{ "status": "completed", "applicable_count": 5, "completed_count": 5, "failed_count": 0, "schema_version": 4, "config_hash": "4aa3b8dca81ce492", "data": { "contis": { "S1sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/dd5dd235-5850-4157-9b90-a733760c5ae8/images/0b36f6db-9884-4206-8fb4-ff11cc3c2392/conti/conti_S1sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/dd5dd235-5850-4157-9b90-a733760c5ae8/episodes/0b36f6db-9884-4206-8fb4-ff11cc3c2392/images/background_chain/L01B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Just inside the entrance of a narrow bicycle repair workshop, beside the tightly packed work area. A single ceiling-hung fluorescent light illuminates the interior.\n\nSHOT TEXT (authoritative, Korean): 정비소 안으로 들어와 입을 벌린 채 가쁜 숨을 내쉬는 고정된 자세로 서 있는 연희의 상체\n\nCARRIED STATE (persist exactly): A single fluorescent light hangs from the ceiling. An open toolbox sits on the grease-stained workbench, with an old bicycle standing upside down beside it. She stands inside wearing a yellow raincoat and holding a flashlight, with wet shoulders and her mouth open as she pants.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At chest height just inside one side of the doorway, the tracking move settles into a fixed oblique three-quarter view of 연희, whose upper body occupies roughly two-thirds of the frame. She has halted just past the entrance with her mouth open and shoulders heaving, her attention fixed on 민수 deeper inside while the doorway edge and workshop recede behind her.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: open doorway (open after 연희's entrance) — The interior edge faces the camera, with the evening exterior visible through the opening; used as Forms a narrow side frame around 연희 and marks the threshold she has just crossed; upturned bicycle (old and positioned upside down) — Part of its inverted frame is visible deeper inside the workshop at an oblique angle; used as Provides subdued workshop context behind 연희 without competing with her breathing; workbench (grease-stained, with an open toolbox on top) — Its long side recedes diagonally into the workshop; used as Extends the composition toward the off-screen position of 민수.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/dd5dd235-5850-4157-9b90-a733760c5ae8/episodes/0b36f6db-9884-4206-8fb4-ff11cc3c2392/images/background_chain/L01B02.png" ], [ "char:연희", "/Users/manta/Documents/Projects/TheRoad-I1/projects/dd5dd235-5850-4157-9b90-a733760c5ae8/images/0b36f6db-9884-4206-8fb4-ff11cc3c2392/reference/21df8260-f0c5-4879-82a4-0549df7da555.png" ] ], "asset_id": "e52a5d05-2848-4c35-bd8b-454b6e5f6e7a" }, "S1sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/dd5dd235-5850-4157-9b90-a733760c5ae8/images/0b36f6db-9884-4206-8fb4-ff11cc3c2392/conti/conti_S1sh4.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/dd5dd235-5850-4157-9b90-a733760c5ae8/episodes/0b36f6db-9884-4206-8fb4-ff11cc3c2392/images/background_chain/L01B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At the bicycle repair station inside the narrow workshop, between the oil-stained workbench and the inverted bicycle. The interior is lit by one hanging fluorescent light.\n\nSHOT TEXT (authoritative, Korean): 자전거 체인에 손을 올린 채 문 쪽을 향해 고개를 든 민수의 얼굴\n\nCARRIED STATE (persist exactly): A single fluorescent light hangs from the ceiling. The open toolbox remains on the grease-stained workbench, and the old bicycle remains upside down beside it. He wears navy coveralls with rolled sleeves and has greasy fingertips. He has stopped with a hand at the bicycle chain, raised his head toward the door, and still holds the wrench.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: The diagonal push from 연희's side ends slightly below 민수's face in a tight three-quarter close view, retaining his chain-resting hand at the lower edge as a scale and action reference. 민수 remains bent over the bicycle but lifts his head toward 연희 at the doorway; the doorway stays soft in the background along his eyeline, ready for the ensuing tilt down his arm.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 민수 in the middle-center of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: bicycle chain and frame (old bicycle inverted for repair, chain under 민수's hand) — The chain side angles across the lower frame beneath 민수's face; used as Keeps his interrupted repair visible at the bottom of the close composition; open doorway (open) — The workshop-facing side is seen out of focus behind 민수, aligned with his raised gaze; used as Provides the destination of 민수's attention without showing 연희 in the close frame; workbench (grease-stained, open toolbox resting on top) — Only its upper edge and work surface recede behind the bicycle; used as Creates a subdued lower-background line leading toward the next downward camera move.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/dd5dd235-5850-4157-9b90-a733760c5ae8/episodes/0b36f6db-9884-4206-8fb4-ff11cc3c2392/images/background_chain/L01B02.png" ], [ "char:민수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/dd5dd235-5850-4157-9b90-a733760c5ae8/images/0b36f6db-9884-4206-8fb4-ff11cc3c2392/reference/2cda43f1-5bca-4e60-8610-7e2c3166b1d9.png" ] ], "asset_id": "d890b58b-7f0f-4583-98cf-bf1cfb20069b" }, "S2sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/dd5dd235-5850-4157-9b90-a733760c5ae8/images/0b36f6db-9884-4206-8fb4-ff11cc3c2392/conti/conti_S2sh4.png", "plate_path": null, "prompt": "Every attached image is a CHARACTER REFERENCE for proportion only. There is no location photograph — stage the location purely from THE LOCATION and SHOT TEXT below.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION: On the wet pavement at the center of a four-way residential alley intersection, beside the fallen elderly man. The exterior is dark except for a flickering streetlamp and a handheld flashlight beam.\n\nSHOT TEXT (authoritative, Korean): 연희의 손전등에서 뻗어 나온 둥근 불빛이 누워 있는 노인의 감은 두 눈을 밝히는 순간\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): The elderly man rests on his side in the middle of the crossroads with his eyes closed, wearing a gray coat. His cane is on the ground beside him.\n\nCARRIED STATE (persist exactly): The four-way intersection has wet pavement beneath a flickering streetlamp, whose light stretches across the ground. A cane lies near the center of the intersection. He wears a gray coat and rests on his side in the middle of the intersection with both eyes closed.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From just above the ground on the side opposite 연희, the dolly-in ends diagonally across the 노인's face as the circular flashlight beam reaches his closed eyes. His face occupies the lower center while 연희 leans in at the upper opposite edge, her extended hand and small flashlight remaining visible without obscuring her careful gaze toward him.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 노인 in the lower-center of the frame, foreground; 연희 in the upper-right of the frame, midground, looks toward 노인의 얼굴.\n- KEY BACKGROUND ELEMENTS: flashlight (switched on and aimed carefully at the 노인's face) — Its lens points diagonally down toward the 노인's closed eyes; used as Remains a small edge element whose beam defines the visual focus; wet intersection ground (wet, with streetlight illumination stretched across it); used as Provides a low, reflective spatial bed around the 노인's head.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "no_plate": true, "ref_paths": [ [ "char:노인", "/Users/manta/Documents/Projects/TheRoad-I1/projects/dd5dd235-5850-4157-9b90-a733760c5ae8/images/0b36f6db-9884-4206-8fb4-ff11cc3c2392/reference/f1e29923-d744-4a7f-973f-64bd5b263c18.png" ] ], "asset_id": "3550ff32-7910-4579-adb1-8b9c0f7bcdcd" }, "S2sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S3sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/dd5dd235-5850-4157-9b90-a733760c5ae8/images/0b36f6db-9884-4206-8fb4-ff11cc3c2392/conti/conti_S3sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/dd5dd235-5850-4157-9b90-a733760c5ae8/episodes/0b36f6db-9884-4206-8fb4-ff11cc3c2392/images/background_chain/L01B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: In the cleared floor area of the narrow bicycle repair workshop, next to the elderly man lying beneath a blanket. The interior is illuminated by the overhead fluorescent light.\n\nSHOT TEXT (authoritative, Korean): 담요 덮은 노인 곁에 쪼그려 앉아 노인의 얼굴을 향해 시선을 둔 민수의 측면\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): The elderly man rests under a blanket beneath the fluorescent light inside the repair shop, with his eyes closed.\n\nCARRIED STATE (persist exactly): The workbench has been pushed to one side, leaving a cleared area beneath the fluorescent light. The toolbox remains open on the moved workbench, and the old bicycle remains upside down in the repair shop. He rests in the cleared area with his eyes closed, wearing the gray coat and covered by a blanket. He remains in navy coveralls with rolled sleeves and greasy fingertips. He squats in profile on the cleared floor with his gaze fixed downward.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At crouching height beside 민수, the inward move settles slightly off his profile axis, placing his folded figure in the near right half and the 노인's blanket-framed face beyond him at left. 민수 remains squatted close to the floor with his head lowered toward the 노인, whose face is retained as the clear endpoint of his silent, unwavering gaze.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 민수 in the middle-right of the frame, foreground, looks toward 노인의 얼굴; 노인 in the middle-left of the frame, midground.\n- KEY BACKGROUND ELEMENTS: blanket (covering the 노인); used as Defines the 노인's resting shape and separates his face from the cleared floor area; shifted workbench (moved to one side to clear space) — Its long side sits obliquely at the edge of the newly opened floor area; used as Shows how the workshop has been rearranged around the emergency; cleared workshop floor area (opened by moving the workbench aside); used as Provides the shared ground plane between 민수 and the 노인.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/dd5dd235-5850-4157-9b90-a733760c5ae8/episodes/0b36f6db-9884-4206-8fb4-ff11cc3c2392/images/background_chain/L01B02.png" ], [ "char:민수", "/Users/manta/Documents/Projects/TheRoad-I1/projects/dd5dd235-5850-4157-9b90-a733760c5ae8/images/0b36f6db-9884-4206-8fb4-ff11cc3c2392/reference/2cda43f1-5bca-4e60-8610-7e2c3166b1d9.png" ], [ "char:노인", "/Users/manta/Documents/Projects/TheRoad-I1/projects/dd5dd235-5850-4157-9b90-a733760c5ae8/images/0b36f6db-9884-4206-8fb4-ff11cc3c2392/reference/f1e29923-d744-4a7f-973f-64bd5b263c18.png" ] ], "asset_id": "7e19dc4f-7e01-4b94-8d5a-c0abdc2a8a0f" }, "S3sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/dd5dd235-5850-4157-9b90-a733760c5ae8/images/0b36f6db-9884-4206-8fb4-ff11cc3c2392/conti/conti_S3sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/dd5dd235-5850-4157-9b90-a733760c5ae8/episodes/0b36f6db-9884-4206-8fb4-ff11cc3c2392/images/background_chain/L01B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: At the inside edge of the bicycle workshop doorway, facing out toward the dark alley. The narrow interior behind the doorway is lit by the fluorescent light.\n\nSHOT TEXT (authoritative, Korean): 정비소 문가에 서서 손전등을 쥔 채 바깥 어두운 골목을 향해 목을 빼고 있는 연희의 뒷모습\n\nCARRIED STATE (persist exactly): The workbench remains pushed to one side, leaving the floor area clear beneath the fluorescent light. The toolbox remains open on the moved workbench, the old bicycle remains upside down, and the dark alley is visible through the doorway. She stands at the doorway in her yellow raincoat, gripping the flashlight and craning her neck toward the dark alley. She continues switching the flashlight off and on, and her shoulders remain wet.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Just behind and to one side of 연희 at shoulder height, the camera holds her back in the middle ground while the open doorway frames the dark alley ahead. She grips the flashlight with her thumb near its switch and cranes her neck through the threshold, shoulders pitched forward as her attention searches the alley rather than the room behind her.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 연희 in the middle-center of the frame, midground, looks toward 바깥 골목; 바깥 골목 in the upper-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: open workshop doorway (open toward the alley) — The rear camera sees through the opening from the workshop interior into the dark alley; used as Creates a strong nested frame around 연희's outward vigil; dark alley (dark at night); used as Occupies the background as the empty destination of 연희's searching gaze; flashlight (held in hand and being switched off and on) — Its lens points outward through the doorway while 연희's thumb rests near the switch; used as Adds a compact action detail near the lower side of her silhouette.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/dd5dd235-5850-4157-9b90-a733760c5ae8/episodes/0b36f6db-9884-4206-8fb4-ff11cc3c2392/images/background_chain/L01B02.png" ], [ "char:연희", "/Users/manta/Documents/Projects/TheRoad-I1/projects/dd5dd235-5850-4157-9b90-a733760c5ae8/images/0b36f6db-9884-4206-8fb4-ff11cc3c2392/reference/21df8260-f0c5-4879-82a4-0549df7da555.png" ] ], "asset_id": "c2c67b7b-9b24-4709-b59e-aa0c6f1cf10e" } }, "map_conti": {}, "conti_pack": "5.202607222353", "lane_conti": {} }, "step_id": "shot_conti_light", "run_id": "d319e45f-cd87-400a-908d-3308f31923fd", "resolved_model": "gpt-image-2", "updated_at": "2026-08-28T18:54:47.246339+00:00", "project_config_snapshot": {} }