 바닥 위치를 유지한다." } ], "shot_ids": [ "S21_Shot7" ], "scenes": [], "parent_id": "L18B03", "ref_used": "reused_plate", "render_attempts": 0, "render_error": "", "variant_label": "", "floor_plan_used": false, "camera_recommendations": { "camera_position": "At the eastern edge of number 3, facing west and steeply downward toward numbers 6 and 7, with the adjoining edge of number 2 beyond.", "camera_height": "Low standing position, approximately 1.2 m, angled downward", "lens_hint": "50mm normal lens", "framing_notes": "Tight floor-centered meal insert. Make the unfolded cloth and rice balls the focal surface, leaving room for hands entering from multiple sides. Preserve the established floor position and dim daytime conditions; the entrance is outside this crop, not relocated." }, "reference_decision": { "mode": "reference_derived", "render_action": "reuse_existing_plate", "reuse_target_bg_id": "L18B03", "selected_refs": [ { "ref_bg_id": "L18B03", "physical_space_id": "fp_isolated_barn:space_1", "space_description": "Continuous enclosure identified by base unit 1, including unpartitioned units 2 and 3 and threshold unit 4." } ] }, "shot_aware_plan_node_index": 1, "shot_aware_plan_mode": "reference_derived", "render_guidance": { "visible_space_directive": "Keep the visible enclosure boundary, continuous floor of units 2 and 3, and opening marker 5 in their L18B03 positions. Show only the portion supported by the inherited unit 1-to-unit 4 wide view; use target surfaces 2 and 3 where visible rather than shifting their layout to satisfy the close crop.", "camera_framing_directive": "Preserve camera unit 1 at [1, 1], look-at unit 4 at the permitted [7, 2] aim point, and wide 90-degree background coverage. The consuming shot's close framing places the transient central arrangement within its central third; this is a shot-layer crop, not a newly specified camera-cell or lens change. Do not infer an unsupported downward projection from the grid.", "subject_position_directive": "For the consuming close composition, preserve room for four reaching forearms entering from different frame edges, with uneven finger spreads and different arrival phases directed toward markers 6 and 7. Keep full bodies outside that crop and retain visible surrounding floor. Treat these committed gestures as scene-layer content rather than fixed background identity.", "state_cue_directive": "Describe transient marker 6 as unfolded and open and marker 7 as exposed and not yet taken, using elements 2, 3, 6, and 7. Keep their scale compact within the consuming shot's central third. Retain the supplied dim illumination, restrained saturation, and tonal separation; these transient additions do not alter the underlying structure.", "negative_continuity_directive": "No numbered elements or state overlays are explicitly ignored for this BG. Avoid moving base markers 2, 3, or 5 relative to L18B03, introducing a partition between units 2 and 3, or converting markers 6 and 7 into permanent fixtures. Do not expose out-of-cone structure merely to accommodate the consuming crop." }, "attached_reference_lineage": { "fp_id": "fp_isolated_barn", "prior_bg_ids": [ "L18B03" ], "attached_ref_labels": [ "bg:L18B03" ], "ref_used": "reused_plate", "db_write_policy": "checkpoint_only" } }, "L18B02": { "status": "ok", "is_reuse": true, "render_action": "reuse_existing_plate", "reuse_target_bg_id": "L18B03", "reused_from_bg_id": "L18B03", "location_id": "L18", "location_name": "", "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/background_chain/L18B03.png", "t2i_prompt": "실제 미러리스 카메라와 35밀리미터급 렌즈로 촬영한 다큐멘터리 풍 사진. 20세기 초 대한제국 말기 한반도 남부 농촌의 소박한 헛간 내부를 담은 실제 장소 기록 사진처럼 표현한다. 사람, 얼굴, 인체 형태의 형상 없이 공간과 식사 흔적만 보인다.\n\n직사각형 헛간의 남동쪽 공동 식사 바닥 남쪽 가장자리에서 북쪽을 바라본다. 카메라는 선 사람의 눈높이인 약 1.6미터에 두고 약하게 위로 기울이며, 중앙에는 비어 있는 공간과 그 뒤로 이어지는 북쪽 벽을 담는다. 남동쪽 식사 자리와 북쪽 및 중앙의 넓은 휴식 바닥은 칸막이 없이 하나의 내부로 연결된다. 아래쪽 화면 가장자리에 가까운 식사 바닥이 좁게 걸리도록 구도를 잡는다. 평면도는 공간의 연결과 위치를 파악하는 자료로만 사용하고, 내려다보는 시점이나 도면 형태로 표현하지 않는다.\n\n헛간 외곽을 이루는 투박한 흙벽과 목재 면에는 오래된 흙의 입자감과 실제 나뭇결, 일상적인 마모와 묵은 얼룩이 자연스럽게 남아 있다. 단단하게 다져진 흙바닥은 광택 없이 불균일한 표면을 보인다. 당시 농촌 건물에 어울리는 가공이 적은 재료와 소박한 구조를 유지하며 새로운 가구나 설비를 덧붙이지 않는다. 실내로 약하게 스며드는 낮의 자연광만으로 어두운 내부가 드러나고, 북쪽 벽으로 갈수록 밝기가 완만하게 낮아진다. 그늘 속 재료의 질감이 실제 카메라 노출 범위 안에서 읽히도록 하며, 조명이나 건축 상태가 달라진 느낌을 만들지 않는다.\n\n남동쪽 식사 자리의 가운데 부근 바닥에는 식사용 천이 펼쳐져 있다. 천 위에는 식사 도중 남아 있는 주먹밥이 놓여 있으며, 화면 하단에서 천과 주먹밥의 일부를 함께 확인할 수 있다. 천의 자연스러운 주름과 거친 직조, 밥알의 소박하고 불균일한 질감을 사실적으로 담는다. 식사 전처럼 새로 정돈하거나 음식을 가득 채우지 않고, 아직 끝나지 않은 식사 자리를 그대로 유지한다.\n\n흙과 목재 본래의 절제된 색, 실제 어두운 낮 실내에 맞는 명암, 자연스러운 심도를 사용한다. 과도한 보정이나 인위적인 조명 없이 실제 현장을 촬영한 사진이어야 하며, 삽화나 컴퓨터 생성 건축 이미지처럼 보이지 않게 한다. 16:9 가로 비율, 실제 카메라 촬영본", "shot_guides": [ { "shot_id": "S21_Shot16", "guide_text": "남동쪽 식사 자리의 남쪽에서 북쪽 휴식 바닥과 벽을 바라보는 빈 배경으로 구성한다. 중앙의 세로 공간을 비워 두고, 뒤쪽에는 동일한 어두운 헛간 내부가 끊김 없이 이어지게 한다. 식사용 천과 남은 주먹밥은 화면 아래 가장자리에 좁게 포함한다. 식사 도중의 배치를 유지하며 조명, 벽, 바닥의 상태를 바꾸지 않는다. 인물이나 사람 모양의 그림자는 그리지 않는다." } ], "shot_ids": [ "S21_Shot16" ], "scenes": [], "parent_id": "L18B03", "ref_used": "reused_plate", "render_attempts": 0, "render_error": "", "variant_label": "", "floor_plan_used": false, "camera_recommendations": { "camera_position": "Near the south edge of number 3, facing north toward its junction with number 2 and the northern enclosure of number 1.", "camera_height": "Seated eye level, approximately 1.1 m, with a slight upward tilt", "lens_hint": "35mm moderate wide angle", "framing_notes": "Allow a frontal view of a standing man at the northern edge of the food floor looking down toward a seated companion near the camera. The same resting floor and north wall continue behind him. Retain a narrow lower-frame glimpse of numbers 6 and 7 during the unfinished meal; do not reset the cloth or food to a pre-meal state. Keep architecture and dim daytime illumination unchanged." }, "reference_decision": { "mode": "reference_derived", "render_action": "reuse_existing_plate", "reuse_target_bg_id": "L18B03", "selected_refs": [ { "ref_bg_id": "L18B03", "physical_space_id": "fp_isolated_barn:space_1", "space_description": "Continuous enclosure identified by base unit 1, including unpartitioned units 2 and 3 and threshold unit 4." } ] }, "shot_aware_plan_node_index": 2, "shot_aware_plan_mode": "reference_derived", "render_guidance": { "visible_space_directive": "Preserve L18B03's unit 1 boundary, the continuous floor relationship of units 2 and 3, and marker 5's fixed position. Only a narrow portion of this inherited background should remain exposed behind the committed close subject composition. Do not force all target markers into that exposed portion.", "camera_framing_directive": "Use camera unit 1 at [1, 1], look-at unit 4 with exact look-at cell [7, 2], and wide 90-degree base coverage matching L18B03. Distinguish this broad reusable plate from the consuming shot's close over-shoulder crop. Preserve the staged off-gaze-axis intent without inventing a new grid position or claiming that the readback resolves subject-relative height.", "subject_position_directive": "Reserve center-right for the committed three-quarter face with lowered chin and a small lifting mouth corner; retain the other subject's shoulder and small rear head portion at the lower-left edge, with her head tipped upward. Preserve the staged swollen eye and split lip as subject-layer details and keep the background unobtrusive. Add no subjects beyond the two committed to this shot.", "state_cue_directive": "Use base elements 1, 2, and 3 and retain transient marker identities 6 and 7 as specified by the dossier. Their placement within this close shot is not committed, so do not force them into the narrow exposed background or invent a changed condition. Preserve dim illumination, gentle facial separation, and subdued contrast.", "negative_continuity_directive": "No numbered elements or overlays are explicitly ignored for this BG. Avoid relocating markers 1, 2, 3, or 5 relative to L18B03, importing L18B01's transient arrangement as fixed layout, or inserting markers 6 and 7 into an unsupported visible position. Keep structure outside the inherited view cone out of frame." }, "attached_reference_lineage": { "fp_id": "fp_isolated_barn", "prior_bg_ids": [ "L18B03" ], "attached_ref_labels": [ "bg:L18B03" ], "ref_used": "reused_plate", "db_write_policy": "checkpoint_only" } }, "L20B01": { "status": "ok", "is_reuse": false, "render_action": "render_new_plate", "location_id": "L20", "location_name": "", "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/background_chain/L20B01.png", "t2i_prompt": "20세기 초 대한제국 말기, 전라남도 농촌의 전통 곳간 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 직사각형 저장 공간이다. 배치 참조 이미지에서 벽체와 출입구, 통로와 적재 구역의 위치 관계만 가져와 실제 공간의 눈높이 시점으로 보여준다. 남쪽 출입문 바로 바깥 문턱에 카메라를 놓고 북쪽 실내를 바라본다. 촬영 높이는 약 1.6미터, 35밀리미터 규격 감광면의 미러리스 카메라와 28밀리미터 광각 렌즈를 사용한 자연스러운 원근감이다. 내려다보는 구도나 도면 시점이 아닌 수평에 가까운 안정된 넓은 구도로, 화면 아래 가까운 문턱부터 안쪽 적재 공간까지 담는다.\n\n오래된 목재와 흙벽으로 이루어진 소박한 농촌 곳간의 재료감을 표현한다. 남쪽 벽 중앙의 나무 출입문은 열려 있고, 열린 문 가장자리가 전경에 보이며 출입구에서 안쪽으로 이어지는 흙바닥 통로는 넓게 비어 있다. 왼쪽 서쪽 벽에는 쌀가마니가 쌓여 있고, 오른쪽 뒤편 북동쪽에는 씨나락 자루가 모여 있다. 양쪽 적재 구역으로 접근할 여유를 남긴다. 오른쪽 가까운 남동쪽 벽의 보관 구역에는 은비녀와 유기그릇이 한데 놓여 있으며, 문이 열리는 범위와 통로를 침범하지 않는다. 별도 보관 가구는 덧붙이지 않는다.\n\n출입문 바깥 문턱 옆, 주된 보행선에서 비켜난 흙바닥에는 부서진 무쇠 자물쇠가 놓여 있다. 실제 크기의 자물쇠가 화면 아래 전경에서 식별되도록 한다. 오른쪽 뒤 씨나락 자루 중 통로를 향한 면에 ‘최 서방 종자’, ‘이 씨 볍씨’라는 먹글씨가 보인다. 글씨는 거친 자루 표면에 직접 스며든 손글씨로, 섬유 결과 주름을 따라 자연스럽게 휘어지며 공중에 뜬 표찰이나 화면 자막처럼 보이지 않는다. 통로 남쪽 끝 부근에서 출입 여유와 자루로부터의 안전거리를 둔 관솔불이 타고 있다. 불을 드는 사람은 없으며, 불의 고정 방식은 눈에 띄는 새로운 설비로 강조하지 않는다.\n\n깊은 밤, 관솔불의 실제 불꽃이 주된 광원이다. 가까운 문틀과 흙바닥, 은과 유기의 표면에 따뜻한 빛이 닿고 안쪽으로 갈수록 빛이 약해진다. 어두운 곳도 자루의 윤곽과 중앙 통로의 깊이를 알아볼 수 있는 현실적인 노출로 촬영한다. 무쇠의 산화된 표면과 파손부, 유기의 둔한 광택, 은의 잔흠집, 볏짚 가마니의 엮임, 자루의 거친 직물 결, 목재의 나뭇결과 오래된 마모, 다져진 흙바닥의 생활 얼룩을 사실적으로 담는다. 흙빛과 목재색을 중심으로 실제 조명에서 생기는 절제된 색과 명암, 자연스러운 피사계 심도를 유지한다. 과도한 보정이나 인위적인 광택 없이 실제 현장 기록 사진처럼 보이게 한다. 사람, 얼굴, 인체 형상, 사람 모양 그림자는 전혀 없다. 삽화나 컴퓨터 생성 입체 영상, 건축 시각화가 아닌 실제 사진이며 지나치게 말끔한 광고 사진처럼 만들지 않는다. 16:9 가로 비율, 실제 카메라 촬영본", "shot_guides": [ { "shot_id": "S22_Shot2", "guide_text": "문턱 바깥에서 실내를 바라보는 고정된 넓은 배경을 사용한다. 아래 전경의 열린 문 가장자리와 문턱 옆 자물쇠, 왼쪽 쌀가마니와 오른쪽 뒤 씨나락 자루가 함께 보이게 한다. 중앙 통로를 비워 두고 인물이나 추가 행동 소품은 배경에 포함하지 않는다." }, { "shot_id": "S22_Shot9", "guide_text": "동일한 눈높이와 시선 방향, 관솔불의 위치와 밝기를 유지한다. 중앙의 빈 공간과 양쪽 적재 구역의 관계가 읽히게 하며, 자루의 먹글씨는 오른쪽 뒤 실제 직물 표면에만 남긴다. 배경에 새로운 이동 상태나 물체의 위치 변화를 추가하지 않는다." }, { "shot_id": "S22_Shot11", "guide_text": "같은 넓은 배경과 적재 상태를 유지한다. 출입구에서 중앙 통로를 거쳐 씨나락 자루 구역에 이르는 경로가 이어져 보이게 하고, 오른쪽 가까운 은비녀와 유기그릇도 유지한다. 운반 중인 자루나 인체 형상을 배경 자체에 그리지 않는다." } ], "shot_ids": [ "S22_Shot2", "S22_Shot9", "S22_Shot11" ], "scenes": [], "parent_id": "", "ref_used": "fp_only", "render_attempts": 1, "render_error": "", "variant_label": "", "floor_plan_used": true, "camera_recommendations": { "camera_position": "At number 3 (exterior threshold), just south of number 2 (entry door), facing north through number 4 (central aisle), with number 5 (rice storage) on the left, number 6 (seed storage) at the rear right, and number 7 (valuables footprint) on the right.", "camera_height": "Eye-level standing, approximately 1.6 m", "lens_hint": "24–28 mm wide angle", "framing_notes": "Use one stable wide background for all assigned shots. Keep the open entry edge and broken padlock in the lower foreground, preserve the clear central confrontation space, and retain both sack storage units and the loose valuables. Seed sack inscriptions belong on the actual sack surfaces, not as floating labels. Depict the night and pine-torch illumination only in the downstream background, never in the floor plan. Do not bake actors, weapons, carried sacks, or a falling pose into the background." }, "reference_decision": { "bg_id": "L20B01", "fp_id": "fp_l20_storehouse", "node_index": 0, "mode": "fp_seeded_anchor", "is_dwelling_identity_anchor": true, "rationale": "L20B01 is the sole ready BG and the sole permitted anchor candidate. Select it under the supplied ramped fallback despite clean_background_expected=false and its five transient markers. No prior references exist. Camera unit 5 provides an interior position diagonally beside the entry path, with wide coverage toward opening 2 and unit 3 for S22_Shot2. S22_Shot9 and S22_Shot11 retain this structural identity, but their close and medium staging must not be represented as simultaneously satisfied by this single wide plate.", "reference_paths": [ "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/floor_plan/fp_l20_storehouse.png" ], "source_bg_ids": [], "fp_included": true, "reference_decision": { "selected_refs": [], "rejected_refs": [], "same_physical_space_dedup_decision": "no_prior_reference", "why_single_ref_or_two_refs": "The candidate catalog is empty and this is the first and only node; establish identity directly from base markers 1 through 7 without a reference.", "physical_space_id_per_ref": [], "same_physical_space_low_delta_candidate": false, "low_delta_reuse_target_bg_id": "", "low_delta_rationale": "" }, "camera_decision": { "camera_unit": 5, "camera_cell": [ 4, 2 ], "look_at_unit": 3, "look_at_cell": [ 7, 5 ], "lens_enum": "wide", "fov_deg": 90, "framing_notes": "Interior oblique entry-oriented establishing plate. Both coordinates are copied from the unit-5 candidate arrays. The exact look-at cell is opening 2, directed toward unit 3 beyond it; it is not the unit-3 marker cell. Use broad coverage rather than the close framing of S22_Shot9. The supplied coordinate restrictions do not establish the upper-left placement requested for opening 2 in S22_Shot2, and the discrete plate does not encode the consuming shots' changing heights or tracking stages." }, "render_guidance": { "visible_space_directive": "Establish the visible portion of enclosure 1 from unit 5 toward opening 2 and unit 3. Preserve opening 2 at the south-wall connection between units 4 and 3, unit 5 along the west wall, and unit 7 against the southeast wall outside the opening clearance. Unit 4 lies at the lateral edge of this broad view. Keep unit 6 in its northeast base-plan position without forcing it into this entry-facing frame. Visibility candidates are supersets, not proof that all target units or the full exterior are visible.", "camera_framing_directive": "Use camera_unit 5 at camera_cell [4, 2], looking toward look_at_unit 3 through look_at_cell [7, 5], with a wide lens and fov_deg 90. Provide broad, oblique coverage of opening 2 and the adjacent interior rather than compressed close coverage. Preserve the entry path for the full-body staging of S22_Shot2. Treat this as the representative fixed plate, not as simultaneous reproduction of the distinct close and medium framings in S22_Shot9 and S22_Shot11.", "subject_position_directive": "Keep subject placement shot-specific rather than combining the three staged moments. S22_Shot2 commits one entering subject in the central midground and three followers within opening 2 at unequal depths, with the camera-side path clear. S22_Shot9 commits a left-profile subject and a right-side subject in a close confrontation; that close arrangement is not the framing of this wide plate. S22_Shot11 commits a central upper-body subject with a supported load limited to the upper-right third in its consuming frame. Preserve these staging spaces without inventing additional subjects or assigning uncommitted floor-plan cells.", "state_cue_directive": "clean_background_expected is false. Carry marker 11, Open entry door state, as fully open for the entry staging. Retain the committed pine-knot firelight, restrained saturation, and nighttime contrast associated with marker 12, Burning pine torch; no precise placement for marker 12 is supplied. Markers 8, Silver hairpins and brass bowls, and 9, Broken iron padlock, are authorized transient elements but have no committed screen positions; do not invent prominent placements. Marker 10, Seed sack ownership inscriptions, remains a state overlay rather than fixed signage; S22_Shot11 explicitly presents no inscription to the camera. Preserve the staged piles where visible without relocating their base units to display every overlay.", "negative_continuity_directive": "The ignore and ignored-overlay lists are empty. Avoid relocating base markers 2, 5, 6, or 7 to fit all target markers into one frame. Do not force unit 6 or other out-of-cone regions into this entry-facing view, treat visibility supersets as guaranteed sightlines, or invent additional openings. Do not promote markers 8 through 12 into permanent structural identity. Avoid imposing marker 10 on the camera-facing surface in S22_Shot11 or merging the different consuming-shot subject states into one plate." }, "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 5\n - camera_cell: [4, 2]\n - look_at_unit: 3\n - look_at_cell: [7, 5]\n - lens_enum: 'wide'\n - fov_deg: 90\n - framing_notes: \"Interior oblique entry-oriented establishing plate. Both coordinates are copied from the unit-5 candidate arrays. The exact look-at cell is opening 2, directed toward unit 3 beyond it; it is not the unit-3 marker cell. Use broad coverage rather than the close framing of S22_Shot9. The supplied coordinate restrictions do not establish the upper-left placement requested for opening 2 in S22_Shot2, and the discrete plate does not encode the consuming shots' changing heights or tracking stages.\"\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Establish the visible portion of enclosure 1 from unit 5 toward opening 2 and unit 3. Preserve opening 2 at the south-wall connection between units 4 and 3, unit 5 along the west wall, and unit 7 against the southeast wall outside the opening clearance. Unit 4 lies at the lateral edge of this broad view. Keep unit 6 in its northeast base-plan position without forcing it into this entry-facing frame. Visibility candidates are supersets, not proof that all target units or the full exterior are visible.\n - camera_framing_directive: Use camera_unit 5 at camera_cell [4, 2], looking toward look_at_unit 3 through look_at_cell [7, 5], with a wide lens and fov_deg 90. Provide broad, oblique coverage of opening 2 and the adjacent interior rather than compressed close coverage. Preserve the entry path for the full-body staging of S22_Shot2. Treat this as the representative fixed plate, not as simultaneous reproduction of the distinct close and medium framings in S22_Shot9 and S22_Shot11.\n - subject_position_directive: Keep subject placement shot-specific rather than combining the three staged moments. S22_Shot2 commits one entering subject in the central midground and three followers within opening 2 at unequal depths, with the camera-side path clear. S22_Shot9 commits a left-profile subject and a right-side subject in a close confrontation; that close arrangement is not the framing of this wide plate. S22_Shot11 commits a central upper-body subject with a supported load limited to the upper-right third in its consuming frame. Preserve these staging spaces without inventing additional subjects or assigning uncommitted floor-plan cells.\n - state_cue_directive: clean_background_expected is false. Carry marker 11, Open entry door state, as fully open for the entry staging. Retain the committed pine-knot firelight, restrained saturation, and nighttime contrast associated with marker 12, Burning pine torch; no precise placement for marker 12 is supplied. Markers 8, Silver hairpins and brass bowls, and 9, Broken iron padlock, are authorized transient elements but have no committed screen positions; do not invent prominent placements. Marker 10, Seed sack ownership inscriptions, remains a state overlay rather than fixed signage; S22_Shot11 explicitly presents no inscription to the camera. Preserve the staged piles where visible without relocating their base units to display every overlay.\n - negative_continuity_directive: The ignore and ignored-overlay lists are empty. Avoid relocating base markers 2, 5, 6, or 7 to fit all target markers into one frame. Do not force unit 6 or other out-of-cone regions into this entry-facing view, treat visibility supersets as guaranteed sightlines, or invent additional openings. Do not promote markers 8 through 12 into permanent structural identity. Avoid imposing marker 10 on the camera-facing surface in S22_Shot11 or merging the different consuming-shot subject states into one plate.\n\n", "diagnostics": [] }, "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 5\n - camera_cell: [4, 2]\n - look_at_unit: 3\n - look_at_cell: [7, 5]\n - lens_enum: 'wide'\n - fov_deg: 90\n - framing_notes: \"Interior oblique entry-oriented establishing plate. Both coordinates are copied from the unit-5 candidate arrays. The exact look-at cell is opening 2, directed toward unit 3 beyond it; it is not the unit-3 marker cell. Use broad coverage rather than the close framing of S22_Shot9. The supplied coordinate restrictions do not establish the upper-left placement requested for opening 2 in S22_Shot2, and the discrete plate does not encode the consuming shots' changing heights or tracking stages.\"\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Establish the visible portion of enclosure 1 from unit 5 toward opening 2 and unit 3. Preserve opening 2 at the south-wall connection between units 4 and 3, unit 5 along the west wall, and unit 7 against the southeast wall outside the opening clearance. Unit 4 lies at the lateral edge of this broad view. Keep unit 6 in its northeast base-plan position without forcing it into this entry-facing frame. Visibility candidates are supersets, not proof that all target units or the full exterior are visible.\n - camera_framing_directive: Use camera_unit 5 at camera_cell [4, 2], looking toward look_at_unit 3 through look_at_cell [7, 5], with a wide lens and fov_deg 90. Provide broad, oblique coverage of opening 2 and the adjacent interior rather than compressed close coverage. Preserve the entry path for the full-body staging of S22_Shot2. Treat this as the representative fixed plate, not as simultaneous reproduction of the distinct close and medium framings in S22_Shot9 and S22_Shot11.\n - subject_position_directive: Keep subject placement shot-specific rather than combining the three staged moments. S22_Shot2 commits one entering subject in the central midground and three followers within opening 2 at unequal depths, with the camera-side path clear. S22_Shot9 commits a left-profile subject and a right-side subject in a close confrontation; that close arrangement is not the framing of this wide plate. S22_Shot11 commits a central upper-body subject with a supported load limited to the upper-right third in its consuming frame. Preserve these staging spaces without inventing additional subjects or assigning uncommitted floor-plan cells.\n - state_cue_directive: clean_background_expected is false. Carry marker 11, Open entry door state, as fully open for the entry staging. Retain the committed pine-knot firelight, restrained saturation, and nighttime contrast associated with marker 12, Burning pine torch; no precise placement for marker 12 is supplied. Markers 8, Silver hairpins and brass bowls, and 9, Broken iron padlock, are authorized transient elements but have no committed screen positions; do not invent prominent placements. Marker 10, Seed sack ownership inscriptions, remains a state overlay rather than fixed signage; S22_Shot11 explicitly presents no inscription to the camera. Preserve the staged piles where visible without relocating their base units to display every overlay.\n - negative_continuity_directive: The ignore and ignored-overlay lists are empty. Avoid relocating base markers 2, 5, 6, or 7 to fit all target markers into one frame. Do not force unit 6 or other out-of-cone regions into this entry-facing view, treat visibility supersets as guaranteed sightlines, or invent additional openings. Do not promote markers 8 through 12 into permanent structural identity. Avoid imposing marker 10 on the camera-facing surface in S22_Shot11 or merging the different consuming-shot subject states into one plate.\n\n", "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 5\n - camera_cell: [4, 2]\n - look_at_unit: 3\n - look_at_cell: [7, 5]\n - lens_enum: 'wide'\n - fov_deg: 90\n - framing_notes: \"Interior oblique entry-oriented establishing plate. Both coordinates are copied from the unit-5 candidate arrays. The exact look-at cell is opening 2, directed toward unit 3 beyond it; it is not the unit-3 marker cell. Use broad coverage rather than the close framing of S22_Shot9. The supplied coordinate restrictions do not establish the upper-left placement requested for opening 2 in S22_Shot2, and the discrete plate does not encode the consuming shots' changing heights or tracking stages.\"\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Establish the visible portion of enclosure 1 from unit 5 toward opening 2 and unit 3. Preserve opening 2 at the south-wall connection between units 4 and 3, unit 5 along the west wall, and unit 7 against the southeast wall outside the opening clearance. Unit 4 lies at the lateral edge of this broad view. Keep unit 6 in its northeast base-plan position without forcing it into this entry-facing frame. Visibility candidates are supersets, not proof that all target units or the full exterior are visible.\n - camera_framing_directive: Use camera_unit 5 at camera_cell [4, 2], looking toward look_at_unit 3 through look_at_cell [7, 5], with a wide lens and fov_deg 90. Provide broad, oblique coverage of opening 2 and the adjacent interior rather than compressed close coverage. Preserve the entry path for the full-body staging of S22_Shot2. Treat this as the representative fixed plate, not as simultaneous reproduction of the distinct close and medium framings in S22_Shot9 and S22_Shot11.\n - subject_position_directive: Keep subject placement shot-specific rather than combining the three staged moments. S22_Shot2 commits one entering subject in the central midground and three followers within opening 2 at unequal depths, with the camera-side path clear. S22_Shot9 commits a left-profile subject and a right-side subject in a close confrontation; that close arrangement is not the framing of this wide plate. S22_Shot11 commits a central upper-body subject with a supported load limited to the upper-right third in its consuming frame. Preserve these staging spaces without inventing additional subjects or assigning uncommitted floor-plan cells.\n - state_cue_directive: clean_background_expected is false. Carry marker 11, Open entry door state, as fully open for the entry staging. Retain the committed pine-knot firelight, restrained saturation, and nighttime contrast associated with marker 12, Burning pine torch; no precise placement for marker 12 is supplied. Markers 8, Silver hairpins and brass bowls, and 9, Broken iron padlock, are authorized transient elements but have no committed screen positions; do not invent prominent placements. Marker 10, Seed sack ownership inscriptions, remains a state overlay rather than fixed signage; S22_Shot11 explicitly presents no inscription to the camera. Preserve the staged piles where visible without relocating their base units to display every overlay.\n - negative_continuity_directive: The ignore and ignored-overlay lists are empty. Avoid relocating base markers 2, 5, 6, or 7 to fit all target markers into one frame. Do not force unit 6 or other out-of-cone regions into this entry-facing view, treat visibility supersets as guaranteed sightlines, or invent additional openings. Do not promote markers 8 through 12 into permanent structural identity. Avoid imposing marker 10 on the camera-facing surface in S22_Shot11 or merging the different consuming-shot subject states into one plate.\n\n20세기 초 대한제국 말기, 전라남도 농촌의 전통 곳간 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 직사각형 저장 공간이다. 배치 참조 이미지에서 벽체와 출입구, 통로와 적재 구역의 위치 관계만 가져와 실제 공간의 눈높이 시점으로 보여준다. 남쪽 출입문 바로 바깥 문턱에 카메라를 놓고 북쪽 실내를 바라본다. 촬영 높이는 약 1.6미터, 35밀리미터 규격 감광면의 미러리스 카메라와 28밀리미터 광각 렌즈를 사용한 자연스러운 원근감이다. 내려다보는 구도나 도면 시점이 아닌 수평에 가까운 안정된 넓은 구도로, 화면 아래 가까운 문턱부터 안쪽 적재 공간까지 담는다.\n\n오래된 목재와 흙벽으로 이루어진 소박한 농촌 곳간의 재료감을 표현한다. 남쪽 벽 중앙의 나무 출입문은 열려 있고, 열린 문 가장자리가 전경에 보이며 출입구에서 안쪽으로 이어지는 흙바닥 통로는 넓게 비어 있다. 왼쪽 서쪽 벽에는 쌀가마니가 쌓여 있고, 오른쪽 뒤편 북동쪽에는 씨나락 자루가 모여 있다. 양쪽 적재 구역으로 접근할 여유를 남긴다. 오른쪽 가까운 남동쪽 벽의 보관 구역에는 은비녀와 유기그릇이 한데 놓여 있으며, 문이 열리는 범위와 통로를 침범하지 않는다. 별도 보관 가구는 덧붙이지 않는다.\n\n출입문 바깥 문턱 옆, 주된 보행선에서 비켜난 흙바닥에는 부서진 무쇠 자물쇠가 놓여 있다. 실제 크기의 자물쇠가 화면 아래 전경에서 식별되도록 한다. 오른쪽 뒤 씨나락 자루 중 통로를 향한 면에 ‘최 서방 종자’, ‘이 씨 볍씨’라는 먹글씨가 보인다. 글씨는 거친 자루 표면에 직접 스며든 손글씨로, 섬유 결과 주름을 따라 자연스럽게 휘어지며 공중에 뜬 표찰이나 화면 자막처럼 보이지 않는다. 통로 남쪽 끝 부근에서 출입 여유와 자루로부터의 안전거리를 둔 관솔불이 타고 있다. 불을 드는 사람은 없으며, 불의 고정 방식은 눈에 띄는 새로운 설비로 강조하지 않는다.\n\n깊은 밤, 관솔불의 실제 불꽃이 주된 광원이다. 가까운 문틀과 흙바닥, 은과 유기의 표면에 따뜻한 빛이 닿고 안쪽으로 갈수록 빛이 약해진다. 어두운 곳도 자루의 윤곽과 중앙 통로의 깊이를 알아볼 수 있는 현실적인 노출로 촬영한다. 무쇠의 산화된 표면과 파손부, 유기의 둔한 광택, 은의 잔흠집, 볏짚 가마니의 엮임, 자루의 거친 직물 결, 목재의 나뭇결과 오래된 마모, 다져진 흙바닥의 생활 얼룩을 사실적으로 담는다. 흙빛과 목재색을 중심으로 실제 조명에서 생기는 절제된 색과 명암, 자연스러운 피사계 심도를 유지한다. 과도한 보정이나 인위적인 광택 없이 실제 현장 기록 사진처럼 보이게 한다. 사람, 얼굴, 인체 형상, 사람 모양 그림자는 전혀 없다. 삽화나 컴퓨터 생성 입체 영상, 건축 시각화가 아닌 실제 사진이며 지나치게 말끔한 광고 사진처럼 만들지 않는다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.", "camera_decision": { "camera_unit": 5, "camera_cell": [ 4, 2 ], "look_at_unit": 3, "look_at_cell": [ 7, 5 ], "lens_enum": "wide", "fov_deg": 90, "framing_notes": "Interior oblique entry-oriented establishing plate. Both coordinates are copied from the unit-5 candidate arrays. The exact look-at cell is opening 2, directed toward unit 3 beyond it; it is not the unit-3 marker cell. Use broad coverage rather than the close framing of S22_Shot9. The supplied coordinate restrictions do not establish the upper-left placement requested for opening 2 in S22_Shot2, and the discrete plate does not encode the consuming shots' changing heights or tracking stages." }, "shot_aware_plan_node_index": 0, "shot_aware_plan_mode": "fp_seeded_anchor", "render_guidance": { "visible_space_directive": "Establish the visible portion of enclosure 1 from unit 5 toward opening 2 and unit 3. Preserve opening 2 at the south-wall connection between units 4 and 3, unit 5 along the west wall, and unit 7 against the southeast wall outside the opening clearance. Unit 4 lies at the lateral edge of this broad view. Keep unit 6 in its northeast base-plan position without forcing it into this entry-facing frame. Visibility candidates are supersets, not proof that all target units or the full exterior are visible.", "camera_framing_directive": "Use camera_unit 5 at camera_cell [4, 2], looking toward look_at_unit 3 through look_at_cell [7, 5], with a wide lens and fov_deg 90. Provide broad, oblique coverage of opening 2 and the adjacent interior rather than compressed close coverage. Preserve the entry path for the full-body staging of S22_Shot2. Treat this as the representative fixed plate, not as simultaneous reproduction of the distinct close and medium framings in S22_Shot9 and S22_Shot11.", "subject_position_directive": "Keep subject placement shot-specific rather than combining the three staged moments. S22_Shot2 commits one entering subject in the central midground and three followers within opening 2 at unequal depths, with the camera-side path clear. S22_Shot9 commits a left-profile subject and a right-side subject in a close confrontation; that close arrangement is not the framing of this wide plate. S22_Shot11 commits a central upper-body subject with a supported load limited to the upper-right third in its consuming frame. Preserve these staging spaces without inventing additional subjects or assigning uncommitted floor-plan cells.", "state_cue_directive": "clean_background_expected is false. Carry marker 11, Open entry door state, as fully open for the entry staging. Retain the committed pine-knot firelight, restrained saturation, and nighttime contrast associated with marker 12, Burning pine torch; no precise placement for marker 12 is supplied. Markers 8, Silver hairpins and brass bowls, and 9, Broken iron padlock, are authorized transient elements but have no committed screen positions; do not invent prominent placements. Marker 10, Seed sack ownership inscriptions, remains a state overlay rather than fixed signage; S22_Shot11 explicitly presents no inscription to the camera. Preserve the staged piles where visible without relocating their base units to display every overlay.", "negative_continuity_directive": "The ignore and ignored-overlay lists are empty. Avoid relocating base markers 2, 5, 6, or 7 to fit all target markers into one frame. Do not force unit 6 or other out-of-cone regions into this entry-facing view, treat visibility supersets as guaranteed sightlines, or invent additional openings. Do not promote markers 8 through 12 into permanent structural identity. Avoid imposing marker 10 on the camera-facing surface in S22_Shot11 or merging the different consuming-shot subject states into one plate." }, "attached_reference_lineage": { "fp_id": "fp_l20_storehouse", "prior_bg_ids": [], "attached_ref_labels": [ "fp:fp_l20_storehouse" ], "ref_used": "fp_only", "db_write_policy": "checkpoint_only" } }, "L33B02": { "status": "ok", "is_reuse": false, "render_action": "render_new_plate", "location_id": "L33", "location_name": "", "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/background_chain/L33B02.png", "t2i_prompt": "20세기 초 대한제국 말기 한반도 남부 지역의 소박한 취조실 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 야간의 실내이며, 당시의 검소한 관용 공간에 어울리는 거친 회벽과 무광의 바닥, 투박한 목제 가구의 질감을 사실적으로 담는다. 목재의 실제 나뭇결, 오래 사용하여 닳은 가장자리, 문 경첩의 은은한 금속 산화가 자연스럽게 보인다. 새로 꾸민 촬영장이나 지나치게 말끔한 홍보용 사진이 아니라 실제 장소를 기록한 사진처럼 표현한다. 공간은 정돈되어 있으며 흐트러짐이 없다.\n\n배치 참고 이미지에 있는 구조와 가구의 위치 관계를 바탕으로, 방 남서쪽에서 남쪽 의자의 서편에 서서 북동쪽을 바라본다. 실제 미러리스 카메라와 35밀리미터급 렌즈를 사용하고, 카메라는 서 있는 사람의 눈높이인 약 1.6미터에 둔다. 방 중심보다 조금 남쪽에 놓인 긴 목제 탁자는 동서 방향으로 뻗어 있고, 북쪽과 남쪽에 놓인 두 의자는 탁자를 사이에 두고 서로 마주 본다. 가까운 남쪽 의자와 탁자 너머 북쪽 의자의 위치가 모두 읽히도록 한다. 북쪽 의자 뒤로는 북벽을 따라 비어 있는 좁고 깊은 공간이 이어진다. 화면 오른쪽에는 동쪽 벽 남반부의 출입문과 그 앞의 빈 통로가 들어온다. 문은 북측 문설주에 경첩이 달린 안여닫이 구조이며, 가구가 출입 동선을 가리지 않는다.\n\n차갑고 어두운 밤의 밝기를 유지한다. 화면 밖에서 들어오는 제한적인 약한 빛이 탁자 윗면과 의자의 윤곽에만 닿고, 탁자 뒤 북벽 쪽은 깊은 그림자에 잠긴다. 그림자는 사람이 서 있는 듯한 형태를 만들지 않으며, 어두운 부분에도 벽의 거리와 실제 공간의 깊이가 희미하게 남는다. 낮은 조도에 따른 자연스러운 명암과 빛의 감쇠, 억제된 흙빛과 목재색을 유지하고 인위적인 색 보정이나 극적인 조명 효과를 넣지 않는다. 가까운 탁자부터 뒤쪽 벽까지 실제 렌즈에 맞는 자연스러운 피사계 심도로 담는다. 사람, 얼굴, 인체 형태의 형상은 전혀 없는 배경 사진이다. 삽화나 컴퓨터 그래픽, 건축 시각화가 아닌 실제 장소 촬영본이며, 위에서 내려다본 구도나 평면도 표현을 사용하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본", "shot_guides": [ { "shot_id": "S44_Shot6", "guide_text": "남서쪽에서 탁자를 가로질러 북동쪽을 보는 공통 구도를 사용한다. 탁자 양편의 의자 위치가 구분되고 북쪽 의자 뒤의 어두운 빈 공간이 충분히 보이게 한다. 오른쪽 출입문과 그 앞의 통로를 함께 담는다. 인물 없이 정돈된 배경만 유지한다." }, { "shot_id": "S44_Shot10", "guide_text": "앞 장면과 동일한 카메라 위치, 약 1.6미터 높이와 35밀리미터급 화각을 유지한다. 탁자와 마주 보는 두 의자, 뒤편 빈 공간, 오른쪽 출입문의 화면 내 위치를 일치시킨다. 차가운 저조도와 뒤편의 깊은 그림자를 그대로 유지하며 새로운 물체나 표면 변화를 추가하지 않는다." } ], "shot_ids": [ "S44_Shot6", "S44_Shot10" ], "scenes": [], "parent_id": "", "ref_used": "fp_only", "render_attempts": 1, "render_error": "", "variant_label": "", "floor_plan_used": true, "camera_recommendations": { "camera_position": "Near the southwest corner of number 1, west of number 6, facing northeast across number 4 toward number 5 and number 2, with number 7 on the right.", "camera_height": "Seated eye level, approximately 1.2 m", "lens_hint": "32–35mm moderate wide angle", "framing_notes": "Keep both opposing seat positions readable across number 4, preserve number 2 behind number 5, and include the clear eastern route through number 3 to number 7. Use the same camera for both referenced shots. Downstream backgrounds should retain the cold nighttime atmosphere and deeply shadowed rear area; these lighting conditions are not drawn in the plan. Blood and dirt belong to character appearance only, not room surfaces." }, "reference_decision": { "bg_id": "L33B02", "fp_id": "fp_prison_interrogation_room", "node_index": 0, "mode": "fp_seeded_anchor", "is_dwelling_identity_anchor": true, "rationale": "L33B02 is the sole clean anchor candidate and the only readiness-ok BG. With no reference catalog, establish its fixed identity directly from the floor plan. Camera unit 1 at [7, 2], aimed toward marker 4 at [5, 4], provides broad structural coverage for S44_Shot6's near-to-rear relationship and a consistent base for S44_Shot10's tighter staging; the shared plate does not itself encode both shot-specific framings.", "reference_paths": [ "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/floor_plan/fp_prison_interrogation_room.png" ], "source_bg_ids": [], "fp_included": true, "reference_decision": { "selected_refs": [], "rejected_refs": [], "same_physical_space_dedup_decision": "not_applicable_anchor", "why_single_ref_or_two_refs": "No reference is used: this first node establishes the dwelling identity from the supplied floor plan.", "physical_space_id_per_ref": [], "same_physical_space_low_delta_candidate": false, "low_delta_reuse_target_bg_id": "", "low_delta_rationale": "" }, "camera_decision": { "camera_unit": 1, "camera_cell": [ 7, 2 ], "look_at_unit": 1, "look_at_cell": [ 5, 4 ], "lens_enum": "wide", "fov_deg": 90, "framing_notes": "Broad coverage centered on marker 4 from unit 1. Establish the near structural edge and depth toward unit 2; retain unit 3 and opening 7 only within the actual visible cone. This is the shared background framing, not a claim that the medium and close consuming shots have identical final crops." }, "render_guidance": { "visible_space_directive": "Establish unit 1 around marker 4, with markers 5 and 6 in their supplied positions on opposite sides of marker 4. From [7, 2] toward [5, 4] with wide coverage, include the visible depth toward unit 2 and the in-cone portion of unit 3 with opening 7. Keep marker 4 slightly south of center with its long axis east-west, marker 5 to its north, marker 6 to its south, and opening 7 in the southern half of the east wall. Visibility candidates are supersets; do not infer an additional space beyond opening 7 or an unprovided opening adjacency.", "camera_framing_directive": "Use camera unit 1 at [7, 2], look-at unit 1 at [5, 4], and a wide lens with 90-degree FOV. Give broad coverage of marker 4 and the depth behind it, preserving a readable near edge for the S44_Shot6 staging. Keep this base framing structurally consistent for the tighter S44_Shot10 composition rather than baking a separate close viewpoint into the plate.", "subject_position_directive": "Use the committed subject staging as composition context while keeping this clean background free of rendered subjects. S44_Shot6 places 토미이시's cropped seated torso and directed hand low in frame, with 배상도 farther away in the upper-right rear. S44_Shot10 places 달래 center-right and only a narrow portion of 토미이시's shoulder at the left edge. Preserve background depth and usable composition space for those shot-specific placements without combining their subject arrangements into the plate.", "state_cue_directive": "No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional state cues. Apply the consuming shots' committed darkness, deep rear shadows, and muted saturation as lighting treatment; keep subject-specific actions and appearance out of the clean background.", "negative_continuity_directive": "No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating markers 4, 5, 6, or 7, inventing additional fixed elements, or treating units 2 and 3 and opening 7 as unconditionally visible merely because they occur in visibility supersets. Exclude geometry outside the selected cone and do not bake shot-specific subject or transient layers into this anchor." }, "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 1\n - camera_cell: [7, 2]\n - look_at_unit: 1\n - look_at_cell: [5, 4]\n - lens_enum: 'wide'\n - fov_deg: 90\n - framing_notes: 'Broad coverage centered on marker 4 from unit 1. Establish the near structural edge and depth toward unit 2; retain unit 3 and opening 7 only within the actual visible cone. This is the shared background framing, not a claim that the medium and close consuming shots have identical final crops.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Establish unit 1 around marker 4, with markers 5 and 6 in their supplied positions on opposite sides of marker 4. From [7, 2] toward [5, 4] with wide coverage, include the visible depth toward unit 2 and the in-cone portion of unit 3 with opening 7. Keep marker 4 slightly south of center with its long axis east-west, marker 5 to its north, marker 6 to its south, and opening 7 in the southern half of the east wall. Visibility candidates are supersets; do not infer an additional space beyond opening 7 or an unprovided opening adjacency.\n - camera_framing_directive: Use camera unit 1 at [7, 2], look-at unit 1 at [5, 4], and a wide lens with 90-degree FOV. Give broad coverage of marker 4 and the depth behind it, preserving a readable near edge for the S44_Shot6 staging. Keep this base framing structurally consistent for the tighter S44_Shot10 composition rather than baking a separate close viewpoint into the plate.\n - subject_position_directive: Use the committed subject staging as composition context while keeping this clean background free of rendered subjects. S44_Shot6 places 토미이시's cropped seated torso and directed hand low in frame, with 배상도 farther away in the upper-right rear. S44_Shot10 places 달래 center-right and only a narrow portion of 토미이시's shoulder at the left edge. Preserve background depth and usable composition space for those shot-specific placements without combining their subject arrangements into the plate.\n - state_cue_directive: No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional state cues. Apply the consuming shots' committed darkness, deep rear shadows, and muted saturation as lighting treatment; keep subject-specific actions and appearance out of the clean background.\n - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating markers 4, 5, 6, or 7, inventing additional fixed elements, or treating units 2 and 3 and opening 7 as unconditionally visible merely because they occur in visibility supersets. Exclude geometry outside the selected cone and do not bake shot-specific subject or transient layers into this anchor.\n\n", "diagnostics": [] }, "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 1\n - camera_cell: [7, 2]\n - look_at_unit: 1\n - look_at_cell: [5, 4]\n - lens_enum: 'wide'\n - fov_deg: 90\n - framing_notes: 'Broad coverage centered on marker 4 from unit 1. Establish the near structural edge and depth toward unit 2; retain unit 3 and opening 7 only within the actual visible cone. This is the shared background framing, not a claim that the medium and close consuming shots have identical final crops.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Establish unit 1 around marker 4, with markers 5 and 6 in their supplied positions on opposite sides of marker 4. From [7, 2] toward [5, 4] with wide coverage, include the visible depth toward unit 2 and the in-cone portion of unit 3 with opening 7. Keep marker 4 slightly south of center with its long axis east-west, marker 5 to its north, marker 6 to its south, and opening 7 in the southern half of the east wall. Visibility candidates are supersets; do not infer an additional space beyond opening 7 or an unprovided opening adjacency.\n - camera_framing_directive: Use camera unit 1 at [7, 2], look-at unit 1 at [5, 4], and a wide lens with 90-degree FOV. Give broad coverage of marker 4 and the depth behind it, preserving a readable near edge for the S44_Shot6 staging. Keep this base framing structurally consistent for the tighter S44_Shot10 composition rather than baking a separate close viewpoint into the plate.\n - subject_position_directive: Use the committed subject staging as composition context while keeping this clean background free of rendered subjects. S44_Shot6 places 토미이시's cropped seated torso and directed hand low in frame, with 배상도 farther away in the upper-right rear. S44_Shot10 places 달래 center-right and only a narrow portion of 토미이시's shoulder at the left edge. Preserve background depth and usable composition space for those shot-specific placements without combining their subject arrangements into the plate.\n - state_cue_directive: No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional state cues. Apply the consuming shots' committed darkness, deep rear shadows, and muted saturation as lighting treatment; keep subject-specific actions and appearance out of the clean background.\n - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating markers 4, 5, 6, or 7, inventing additional fixed elements, or treating units 2 and 3 and opening 7 as unconditionally visible merely because they occur in visibility supersets. Exclude geometry outside the selected cone and do not bake shot-specific subject or transient layers into this anchor.\n\n", "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n - camera_unit: 1\n - camera_cell: [7, 2]\n - look_at_unit: 1\n - look_at_cell: [5, 4]\n - lens_enum: 'wide'\n - fov_deg: 90\n - framing_notes: 'Broad coverage centered on marker 4 from unit 1. Establish the near structural edge and depth toward unit 2; retain unit 3 and opening 7 only within the actual visible cone. This is the shared background framing, not a claim that the medium and close consuming shots have identical final crops.'\n\nRENDER GUIDANCE (from validated plan):\n - visible_space_directive: Establish unit 1 around marker 4, with markers 5 and 6 in their supplied positions on opposite sides of marker 4. From [7, 2] toward [5, 4] with wide coverage, include the visible depth toward unit 2 and the in-cone portion of unit 3 with opening 7. Keep marker 4 slightly south of center with its long axis east-west, marker 5 to its north, marker 6 to its south, and opening 7 in the southern half of the east wall. Visibility candidates are supersets; do not infer an additional space beyond opening 7 or an unprovided opening adjacency.\n - camera_framing_directive: Use camera unit 1 at [7, 2], look-at unit 1 at [5, 4], and a wide lens with 90-degree FOV. Give broad coverage of marker 4 and the depth behind it, preserving a readable near edge for the S44_Shot6 staging. Keep this base framing structurally consistent for the tighter S44_Shot10 composition rather than baking a separate close viewpoint into the plate.\n - subject_position_directive: Use the committed subject staging as composition context while keeping this clean background free of rendered subjects. S44_Shot6 places 토미이시's cropped seated torso and directed hand low in frame, with 배상도 farther away in the upper-right rear. S44_Shot10 places 달래 center-right and only a narrow portion of 토미이시's shoulder at the left edge. Preserve background depth and usable composition space for those shot-specific placements without combining their subject arrangements into the plate.\n - state_cue_directive: No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional state cues. Apply the consuming shots' committed darkness, deep rear shadows, and muted saturation as lighting treatment; keep subject-specific actions and appearance out of the clean background.\n - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating markers 4, 5, 6, or 7, inventing additional fixed elements, or treating units 2 and 3 and opening 7 as unconditionally visible merely because they occur in visibility supersets. Exclude geometry outside the selected cone and do not bake shot-specific subject or transient layers into this anchor.\n\n20세기 초 대한제국 말기 한반도 남부 지역의 소박한 취조실 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 야간의 실내이며, 당시의 검소한 관용 공간에 어울리는 거친 회벽과 무광의 바닥, 투박한 목제 가구의 질감을 사실적으로 담는다. 목재의 실제 나뭇결, 오래 사용하여 닳은 가장자리, 문 경첩의 은은한 금속 산화가 자연스럽게 보인다. 새로 꾸민 촬영장이나 지나치게 말끔한 홍보용 사진이 아니라 실제 장소를 기록한 사진처럼 표현한다. 공간은 정돈되어 있으며 흐트러짐이 없다.\n\n배치 참고 이미지에 있는 구조와 가구의 위치 관계를 바탕으로, 방 남서쪽에서 남쪽 의자의 서편에 서서 북동쪽을 바라본다. 실제 미러리스 카메라와 35밀리미터급 렌즈를 사용하고, 카메라는 서 있는 사람의 눈높이인 약 1.6미터에 둔다. 방 중심보다 조금 남쪽에 놓인 긴 목제 탁자는 동서 방향으로 뻗어 있고, 북쪽과 남쪽에 놓인 두 의자는 탁자를 사이에 두고 서로 마주 본다. 가까운 남쪽 의자와 탁자 너머 북쪽 의자의 위치가 모두 읽히도록 한다. 북쪽 의자 뒤로는 북벽을 따라 비어 있는 좁고 깊은 공간이 이어진다. 화면 오른쪽에는 동쪽 벽 남반부의 출입문과 그 앞의 빈 통로가 들어온다. 문은 북측 문설주에 경첩이 달린 안여닫이 구조이며, 가구가 출입 동선을 가리지 않는다.\n\n차갑고 어두운 밤의 밝기를 유지한다. 화면 밖에서 들어오는 제한적인 약한 빛이 탁자 윗면과 의자의 윤곽에만 닿고, 탁자 뒤 북벽 쪽은 깊은 그림자에 잠긴다. 그림자는 사람이 서 있는 듯한 형태를 만들지 않으며, 어두운 부분에도 벽의 거리와 실제 공간의 깊이가 희미하게 남는다. 낮은 조도에 따른 자연스러운 명암과 빛의 감쇠, 억제된 흙빛과 목재색을 유지하고 인위적인 색 보정이나 극적인 조명 효과를 넣지 않는다. 가까운 탁자부터 뒤쪽 벽까지 실제 렌즈에 맞는 자연스러운 피사계 심도로 담는다. 사람, 얼굴, 인체 형태의 형상은 전혀 없는 배경 사진이다. 삽화나 컴퓨터 그래픽, 건축 시각화가 아닌 실제 장소 촬영본이며, 위에서 내려다본 구도나 평면도 표현을 사용하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본", "camera_decision": { "camera_unit": 1, "camera_cell": [ 7, 2 ], "look_at_unit": 1, "look_at_cell": [ 5, 4 ], "lens_enum": "wide", "fov_deg": 90, "framing_notes": "Broad coverage centered on marker 4 from unit 1. Establish the near structural edge and depth toward unit 2; retain unit 3 and opening 7 only within the actual visible cone. This is the shared background framing, not a claim that the medium and close consuming shots have identical final crops." }, "shot_aware_plan_node_index": 0, "shot_aware_plan_mode": "fp_seeded_anchor", "render_guidance": { "visible_space_directive": "Establish unit 1 around marker 4, with markers 5 and 6 in their supplied positions on opposite sides of marker 4. From [7, 2] toward [5, 4] with wide coverage, include the visible depth toward unit 2 and the in-cone portion of unit 3 with opening 7. Keep marker 4 slightly south of center with its long axis east-west, marker 5 to its north, marker 6 to its south, and opening 7 in the southern half of the east wall. Visibility candidates are supersets; do not infer an additional space beyond opening 7 or an unprovided opening adjacency.", "camera_framing_directive": "Use camera unit 1 at [7, 2], look-at unit 1 at [5, 4], and a wide lens with 90-degree FOV. Give broad coverage of marker 4 and the depth behind it, preserving a readable near edge for the S44_Shot6 staging. Keep this base framing structurally consistent for the tighter S44_Shot10 composition rather than baking a separate close viewpoint into the plate.", "subject_position_directive": "Use the committed subject staging as composition context while keeping this clean background free of rendered subjects. S44_Shot6 places 토미이시's cropped seated torso and directed hand low in frame, with 배상도 farther away in the upper-right rear. S44_Shot10 places 달래 center-right and only a narrow portion of 토미이시's shoulder at the left edge. Preserve background depth and usable composition space for those shot-specific placements without combining their subject arrangements into the plate.", "state_cue_directive": "No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional state cues. Apply the consuming shots' committed darkness, deep rear shadows, and muted saturation as lighting treatment; keep subject-specific actions and appearance out of the clean background.", "negative_continuity_directive": "No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating markers 4, 5, 6, or 7, inventing additional fixed elements, or treating units 2 and 3 and opening 7 as unconditionally visible merely because they occur in visibility supersets. Exclude geometry outside the selected cone and do not bake shot-specific subject or transient layers into this anchor." }, "attached_reference_lineage": { "fp_id": "fp_prison_interrogation_room", "prior_bg_ids": [], "attached_ref_labels": [ "fp:fp_prison_interrogation_room" ], "ref_used": "fp_only", "db_write_policy": "checkpoint_only" } }, "L33B01": { "status": "ok", "location_id": "L33", "location_name": "", "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/background_chain/L33B01.png", "t2i_prompt": "자욱한 새벽안개가 깔린 한반도 남부 농촌 산지의 빈 숲길과 거대한 자연 바위를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 20세기 초의 산길로 보이도록 포장이나 현대 시설 없이, 흙과 잔돌이 드러난 좁은 길이 나무 사이로 굽어 내려간다. 화면 오른쪽 전경에서 중경에 걸쳐 산비탈에 박힌 거대한 바위를 배치하고, 바위 윗면에는 사람이 올라설 수 있을 만큼 넓고 비교적 평평한 면을 확보하되 아무도 서 있지 않다. 바위 가장자리 너머 왼쪽 아래로 낮은 산길이 이어져, 바위 위에서 아래 길을 내려다볼 수 있는 뚜렷한 고저차가 보인다. 바위 옆 높은 지면에 선 관찰자의 눈높이 약 1.6미터에서 실제 미러리스 카메라와 35밀리미터급 렌즈로 촬영한다. 시선은 수평에 가깝게 유지하면서 아래쪽 길이 프레임 하단에 들어오도록 조금만 내려 향한다. 수직으로 내려다보는 시점이나 항공 시점이 아닌, 현장에 서서 바라보는 자연스러운 원근감이다. 소나무와 활엽수가 섞인 숲, 비탈을 붙든 드러난 나무뿌리, 젖은 낙엽과 듬성한 하층 식생이 길을 둘러싼다. 바위의 실제 풍화 균열과 거친 돌결, 틈에 낀 흙과 이끼, 축축한 수피와 눌린 흙길의 불규칙한 마모를 세밀하게 보여준다. 해가 산등성이 위로 드러나기 전의 희미한 자연광이 짙은 안개에 넓게 퍼지고, 가까운 바위는 재질이 읽히지만 아래 길과 먼 나무들은 거리와 안개의 밀도에 따라 점차 희미해진다. 바위와 길의 높이 관계까지 안개로 완전히 지우지는 않는다. 젖은 흙의 갈색, 흐린 잎의 녹색, 돌과 안개의 회색이 실제 새벽 조도에 맞는 절제된 대비로 보인다. 자연스러운 피사계 심도와 광학적 거리감을 유지한 실제 답사 기록 사진이며, 과도한 보정이나 인공적인 광선 없이 불규칙한 자연 상태를 담는다. 삽화나 컴퓨터 합성 이미지, 건축 시각화, 평면도가 아니다. 취조실이나 실내 구조는 전혀 포함하지 않는다. 사람, 얼굴, 실루엣, 시신, 핏자국, 무기, 현대식 난간, 계단, 표지판, 전선은 없다. 16:9 가로 비율, 실제 카메라 촬영본", "shot_guides": [ { "shot_id": "S44_Shot17", "guide_text": "인물 없는 야외 삽입 화면이다. 눈높이의 넓은 구도로 오른쪽의 거대한 바위와 왼쪽 아래로 내려가는 산길을 함께 담아 높이 차를 읽히게 한다. 바위 윗면은 프레임 안에 확보하고 비워 둔다. 짙은 새벽안개가 먼 숲과 길을 가리되 가까운 바위 가장자리와 아래 길의 일부는 구별되게 유지한다. 다른 공간의 인물이나 음원을 시각적으로 추가하지 않는다." } ], "shot_ids": [ "S44_Shot17" ], "scenes": [], "parent_id": "", "ref_used": "text_only", "render_attempts": 1, "render_error": "", "variant_label": "", "floor_plan_used": false, "camera_recommendations": {}, "reference_decision": { "mode": "surface_role_direct_plate", "surface_role": "site_surface", "fp_id": "", "source_bg_ids": [] }, "effective_render_prompt": "자욱한 새벽안개가 깔린 한반도 남부 농촌 산지의 빈 숲길과 거대한 자연 바위를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 20세기 초의 산길로 보이도록 포장이나 현대 시설 없이, 흙과 잔돌이 드러난 좁은 길이 나무 사이로 굽어 내려간다. 화면 오른쪽 전경에서 중경에 걸쳐 산비탈에 박힌 거대한 바위를 배치하고, 바위 윗면에는 사람이 올라설 수 있을 만큼 넓고 비교적 평평한 면을 확보하되 아무도 서 있지 않다. 바위 가장자리 너머 왼쪽 아래로 낮은 산길이 이어져, 바위 위에서 아래 길을 내려다볼 수 있는 뚜렷한 고저차가 보인다. 바위 옆 높은 지면에 선 관찰자의 눈높이 약 1.6미터에서 실제 미러리스 카메라와 35밀리미터급 렌즈로 촬영한다. 시선은 수평에 가깝게 유지하면서 아래쪽 길이 프레임 하단에 들어오도록 조금만 내려 향한다. 수직으로 내려다보는 시점이나 항공 시점이 아닌, 현장에 서서 바라보는 자연스러운 원근감이다. 소나무와 활엽수가 섞인 숲, 비탈을 붙든 드러난 나무뿌리, 젖은 낙엽과 듬성한 하층 식생이 길을 둘러싼다. 바위의 실제 풍화 균열과 거친 돌결, 틈에 낀 흙과 이끼, 축축한 수피와 눌린 흙길의 불규칙한 마모를 세밀하게 보여준다. 해가 산등성이 위로 드러나기 전의 희미한 자연광이 짙은 안개에 넓게 퍼지고, 가까운 바위는 재질이 읽히지만 아래 길과 먼 나무들은 거리와 안개의 밀도에 따라 점차 희미해진다. 바위와 길의 높이 관계까지 안개로 완전히 지우지는 않는다. 젖은 흙의 갈색, 흐린 잎의 녹색, 돌과 안개의 회색이 실제 새벽 조도에 맞는 절제된 대비로 보인다. 자연스러운 피사계 심도와 광학적 거리감을 유지한 실제 답사 기록 사진이며, 과도한 보정이나 인공적인 광선 없이 불규칙한 자연 상태를 담는다. 삽화나 컴퓨터 합성 이미지, 건축 시각화, 평면도가 아니다. 취조실이나 실내 구조는 전혀 포함하지 않는다. 사람, 얼굴, 실루엣, 시신, 핏자국, 무기, 현대식 난간, 계단, 표지판, 전선은 없다. 16:9 가로 비율, 실제 카메라 촬영본", "shot_aware_plan_mode": "surface_role_direct_plate", "attached_reference_lineage": { "fp_id": "", "prior_bg_ids": [], "attached_ref_labels": [], "ref_used": "text_only", "db_write_policy": "checkpoint_only" } } }, "consumed_bg_catalog_hash": "e87ca53e2791e7db", "consumed_shot_binding_hash": "a893cccb04b7533a", "bg_reference_catalog": [ { "bg_id": "L05B02", "fp_id": "fp_house_yard", "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/background_chain/L05B02.png", "mode": "fp_seeded_anchor", "node_index": 0, "source_bg_ids": [], "ingestion_order": 0, "source_kind": "shot_aware_plan" }, { "bg_id": "L05B01", "fp_id": "fp_house_yard", "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/background_chain/L05B01.png", "mode": "same_physical_space_view", "node_index": 1, "source_bg_ids": [ "L05B02" ], "ingestion_order": 1, "source_kind": "shot_aware_plan" }, { "bg_id": "L08B01", "fp_id": "fp_house_courtyard", "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/background_chain/L08B01.png", "mode": "fp_seeded_anchor", "node_index": 0, "source_bg_ids": [], "ingestion_order": 2, "source_kind": "shot_aware_plan" }, { "bg_id": "L08B02", "fp_id": "fp_house_courtyard", "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/db00517b-165b-4005-a287-f28936b59b95/episodes/272bd7af-9294-4490-98c6-88a40e9deacc/images/background_chain/L08B01.png", "mode": "reference_derived", "node_index": 1, "source_bg_ids": [ "L08B01" ], 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