{
 "S12sh10": {
  "input_fingerprint": "770507bb5ccb77cc",
  "geometry": {
   "entity_placements": [
    {
     "slot": "E1",
     "subject_en": "man stepping forward",
     "x": 0.87,
     "y": 0.4,
     "anchor_en": "on the right side of the mountain path, a short distance above the junction",
     "facing": {
      "x": 0.87,
      "y": 0.1
     },
     "facing_anchor_en": "farther up the right side of the mountain path",
     "camera_facing_relation": "away_from_camera",
     "camera_facing_evidence": "염재보의 뒷모습."
    },
    {
     "slot": "E2",
     "subject_en": "man walking uphill",
     "x": 0.83,
     "y": 0.15,
     "anchor_en": "on the left edge of the mountain path, near the top boundary of the map",
     "facing": {
      "x": 0.83,
      "y": 0.05
     },
     "facing_anchor_en": "the top edge of the mountain path",
     "camera_facing_relation": "away_from_camera",
     "camera_facing_evidence": "멀어지는 두 사람의 등 뒤로"
    },
    {
     "slot": "E3",
     "subject_en": "man walking uphill",
     "x": 0.84,
     "y": 0.2,
     "anchor_en": "on the left side of the mountain path, between the middle and top sections",
     "facing": {
      "x": 0.84,
      "y": 0.1
     },
     "facing_anchor_en": "farther up the center of the mountain path",
     "camera_facing_relation": "away_from_camera",
     "camera_facing_evidence": "멀어지는 두 사람의 등 뒤로"
    }
   ],
   "camera": {
    "origin": {
     "x": 0.86,
     "y": 0.55
    },
    "look_target": {
     "x": 0.84,
     "y": 0.15
    },
    "origin_anchor_en": "on the right side of the mountain path, slightly above the mountain-foot junction",
    "look_target_anchor_en": "the left side of the mountain path near its upper end",
    "view_left": {
     "x": 0.7,
     "y": 0.15
    },
    "view_right": {
     "x": 0.98,
     "y": 0.15
    },
    "view_left_anchor_en": "the terrain slightly above the guardian tree foliage",
    "view_right_anchor_en": "the empty space to the right of the mountain path near the top edge"
   },
   "rationale_ko": "카메라는 산길(M1) 우측 하단부에 위치하여 오르막을 향해 촬영합니다. 방금 전 나무 밑에서 일어난 염재보(E1)는 산길 우측(프레임 우하단)에서 걷기 시작하며, 안규홍(E2)과 이관회(E3)는 화면 좌상단 쪽에 위치하도록 산길 좌측 상단에 거리를 두고 배치했습니다. 이를 통해 세 사람이 모두 산길을 오르고 있지만, 염재보가 약간의 거리를 두고 뒤따르는 '미드 액션 상태'와 세 사람 간의 공간적 간격이 잘 드러나도록 프레이밍했습니다."
  },
  "marker_check": {
   "markers_ok": false,
   "details_ko": "다수의 피사체 마커 위치와 방향이 잘못되었고, 일부가 시야각을 벗어났으며, 불필요한 텍스트와 선이 추가되었습니다.",
   "violations": [
    {
     "axis": "camera_wedge",
     "note_ko": "E1 마커가 카메라 시야각(웨지) 영역 바깥에 위치해 있습니다."
    },
    {
     "axis": "entity_position",
     "note_ko": "E2와 E3 마커가 지정된 산길 위가 아닌 완전히 다른 구역에 잘못 배치되었습니다."
    },
    {
     "axis": "entity_facing",
     "note_ko": "모든 피사체(E1, E2, E3)의 방향 화살표가 지정된 북쪽 좌표가 아닌 카메라를 향하고 있습니다."
    },
    {
     "axis": "extra_content",
     "note_ko": "도면에 'Look target'이라는 텍스트와 피사체를 가리키는 불필요한 지시선들이 임의로 추가되었습니다."
    }
   ]
  },
  "marker_prompt": "Edit the attached TOP-DOWN SITE PLAN image: draw STAGING MARKERS on it\nat the positions described below. This is a planning aid for a film\ncrew, drawn over the plan.\n\nPLACEMENT AUTHORITY: each marker line below gives its position as\nnormalized fractions of this canvas — x runs left→right 0..1, y runs\ntop→bottom 0..1 — and THOSE FRACTIONS ARE THE AUTHORITY. Measure them\non the attached image and put the marker there. Each line also names a\nnearby landmark; use it to check you landed on the right feature, and\nwhen a landmark phrase and the fractions disagree, follow the\nfractions. This applies to compass words (north, south, east, west)\ntoo: read them only if this plan actually shows a compass or labels\nits own approaches, and even then they never move a marker away from\nits fractions. Do NOT relocate a marker onto a different salient line\nor feature than the one its fractions land on.\n\nNEVER move a marker to make the drawing fit. The camera circle and\nevery subject circle go exactly where their descriptions place them,\neven when that leaves the view wedge or an arrow running off the edge\nof the image — in that case just let the wedge or arrow continue to\nthe image border and stop there. Shifting the camera outward, pulling\na subject aside, or shrinking the wedge to keep it inside the canvas\nall break the plan this map exists to record.\n\nDraw EXACTLY these markers, flat and high-contrast, small enough not\nto hide the plan under them:\n- CAMERA: one filled circle at the camera position, labelled CAM, and\n  out of that circle a FIELD-OF-VIEW WEDGE showing what this shot\n  sees — two straight thin lines, one running toward each of the two\n  frame-edge positions given below, and a third thinner line to the\n  look-target position between them. Fill the area between the two\n  edge lines with a light translucent tint so the wedge reads as the\n  camera's view; the plan underneath must stay fully readable through\n  the tint. Every subject listed below stands inside this wedge —\n  if your drawing leaves one outside it, the wedge is drawn wrong,\n  not the subject.\n- SUBJECTS: one filled circle per subject at its position, labelled\n  with its slot code (E1, E2, ...) followed by its short description\n  in parentheses, and one short ARROW leaving that circle toward the\n  spot the subject faces, so the direction each subject is turned is\n  readable at a glance.\n\nChange NOTHING else: keep every zone, landmark, line, label and color\nof the plan exactly as attached — do not redraw, recolor, move or\nremove anything, do not add scenery, shadows or any other symbols or\ntext beyond the markers, wedge, arrows and labels specified above. The\noutput is the SAME plan image with only these staging markers added.\n\nMARKERS TO DRAW:\n- CAM (camera): circle at x=0.86, y=0.55 — the right edge area of the plan (landmark, for reference: on the right side of the mountain path, slightly above the mountain-foot junction); its sight line ends at LOOK TARGET: at x=0.84, y=0.15 — the upper-right area of the plan (landmark, for reference: the left side of the mountain path near its upper end); the frame's LEFT edge cuts through at x=0.70, y=0.15 — the upper-right area of the plan (landmark, for reference: the terrain slightly above the guardian tree foliage) and its RIGHT edge through at x=0.98, y=0.15 — the upper-right area of the plan (landmark, for reference: the empty space to the right of the mountain path near the top edge)\n- E1 (man stepping forward): circle at x=0.87, y=0.40 — the right edge area of the plan (landmark, for reference: on the right side of the mountain path, a short distance above the junction), facing at x=0.87, y=0.10 — the upper-right area of the plan (landmark, for reference: farther up the right side of the mountain path)\n- E2 (man walking uphill): circle at x=0.83, y=0.15 — the upper-right area of the plan (landmark, for reference: on the left edge of the mountain path, near the top boundary of the map), facing at x=0.83, y=0.05 — the upper-right area of the plan (landmark, for reference: the top edge of the mountain path)\n- E3 (man walking uphill): circle at x=0.84, y=0.20 — the upper-right area of the plan (landmark, for reference: on the left side of the mountain path, between the middle and top sections), facing at x=0.84, y=0.10 — the upper-right area of the plan (landmark, for reference: farther up the center of the mountain path)",
  "marker_attempts": 3,
  "marker_best_effort": true,
  "marker_pick_index": 2,
  "marker_pick_count": 3,
  "marker_pick_why_ko": "후보 2와 3 모두 여러 오류를 포함하고 있으나, 후보 2는 카메라 마커가 예상 위치에 비교적 정확히 배치되어 있고 마커의 중복이 없어 후보 3보다 원래의 기획 의도에 더 가깝습니다.",
  "marker_model": "nb2",
  "marker_map_sha256": "dc609d3ea4bae1debd938d09e20301c3a875d613f68fd2bf869d47f85644c51f",
  "leakage": {
   "has_marker_leakage": false,
   "details_ko": "기호, 텍스트 등 마커 유출이 없으며 자연스러운 원근감이 표현된 스케치입니다."
  },
  "prompt": "Draw a single CAMERA-VIEW storyboard frame (16:9) of the scene staged\non the attached MARKER-ANNOTATED TOP-DOWN SITE PLAN, seen from the\ncamera position marked on it.\n\nThe attached plan carries STAGING MARKERS drawn over it: a\ncamera-position marker with a field-of-view wedge (where the camera\nstands, which way it looks and how wide it sees) and one labelled\ncircle per subject with an arrow (where each subject stands and which\nway that subject is turned). Jurisdiction of sources — follow all three, they do not\nconflict:\n- The SITE PLAN under the markers is the SOT for what exists on the\n  site and how its zones and landmarks are arranged relative to each\n  other. The markers themselves are staging aids, NOT site content.\n- The markers on the plan are the SOT for XY POSITIONS, horizontal\n  heading and body facing ONLY: where each subject stands on that\n  plan, which way each one is turned, where the camera stands, which\n  way it looks and how wide its wedge opens. Distances, directions\n  and relative depths between subjects come from the marked\n  positions; what the wedge covers is what this frame contains, and\n  subjects outside the wedge are out of frame. The STAGING GEOMETRY\n  text below restates the same staging with coarse normalized\n  estimates — it never overrides the marked plan.\n- The CAMERA DIRECTION text below (when present) is the SOT for the\n  VERTICAL angle, elevation, tilt and framing (eye-level, high angle,\n  overhead crane, low angle, ...). If it asks for a high or overhead\n  angle, draw that angle — the site plan being top-down does NOT mean\n  the frame must be eye-level. It does NOT govern horizontal\n  placement: which side of the frame a subject occupies and which way\n  that subject is turned come from the marked plan and the staging\n  text, even when that memo also mentions left, right, foreground or\n  background.\n\nSTYLE — MANNEQUIN BLOCKING SKETCH: the lightest possible director's\nlayout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR LINES ONLY on pure\nwhite paper. Absolutely NO shading, NO tone, NO texture, NO grayscale\nfill, NO light-and-shadow, NO material rendering. It must read as a\nquick layout guide, never as a finished drawing.\n\nDraw every person as a PLAIN ARTIST'S MANNEQUIN: a featureless oval head\nwith NO face, NO hair, NO clothing and no costume detail — simple tapered\nlimbs and torso. Because the head has no face and no hair, the ONLY thing\nthat shows which way a figure is turned is the BODY ITSELF: the direction\nthe chest, hips and feet point, and the way the head-oval sits on the\nshoulders. Aim each mannequin's chest and feet at the spot the staging\ntext says that person faces, and let the arms carry the action. A\nmannequin turned to the wrong side is the single worst error in this\ndrawing. Environment is reduced to a few placement lines (ground line,\nkey landmark silhouettes) — just enough to read positions and depth.\n\nSTAGING GEOMETRY — PLANNING DATA ONLY, NEVER RENDER IT: the lines\nbelow restate, marker by marker, the staging already marked on the\nattached plan: each landmark-relative description restates the\nmarker-map authority in words, and the normalized fractions in\nparentheses (x left→right 0..1, y top→bottom 0..1) are coarse audit\nestimates only — neither ever overrides the marked plan.\n\nThose fractions are TOP-DOWN bookkeeping. Never read them as left and\nright of your frame: on a plan seen from above, a subject \"to the\nright\" can sit on either side of a camera that looks any direction.\nEach subject line therefore ends with the SAME staging expressed from\nTHIS camera — which part of the frame the subject occupies, and which\nway that subject faces in screen terms (toward the left or right of\nthe frame, toward or away from the camera or side-on to it in\nprofile, and whom they are looking at). Those screen-space statements\nare what your drawing must match:\na figure said to face the right of the frame is turned to the right in\nyour drawing, never mirrored.\n\nDo NOT draw any of this data in the image — no numbers, no\ncoordinates, no labels, no arrows, no cones, no dots, no diagram\nsymbols of any kind.\n\nWhere the CAMERA DIRECTION text below also describes horizontal\nplacement (which side of the frame someone occupies, foreground left,\nbackground right), treat that as background reading only: for anything\nabout left, right and where a subject sits in this frame, the staging\nabove wins. CAMERA DIRECTION governs the vertical angle, elevation,\ntilt and framing.\n\nFor whether a subject faces the camera or is turned away from it, each\nsubject line above already states it in screen terms and the SHOT TEXT\nis the source it was derived from — draw exactly what the subject line\nsays, and never mirror it.\n- the camera stands on the right side of the mountain path, slightly above the mountain-foot junction (coarse estimate x=0.86, y=0.55); its sight line ends at LOOK TARGET: the left side of the mountain path near its upper end (coarse estimate x=0.84, y=0.15); the frame's LEFT edge cuts through the terrain slightly above the guardian tree foliage (coarse estimate x=0.70, y=0.15) and its RIGHT edge through the empty space to the right of the mountain path near the top edge (coarse estimate x=0.98, y=0.15) — everything between those two edges is in frame, anything outside them is out of frame\n- man stepping forward stands on the right side of the mountain path, a short distance above the junction (coarse estimate x=0.87, y=0.40), facing farther up the right side of the mountain path (coarse estimate x=0.87, y=0.10) — from this camera the subject is near the CENTER of the frame and faces away from the camera, into the depth of the shot, so the camera sees this subject from behind\n- man walking uphill stands on the left edge of the mountain path, near the top boundary of the map (coarse estimate x=0.83, y=0.15), facing the top edge of the mountain path (coarse estimate x=0.83, y=0.05) — from this camera the subject is near the CENTER of the frame and faces away from the camera, into the depth of the shot, so the camera sees this subject from behind\n- man walking uphill stands on the left side of the mountain path, between the middle and top sections (coarse estimate x=0.84, y=0.20), facing farther up the center of the mountain path (coarse estimate x=0.84, y=0.10) — from this camera the subject is near the CENTER of the frame and faces away from the camera, into the depth of the shot, so the camera sees this subject from behind; this subject is turned toward the man walking uphill\n\nCAMERA DIRECTION (vertical angle / elevation / framing SOT): From behind 염재보 at a below-eye-level height, settle just off the uphill axis before beginning the follow, with his entire rear figure in the lower-right midground. Keep 안규홍 and 이관회 separately readable farther uphill toward the upper left, exposing an uninterrupted interval of path between them and 염재보 as he extends his first following step. All three attend to the route ahead, but their walking phases differ—염재보 just committing, 안규홍 transferring weight, and 이관회 lifting a trailing heel—so spacing, rather than a new lighting or distance effect, expresses his decision to join.\n\nTHE LOCATION: 논둑길\n\nSHOT TEXT (authoritative, Korean): 멀어지는 두 사람의 등 뒤로 거리를 둔 채 산길을 향해 한 발을 뻗은 미드 액션 상태인 염재보의 뒷모습.\n\nCARRIED STATE (persist exactly): Dawn fog persists along the mountain path beyond the tree fork. 염재보: He has tightened his straw-shoe ties and now follows on foot without a gun. 안규홍: He ascends with his shoulder bundle and concealed jade ring. 이관회: He ascends carrying his travel bundle.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, head-oval and chest turned toward the target the\nSHOT TEXT implies; avoid a stiff attention stance (feet together, arms\nhanging straight down) and a head-oval squared flat to the lens. If the\nSHOT TEXT or any POSE contract above stages stillness, death, sleep,\nunconsciousness, restraint, drill or an explicit direct-to-camera look,\ndraw THAT exactly — this clause never overrides it.\n\nCRITICAL — THE SITE PLAN IS A STAGING REFERENCE, NOT CONTENT: do NOT\ndraw the plan itself, and do NOT draw any diagram elements in the\nframe — no circles, dots, wedges, cones, arrows, callouts, codes or\nany other overlay symbols. The output is a clean storyboard drawing\nof the scene as seen by the camera only.\n\nNo text, no letters, no numbers, no captions anywhere in the image."
 }
}