{ "status": "completed", "applicable_count": 96, "completed_count": 96, "failed_count": 0, "schema_version": 3, "config_hash": "b9c71c81b67c097c", "data": { "contis": { "S1sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S1sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/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: A narrow run through the winter reeds outside the old wooden salt-storehouse.\n\nSHOT TEXT (authoritative, Korean): 과거의 조선인 육혈귀 생존자들이 공포에 질린 표정으로 갈대숲 사이를 내달리는 mid-stride 자세, 한쪽 발이 땅에서 떨어지고 옷자락이 뒤로 날리는 모습.\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: Track at waist height roughly three meters beside the survivors' lateral flank, holding a wide profile view as the group runs parallel to camera through the reeds. Time the frame so forward-pitched bodies occupy the middle band, with lifted feet clearly separated from the ground and trailing garments extending behind them.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: fleeing Joseon survivors in the middle-center of the frame, midground, moves toward escape route through the reeds.\n- KEY BACKGROUND ELEMENTS: 겨울 갈대숲 (갈대 사이로 생존자들이 달리는 상태); used as Creates layered lateral occlusion around the running group while preserving their route.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L01B02.png" ], [ "char:과거의 조선인 육혈귀 생존자", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/606d14b7-2308-49a3-8ee5-c6470c2fb82e.png" ] ], "asset_id": "c5247545-53e2-40f4-beaa-f4d12c2ddd28" }, "S1sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S1sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S2sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S2sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L02B02.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: Inside the roughly patched wooden salt-storehouse, away from the entrance and lit by daytime leaking through its gaps.\n\nSHOT TEXT (authoritative, Korean): 얼기설기 지어진 나무 창고 안에서 과거의 조선인 육혈귀 생존자들이 서로 부둥켜안고 두려움에 몸을 움츠린 상태.\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 chest height near the rear interior, hold a wide static composition with the clustered survivors in the middle foreground and the door aligned beyond them. The loosely assembled walls and supports close around their hunched bodies, while the forward axis leaves the door as the inescapable destination of the next move.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: huddled Joseon survivors in the middle-center of the frame, midground; warehouse door in the middle-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: 판자와 각목으로 덧댄 창고 내부 (얼기설기 덧대어 만든 상태) — The inner faces of the patched walls and exposed supports surround the survivors; used as Compresses the group inside an insecure, improvised enclosure; 창고 문 (이 순간 닫혀 있는 상태) — The interior-facing side is visible beyond the clustered survivors; used as Sits on the forward camera axis as the source of approaching danger.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L02B02.png" ], [ "char:과거의 조선인 육혈귀 생존자", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/606d14b7-2308-49a3-8ee5-c6470c2fb82e.png" ] ], "asset_id": "6dacf3a9-3929-45e0-aaf2-24e27bb11e81" }, "S2sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S2sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S3sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S3sh11": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S3sh15": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S4sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S4sh1.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: A window seat inside a moving commuter bus, with city neon and traffic lights streaking past the glass at night.\n\nSHOT TEXT (authoritative, Korean): 어지러운 불빛이 궤적을 그리며 번진 버스 창가 자리에 피곤한 얼굴로 앉아 창밖을 바라보는 김지후(강수리영)의 모습.\n\nCARRIED STATE (persist exactly): Jihu wears the white animal-bone, spearhead-shaped necklace that she has carried since her first appearance.\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: Track from seated eye level near the rear aisle, holding a wide view across several rows toward 김지후 at the window. Keep her in the right midground, slumped toward the glass, while exhausted passengers and seat backs layer the aisle and the passing city lights draw restless trajectories beyond her profile.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 김지후 by the window in the middle-right of the frame, midground, looks toward bus window and passing city; bus window with passing city lights in the middle-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: 버스 통로와 좌석 열 (녹초가 된 노동자들이 잠들거나 휴대전화를 보는 상태) — Seat backs face forward along the bus while the camera looks diagonally down the aisle; used as Creates layered depth from the rear aisle toward 김지후's window seat; 버스 차창 (달리는 버스 밖의 불빛이 어지럽게 스쳐 가는 상태) — The camera sees through the window beside 김지후 to neon signs and miscellaneous city lights streaking past; used as Frames 김지후's profile and reveals the moving city beyond her.\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:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ] ], "asset_id": "9f0748c5-9c73-46f1-a565-16904ea033d2" }, "S4sh8": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S4sh8.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: The passenger-side window area inside the moving commuter bus, beside a fixed window seat and the passing city lights.\n\nSHOT TEXT (authoritative, Korean): 고개를 숙인 김지후(강수리영) 옆의 버스 창문 유리에 황금색 눈알을 지닌 사람 얼굴 형상의 그분(검은 연기 형체)이 흐릿하게 맺힌 순간.\n\nCARRIED STATE (persist exactly): Jihu still wears her white animal-bone necklace, though it may be below the close framing.\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 the bus aisle, hold close beside 김지후(강수리영) at bowed-head height and angle across his right side toward the adjacent window, maintaining the reveal-stage track without advancing past him. Place his lowered three-quarter figure in the left half and the most legible golden-eyed face of 그분(검은 연기 형체) on the window at upper right, preserving enough city movement beyond the glass to distinguish the apparition from a reflection.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 김지후(강수리영) in the middle-left of the frame, midground; 그분(검은 연기 형체) in the upper-right of the frame, midground.\n- KEY BACKGROUND ELEMENTS: 버스 창문 (검은 연기 형상이 황금색 눈의 얼굴 이미지로 가장 선명하게 맺힌 순간) — The camera sees the human-face-shaped black smoke image forming on the near surface, with passing city lights visible beyond it; used as Carries the apparition beside 김지후 while retaining the passing exterior as spatial context; 차창 밖 도심 불빛 (달리는 버스 밖으로 어지럽게 스쳐 지나감); used as Creates moving traces behind the fixed occult face.\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:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ], [ "char:그분(검은 연기 형체)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/23239ca1-bbec-41ef-9fb2-b018215ed3bc.png" ] ], "asset_id": "0eef6855-72f2-4bda-ac9f-b5ccc538978b" }, "S5sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S5sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L05B03.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The narrow staff-side space behind a convenience-store beverage refrigerator, enclosed by rows of stocked cans and glass cooler doors.\n\nSHOT TEXT (authoritative, Korean): 캔 음료가 가득 찬 편의점 냉장고 뒤편 빈 공간에서 파란색 조끼를 입은 김지후(강수리영)가 유통기한이 지난 도시락을 입에 문 채 멍하게 씹고 있는 모습.\n\nCARRIED STATE (persist exactly): Jihu continues to wear her white animal-bone, spearhead-shaped necklace with the same blue work vest.\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: Begin behind the refrigerator at chest height and dolly toward 김지후(강수리영) through narrow gaps in the densely stocked cans, keeping the converging rows as a layered foreground frame. Hold him in the center midground, leaning over the expired boxed meal with the blue vest and vacant chewing expression readable, while the disposal basket remains low in the surrounding confined space.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 가득 진열된 캔 음료 (냉장고 안에 꽉 들어차 있음) — The camera faces the sides and gaps of the tightly packed rows, creating a narrow visual corridor toward 김지후; used as Forms repeated foreground occlusion through which the dolly-in discovers 김지후; 폐기처분 음식 바구니 (폐기 음식이 가득 담겨 있음); used as Anchors the discarded meal supply in the lower portion of the confined work area; 냉장고 뒤편 빈 공간 (김지후가 늦은 저녁을 먹는 중) — The camera looks along the confined space toward 김지후 through the stocked refrigerator; used as Defines the rear empty space occupied by 김지후.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L05B03.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ] ], "asset_id": "e5344510-caf6-4451-b32a-98d43f16e35d" }, "S5sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S5sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S6sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S6sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L06B02.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: An outdoor bench directly in front of the convenience store under the night sky.\n\nSHOT TEXT (authoritative, Korean): 캔커피를 쥔 김지후(강수리영)가 까만 밤하늘을 올려다보며 입술을 동그랗게 내밀어 휘파람을 부는 측면.\n\nCARRIED STATE (persist exactly): Jihu continues to wear the white animal-bone necklace while holding her canned coffee.\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: Stay close beside the seated 김지후(강수리영) at her eye level, then tilt the lens upward with her gaze while preserving a clean left-facing profile. Her face occupies the right half, the coffee can remains at the lower edge in her hand, and the dark night sky opens above her rounded whistling lips.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 김지후(강수리영) in the middle-right of the frame, midground, looks toward night sky above the bench; night sky in the upper-left of the frame, background.\n- KEY BACKGROUND ELEMENTS: 까만 밤하늘 (김지후가 올려다보는 중); used as Provides negative space in the direction of 김지후’s upward gaze and whistle; 편의점 앞 벤치 (김지후와 정인우가 나란히 앉아 있음) — The camera views the bench obliquely from beside 김지후; used as Supports the seated profile and remains only partially visible at the lower frame edge.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L06B02.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ] ], "asset_id": "4fbe6161-68af-4ba8-8518-4d173727419f" }, "S6sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S7sh5": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S7sh5.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L07B02.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: An open parking area outside the police station in daylight.\n\nSHOT TEXT (authoritative, Korean): 다급한 표정의 강민숙(홍은미)이 돌아서려는 정인우의 팔뚝을 꽉 움켜쥔 채 힘을 주고 있는 찰나.\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: Track close at upper-torso height along the side of the pair as 정인우 turns away, holding a slightly wider close composition that keeps 강민숙(홍은미)’s urgent face above her gripping hand. Place her in the left midground and his arrested turning torso on the right, with the clenched grip forming the central diagonal that visibly stops his escape.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 강민숙(홍은미) in the middle-left of the frame, midground, reaches for 정인우’s turning arm; 정인우 in the middle-right of the frame, midground, moves toward away from 강민숙 before being stopped.\n- KEY BACKGROUND ELEMENTS: 경찰서 주차장 (낮, 강민숙과 정인우가 대화하던 장소); used as Supplies restrained spatial context behind the close physical interruption.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L07B02.png" ], [ "char:정인우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/ecdfd0e0-1e18-4495-a3f0-fab877f83fe1.png" ], [ "char:강민숙(홍은미)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/e39fec85-e247-425b-ab08-80750a61aad8.png" ] ], "asset_id": "595a0a6f-f89e-4dbd-8142-54edc21200c4" }, "S7sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S8sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S8sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S9sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S9sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L08B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The modest living room of a small two-room multi-family home, centered on its sofa near the entrance.\n\nSHOT TEXT (authoritative, Korean): 거실 소파에 등을 보이고 앉은 강영란(흰 머리 여자)의 하얗게 샌 머리가 가지런히 묶인 뒷모습.\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: Track into the prescribed eye-level position behind 강영란(흰 머리 여자), then settle into a tight close view centered on her neatly tied white hair and upper back. The sofa back forms a low horizontal boundary beneath her shoulders, while her head remains turned far enough away that no facial contour becomes visible; the emphasized change is the tighter camera distance.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 강영란(흰 머리 여자) in the middle-center of the frame, midground.\n- KEY BACKGROUND ELEMENTS: living-room sofa (occupied by the seated woman) — The rear and upper edge of the sofa face the camera; used as Its backrest forms the lower framing line beneath the seated woman's shoulders.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L08B02.png" ], [ "char:강영란(흰 머리 여자)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/ef6b221a-22a8-48e4-a7c0-c24ae84eed10.png" ] ], "asset_id": "175b12ef-2596-497b-9fa8-37c95c2b3459" }, "S9sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S10sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S10sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L09B02.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: Behind the convenience-store checkout counter on the sales floor at night.\n\nSHOT TEXT (authoritative, Korean): 편의점 카운터에 서서 두툼한 돈봉투를 쥔 채 멍한 눈으로 허공을 응시하는 김지후(강수리영)의 모습.\n\nCARRIED STATE (persist exactly): Jihu still wears her white animal-bone necklace and holds the thick cash envelope at the counter.\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: Observe 김지후(강수리영) frontally from the prescribed eye-level position across the counter, using a slightly wide medium frame that includes her upper body and both hands around the thick money envelope. She sits near frame center behind the counter with vacant eyes fixed beyond the lens, while the envelope remains clearly readable in the lower middle; the emphasized axis is her static, isolated position.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: convenience-store counter (김지후 positioned behind it) — The customer-facing side and top edge are visible across the lower frame; used as Creates the horizontal foreground boundary separating the observer from 김지후; thick money envelope (held and being handled) — Its broad side is angled partly toward the camera between her hands; used as Held within the lower central portion of the composition as the physical focus of her restless hands.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L09B02.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ] ], "asset_id": "04f58860-ddd4-4df1-8170-329d5e1544e3" }, "S10sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S11sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S11sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L10B04.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The roadway of a narrow residential alley below the exterior stairs of a multi-family house.\n\nSHOT TEXT (authoritative, Korean): 붉은 경광등이 켜진 경찰차가 김지후(강수리영) 앞의 골목길 바닥에 끼이익 멈춰 선 순간.\n\nCARRIED STATE (persist exactly): Jihu still wears her white animal-bone necklace and keeps her phone in hand as the police car stops.\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: Continue the waist-height dolly-in from directly behind 김지후(강수리영), placing her at the near lower edge while the police car completes its stop in the central middle distance. Keep the vehicle substantial but below forty percent of the frame, preserving the alley axis around it and the clear spatial interruption between 김지후 and her route forward; the emphasized change is the vehicle's new position across her path.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 김지후(강수리영) in the lower-center of the frame, foreground, looks toward police car stopped ahead; police car stopped across the alley axis in the middle-center of the frame, midground.\n- KEY BACKGROUND ELEMENTS: police car (stopped directly ahead) — Its stopped body is seen from behind 김지후 along the vehicle's side-front angle; used as Central interruption on the forward alley axis and the shot's dominant subject; roof beacon (switched on) — Mounted on the roof and visible above the vehicle body; used as Visible atop the stopped vehicle and responsible for the specified red warning illumination; alley ground (vehicle stopped upon it); used as Maintains the depth line between 김지후 and the stopped vehicle.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L10B04.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ] ], "asset_id": "c4cc3bd1-2302-4f69-9acb-ffd9ac0c85cc" }, "S11sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S12sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S12sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L08B03.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The wrecked living room of the small multi-family home, amid broken furniture and visible bloodstains.\n\nSHOT TEXT (authoritative, Korean): 부서진 가구와 핏자국으로 난장판이 된 거실 한가운데에 무심하게 서 있는 고산들의 모습.\n\nCARRIED STATE (persist exactly): The smashed furniture, broken lamp and flowerpot, and conspicuous bloodstains remain scattered throughout Minsuk’s living room.\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: Begin just inside the open entrance at eye level and push slowly into a wide, straight view of 고산들 at the center of the devastated living room. He remains a compact human anchor amid broken furniture, a broken lamp, a flowerpot and visible bloodstains, holding the photo frame low rather than allowing any single object to overwhelm the room; the emphasized axis is his central placement within the destruction.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: broken furniture (broken and disordered) — Multiple damaged faces and edges point irregularly toward the camera; used as Scattered around 고산들 to establish the scale of the room's destruction; lamp (broken) — Its broken body lies at an oblique angle within the room; used as Visible among the wreckage as a specific sign of damage rather than as a light source; flowerpot (displaced in the wreckage) — Its side is visible among the surrounding disorder; used as Adds another displaced household object within the wide environmental composition; bloodstains (clearly visible in multiple areas); used as Creates distinct visual evidence around the central figure without becoming the sole focal point; photo frame (held near his waist) — The picture-bearing front is angled toward 고산들 and only partly visible to the camera; used as Held low by 고산들 as evidence of what he had been examining; entrance door (open) — The open inner face sits at the edge of the camera's view; used as Frames the camera's initial position and the path into the room.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L08B03.png" ], [ "char:고산들", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/5b67a89a-2ce6-477b-980d-2e945d4cbd8a.png" ] ], "asset_id": "ee932bba-7dbb-44f2-8b33-7edacfef5212" }, "S12sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S12sh11": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S13sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S13sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L12B03.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The driver's seat of an older SUV traveling along a dark rural highway, with the rear bench visible behind it.\n\nSHOT TEXT (authoritative, Korean): 핸드폰을 귀에 댄 고산들이 고개를 살짝 돌린 채 차가운 눈빛으로 뒷좌석을 곁눈질하는 찰나.\n\nCARRIED STATE (persist exactly): Jihu remains bound hand and foot and lies unconscious across the rear seat, still wearing her white animal-bone necklace.\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 the front passenger side at Sandeul's eye height, hold a close three-quarter profile as the pan catches his head beginning to turn toward the rear cabin; his face occupies the left half while the steering wheel and receding rear-seat line remain on the right. Keep the phone pressed to his ear and stop the pan at the instant his cold sidelong gaze locks behind him, preserving room for the continued rotation into the next reveal.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 고산들 in the middle-left of the frame, foreground, looks toward rear seat; rear seating area in the middle-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: steering wheel (Held as the SUV travels) — Its driver-facing side angles away from the passenger-side camera; used as Provides the foreground driving context beside Sandeul's turning profile; rear seating area (Only partially visible before the reveal) — The seat faces forward and recedes behind Sandeul on frame right; used as Forms the destination of Sandeul's sidelong gaze and the axis for the following pan.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L12B03.png" ], [ "char:고산들", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/5b67a89a-2ce6-477b-980d-2e945d4cbd8a.png" ] ], "asset_id": "d48e58a1-b5e0-46e0-af61-6aa5eac4419c" }, "S13sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S13sh4.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L12B03.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The rear bench area inside the moving older SUV, directly behind the fixed front seats.\n\nSHOT TEXT (authoritative, Korean): 차량 뒷좌석에 눕혀진 채 손발이 묶이고 두 눈을 꾹 감고 있는 김지후(강수리영)의 모습.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Her bound body is reclined lengthwise across the SUV’s rear seat, with both arms and legs immobilized by restraints and her head resting against the seat. Her eyes are tightly closed and her entire body is motionless.\n\nCARRIED STATE (persist exactly): Jihu’s bound body remains reclined lengthwise across the SUV’s rear seat, with both arms and legs immobilized by restraints and her head resting against the seat. Her eyes are tightly closed, her entire body is motionless, and her necklace stays around her neck.\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: Complete the rearward track at back-seat height and settle into a wide, downward-angled view of Jihu lying across the rear seat, with his bound hands and feet both legible without compressing the vehicle's scale. Place his face near the upper third and his folded body diagonally across the middle, letting the front-seat edge remain at the frame boundary as spatial continuity from Sandeul's glance.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: rear seat (Occupied by Jihu) — The forward-facing seat is viewed obliquely from nearby and above; used as Supports Jihu's restrained body and establishes the confinement of the reveal; front-seat edge (Partially visible) — Its rear side enters along the frame boundary ahead of Jihu; used as Marks the front-to-rear axis inherited from the preceding pan.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L12B03.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ] ], "asset_id": "073f4035-bc4b-49a4-b824-62dff9bab80e" }, "S14sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S14sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L10B03.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The open rear threshold of an ambulance parked in the residential alley below the multi-family house.\n\nSHOT TEXT (authoritative, Korean): 앰뷸런스 뒷문턱에 걸터앉아 부러진 한쪽 팔을 팔걸이 밴드로 고정한 채 지친 표정을 짓고 있는 정인우의 모습.\n\nCARRIED STATE (persist exactly): Inwoo’s broken arm remains immobilized in the sling.\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: Track to a medium three-quarter view at In-woo's seated eye level beside the open rear of the ambulance, ending with him slightly off-center and the supported arm clearly crossing his torso. His tired face and threshold-perched posture carry the frame, while the alley activity remains layered behind him without competing for focus.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: ambulance rear doorway (Open) — The rear opening faces partly toward the camera behind In-woo; used as Frames In-woo's seated position and visually anchors his injury within the emergency response; multi-family housing (Police move up and down around it) — Its alley-facing side is visible behind the emergency vehicles; used as Supplies active depth beyond the ambulance without distracting from In-woo; police and neighborhood onlookers (Police are moving; residents are gathered and murmuring); used as Creates secondary figures and movement in the alley background.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L10B03.png" ], [ "char:정인우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/ecdfd0e0-1e18-4495-a3f0-fab877f83fe1.png" ] ], "asset_id": "1bcf5eac-7952-4056-ba6a-505df64347db" }, "S14sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S15sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S15sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L12B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The rear bench of the parked older SUV near the dawn waterfront, behind the fixed driver and passenger seats.\n\nSHOT TEXT (authoritative, Korean): 뒷좌석에 결박된 김지후(강수리영)가 두려움 가득한 눈빛으로 번쩍 눈을 뜬 채 앞쪽을 올려다보는 찰나.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Her bound body remains reclined lengthwise across the SUV’s rear seat, with both arms and legs immobilized by restraints and her head supported by the seat. Her eyes are open and directed toward the front of the vehicle.\n\nCARRIED STATE (persist exactly): Jihu’s bound body remains reclined lengthwise across the SUV’s rear seat, with both arms and legs immobilized by restraints and her head supported by the seat, still wearing the white animal-bone necklace.\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 front-seat height near the center of the cabin, cut backward to a medium view of Jihu lying restrained across the rear seat, catching the exact instant his eyes snap open. Keep him centered slightly low with his chin raised toward the unseen front seats, while the seat backs at both edges create a narrow visual corridor around his fearful face.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 김지후(강수리영) in the middle-center of the frame, midground, looks toward front cabin and Sandeul.\n- KEY BACKGROUND ELEMENTS: rear seat (Occupied by the bound Jihu) — Its forward-facing surface is seen straight down the cabin axis; used as Supports Jihu's restrained posture and fixes his location behind the camera's front-seat position; front-seat backs (Partially visible) — Their rear faces enter from the lateral frame edges; used as Creates a through-object corridor around the rear-seat reveal.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L12B02.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ] ], "asset_id": "712a04e5-b62e-48ed-a2ae-b5bf8f03b4b5" }, "S15sh5": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S15sh5.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L12B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The driver's position inside the older SUV, looking through the cabin toward the restrained passenger on the rear bench.\n\nSHOT TEXT (authoritative, Korean): 운전석 룸미러를 통해 뒷좌석의 김지후(강수리영)를 말없이 응시하는 고산들의 무거운 시선.\n\nCARRIED STATE (persist exactly): Jihu remains bound and lying behind Sandel, with her white animal-bone necklace still on.\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 behind Jihu's rear-seat eyeline, dolly toward the rearview mirror until Sandeul's reflected eyes occupy the mirror's central area while the mirror itself remains below the nonhuman-object occupancy limit. Retain Jihu's blurred head and raised sightline in the lower-left foreground, making the reflected gaze and its recipient physically continuous along one axis.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: rearview mirror in the upper-center of the frame, midground; 고산들 reflected in mirror in the upper-center of the frame, midground, looks toward Jihu through the rearview mirror; 김지후(강수리영) in the lower-left of the frame, foreground, looks toward Sandeul's reflection.\n- KEY BACKGROUND ELEMENTS: rearview mirror (Mounted and reflecting Sandeul) — The mirror reflects Sandeul's eyes and part of his face as he looks back toward Jihu; used as Carries the primary image of Sandeul's heavy gaze while preserving the front-to-rear relationship; rear-seat area (Occupied by the restrained Jihu) — It faces the front cabin and is seen from immediately behind Jihu; used as Keeps Jihu's line of sight visible beneath the reflected image.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L12B02.png" ], [ "char:고산들", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/5b67a89a-2ce6-477b-980d-2e945d4cbd8a.png" ] ], "asset_id": "beead7d5-a55d-4b22-aa3e-c21c40829bd0" }, "S16sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S16sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L14B03.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: A CCTV workstation within the police detective office, lit by the computer monitor around dawn.\n\nSHOT TEXT (authoritative, Korean): 어두운 컴퓨터 모니터 화면에 얼굴을 바짝 들이댄 정인우의 측면.\n\nCARRIED STATE (persist exactly): Inwoo’s injured arm remains fixed in the same sling while he examines the CCTV footage.\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 In-woo's seated eye level, finish the dolly-in beside him so his tense profile and the monitor share a close lateral composition, with his face on the left and the CCTV image on the right. He hunches toward the screen until the furrow of his brow nearly meets its edge, while the sling-supported arm remains a partial lower-frame reminder of the previous scene.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: computer monitor (Displaying CCTV footage) — Its front screen faces partly toward the camera and shows CCTV footage of Sandeul carrying the unconscious Jihu out of the house; used as Shares focus with In-woo's profile and provides the visual evidence driving his hostility; workstation (In use) — Its user-facing side aligns with In-woo's seated profile; used as Anchors In-woo's investigative position before the camera later moves behind him.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L14B03.png" ], [ "char:정인우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/ecdfd0e0-1e18-4495-a3f0-fab877f83fe1.png" ] ], "asset_id": "f93fe4e8-3cd3-4e25-a5da-16b9fb257ecb" }, "S16sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S17sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S17sh6": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S17sh6.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L15B06.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The open passenger deck and narrow exterior passage leading toward the fishing boat's bow.\n\nSHOT TEXT (authoritative, Korean): 통로 너머 뱃머리에 굳건히 서 있는 고산들의 뒷모습을 향해 시선을 고정한 김지후(강수리영)의 모습.\n\nCARRIED STATE (persist exactly): Jihu continues to wear her white animal-bone necklace aboard the fishing boat.\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: Dolly in from just behind and beside Jihu at eye level, using his shoulder and turned head in the lower-left foreground to align the passage with Sandeul's back at the bow in the upper-center distance. Hold enough width to keep both men and the connecting passage legible: Jihu remains seated and intent, while Sandeul forms a rigid full-body endpoint against the open sea.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 김지후(강수리영) in the lower-left of the frame, foreground, looks toward Sandeul at the bow; 고산들 in the upper-center of the frame, background; passage to the bow in the middle-center of the frame, midground.\n- KEY BACKGROUND ELEMENTS: boat passage (Open between the two men) — The passage recedes from the seated Jihu toward the bow at frame center; used as Creates the central sightline connecting Jihu to Sandeul; bow (Occupied by Sandeul) — Its forward end points away from the camera beyond Sandeul; used as Provides Sandeul's isolated endpoint and separates him from the stern group; open sea (Visible around the moving vessel); used as Forms the distant field beyond Sandeul and the passing view beside Jihu.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L15B06.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ], [ "char:고산들", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/5b67a89a-2ce6-477b-980d-2e945d4cbd8a.png" ] ], "asset_id": "01b2f5bd-0d36-4933-bb83-da4acd1c4c89" }, "S18sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S18sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L12B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The front passenger seat inside the older SUV, beside the fixed dashboard and driver's position at dawn.\n\nSHOT TEXT (authoritative, Korean): 구형 SUV 조수석에 앉은 김지후(강수리영)가 두 손으로 고등학교 졸업식 사진 액자를 쥐고 내려다보는 모습.\n\nCARRIED STATE (persist exactly): Jihu’s restraints have been removed; she sits in the front passenger seat holding the graduation photo frame and still wears her necklace.\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 chest height slightly behind and inboard of the front passenger seat, hold a static medium frame angled gently downward toward Jihoo. Her seated upper body occupies the right half while the graduation photograph frame rests across the lower center at a natural scale, its image clearly readable without exceeding roughly one third of the composition.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 고등학교 졸업식 사진 액자 (Held in both hands) — Its photograph side is tilted upward toward the camera, showing an expressionless 김지후(강수리영) beside a broadly smiling 강민숙(홍은미); used as The photograph supplies the lower-frame focal point beneath Jihoo's face; 구형 SUV 조수석 (김지후(강수리영)가 앉아 있음) — The seat's inner side and part of its back face the camera; used as The seatback establishes the confined passenger-side viewpoint and frames Jihoo along one edge.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L12B01.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ] ], "asset_id": "8d73a3e0-602e-4f69-b1bc-15400b9f9523" }, "S18sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S18sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L12B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The front-seat cabin of the older SUV, between the passenger seat and driver's position.\n\nSHOT TEXT (authoritative, Korean): 놀라 두 눈을 크게 뜬 채 운전석 쪽으로 고개를 돌려 고산들을 바라보는 김지후(강수리영)의 굳은 얼굴.\n\nCARRIED STATE (persist exactly): Jihu continues holding the same graduation photo frame taken from Minsuk’s home, and her necklace remains on.\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 Jihoo's eye level near the space between the front seats, let the horizontal pan settle into a close three-quarter view exactly as her head finishes turning toward the driver. Jihoo's rigid face occupies most of the passenger-side frame, while a narrow, softly focused edge of Sandeul's driver-side shoulder preserves the conversational axis and her eyeline.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 구형 SUV 앞좌석 (두 인물이 각각 앞좌석에 앉아 있음) — The passenger-seat side opens toward Jihoo while the driver-seat edge remains close to the lens; used as The gap between the front seats creates a narrow visual corridor linking Jihoo to Sandeul.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L12B01.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ] ], "asset_id": "56b10033-54e9-4c53-b191-3b2d1ca0401d" }, "S19sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S19sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S19sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S20sh8": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S20sh8.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L19B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The landward end of the island pier where arriving passengers meet the waiting villagers.\n\nSHOT TEXT (authoritative, Korean): 60대 후반의 강영란(흰 머리 여자)이 온화한 미소를 지으며 선착장에 꼿꼿하게 서 있는 자태.\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 adult eye level several meters from the end of the pier, hold a static wide reveal aligned with Jihoo's approaching sightline. Youngran appears full-length near the center with open shoulders and a composed smile, while the pier recedes behind her toward the small village without competing figures entering her greeting portrait.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 금월도 선착장 (낚시 어선이 도착한 상태) — Its length recedes behind Youngran toward the village; used as The pier's receding line centers Youngran as the person waiting at its end; 작은 섬 마을의 집들 (알록달록한 지붕의 집들이 모여 있음) — The rooflines and village-facing sides are visible behind the pier; used as The distant settlement establishes the destination beyond Youngran; 마을 주변 나무와 숲 (단풍이 한창임); used as The foliage provides a seasonal backdrop around the village.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L19B01.png" ], [ "char:강영란(흰 머리 여자)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/ef6b221a-22a8-48e4-a7c0-c24ae84eed10.png" ] ], "asset_id": "3844b7f1-67ba-4b89-97f2-6bb15aafc989" }, "S20sh11": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S20sh13": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S21sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S21sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L20B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: A dining table inside the small multipurpose restaurant and general store, within view of its kitchen and front windows in daylight.\n\nSHOT TEXT (authoritative, Korean): 식당 테이블에 나란히 앉은 강영란(흰 머리 여자)이 김지후(강수리영) 곁에서 낡은 사진첩을 짚어 보이는 모습.\n\nCARRIED STATE (persist exactly): Jihu wears the animal-bone, spearhead-shaped necklace while viewing the old album.\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: Beside the dining table at seated eye height, briefly stabilize the inward dolly as a medium two-shot of Youngran and Jihoo sitting tightly side by side. The open album lies across the lower center; Youngran leans in from the left to indicate one page while Jihoo bends toward it from the right, leaving enough surrounding table and shop interior to preserve the modest space.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 낡은 사진첩 (Open on the table while 강영란(흰 머리 여자) points to a page) — An open page faces upward toward the women and partly toward the camera, displaying photographs of 강민숙(홍은미)'s childhood and 김지후(강수리영)'s infancy; used as The album is the shared lower-frame focal point connecting both women's gestures and attention; 식당 테이블 (두 인물이 나란히 앉아 있음) — The near edge crosses the lower frame, with its top plane visible between the camera and the women; used as The tabletop anchors the side-by-side relationship and supports the album; 반월 식당 겸 잡화점 내부 (식당과 편의점, 낚시용품점이 함께 있는 공간) — The dining area extends behind the seated pair toward the store space; used as A limited portion of the multipurpose shop interior supplies spatial context without drawing attention from the album.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L20B01.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ], [ "char:강영란(흰 머리 여자)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/ef6b221a-22a8-48e4-a7c0-c24ae84eed10.png" ] ], "asset_id": "b490755f-a3ac-4986-ab07-611b467cb6ac" }, "S21sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S21sh16": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S22sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S23sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S23sh1.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: A narrow, unlit trail climbing through dense black-pine forest under faint moonlight.\n\nSHOT TEXT (authoritative, Korean): 어스름한 달빛이 스며드는 빽빽한 해송 숲길, 땅을 힘차게 밀어내 한 발이 허공에 뜬 채 앞으로 나아가는 미드 스트라이드(mid-stride) 자세의 고산들 전신.\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: Track parallel at hip height from 고산들's side, keeping his entire body in frame as his rear foot drives against the path and the forward foot hangs briefly in mid-stride. Place him just left of center with open path ahead on screen right, while the dense pine forest passes behind him without interrupting the smooth lateral momentum.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 고산들 in the middle-left of the frame, midground, moves toward path ahead at screen right.\n- KEY BACKGROUND ELEMENTS: forest path (unlit); used as Forms the receding route ahead of 고산들 and establishes his rapid direction of travel; pine trees (densely grown) — Their trunks are seen primarily from the side as the camera tracks past them; used as Creates dense vertical layers behind and around the moving figure.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\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:고산들", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/5b67a89a-2ce6-477b-980d-2e945d4cbd8a.png" ] ], "asset_id": "a987e339-1724-4e6f-a9ad-ababe0201bcf" }, "S24sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S24sh4.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L20B05.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The dim restaurant hall outside the closed rear-room door, barely visible in moonlight entering through the windows.\n\nSHOT TEXT (authoritative, Korean): 굳게 닫힌 채 불이 꺼져 있는 강영란(흰 머리 여자)의 방문을 쳐다보는 김지후(강수리영)의 뒷모습.\n\nCARRIED STATE (persist exactly): Jihu still wears her white animal-bone necklace while searching the dark restaurant.\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: Hold static at shoulder height and medium distance directly behind 김지후(강수리영), using her back and one shoulder as a central foreground mass while the closed room door remains visible along her forward sightline. Keep the dark doorway area beyond her sharply legible enough to make the lack of response feel spatially concrete.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 김지후(강수리영) in the lower-center of the frame, foreground, looks toward grandmother's room door; grandmother's room door in the upper-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: grandmother's room door (closed; room beyond unlit) — Its closed outer face is presented toward the camera beyond 김지후(강수리영); used as The fixed endpoint of 김지후(강수리영)'s attention, aligned beyond her back; restaurant interior (empty and dark); used as Provides the dim surrounding space between 김지후(강수리영) and the door.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L20B05.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ] ], "asset_id": "6252f5e3-8581-4887-a6fe-92498ea9b4ca" }, "S24sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S25sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S25sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L26B03.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The forest-side exterior of a large natural cave, directly before its timber-braced entrance and lightless interior.\n\nSHOT TEXT (authoritative, Korean): 고산들이 어둠 속 기괴하게 나무 기둥이 덧대어진 거대한 자연동굴 입구 앞에 멈춰 선 뒷모습.\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: Hold at standing eye level several meters behind 고산들, framing his full back in the lower center and the large reinforced cave entrance directly ahead of him. The entrance and its black interior take up the upper central field while his halted weight and slight forward inclination register his inability to cross the threshold.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 고산들 in the lower-center of the frame, midground, looks toward cave entrance; reinforced cave entrance in the upper-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: natural cave entrance (open and completely dark inside) — The opening faces the camera, exposing the dark interior beyond; used as Primary environmental threat held on the same central sightline as 고산들; supporting wooden posts (fixed around the entrance) — Their front and inner sides are visible around the cave mouth; used as Creates an unnatural constructed boundary around the natural opening; forest (night) — Trees are seen as layered side profiles around the entrance; used as Surrounds and partially encloses the approach to the cave.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L26B03.png" ], [ "char:고산들", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/5b67a89a-2ce6-477b-980d-2e945d4cbd8a.png" ] ], "asset_id": "f4f11369-ef12-455d-887f-536cb3b30621" }, "S26sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S26sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L22B03.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The restaurant's outdoor back garden, between its vegetable beds and a weathered shed leaking light through the door.\n\nSHOT TEXT (authoritative, Korean): 문틈으로 불빛이 새어 나오는 낡은 창고를 향해 고개를 돌린 채 시선을 고정한 김지후(강수리영)의 모습.\n\nCARRIED STATE (persist exactly): Jihu still wears the animal-bone necklace as she notices the lit shed.\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: Finish the chest-height pan in a three-quarter view of 김지후(강수리영), then hold briefly once her turned head and fixed gaze align with the worn storage shed in the right background. Place her in the left midground and preserve a clear diagonal sightline to the narrow line of light at the shed door gap.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 김지후(강수리영) in the middle-left of the frame, midground, looks toward storage shed door gap; storage shed in the middle-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: worn storage shed (door slightly open; light escaping through the gap) — The wall and door side containing the narrow gap face diagonally toward the camera; used as Destination of 김지후(강수리영)'s newly fixed attention; vegetable garden (well tended); used as Low environmental layer separating 김지후(강수리영) from the shed; wooden platform with drying vegetables (vegetables laid out to dry) — Its upper surface is visible at an oblique angle behind 김지후(강수리영); used as Adds a grounded yard element without blocking the sightline to the shed.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L22B03.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ] ], "asset_id": "7b1afcea-3ec9-4684-b3b3-747f9f334bda" }, "S26sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S27sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S27sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S28sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S28sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L22B03.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The edge of the restaurant's back garden facing the unlit village path that rises toward the forest.\n\nSHOT TEXT (authoritative, Korean): 가로등 하나 없이 칠흑같이 어두운 숲길 입구를 바라보며 마른침을 삼킨 직후 두려움에 굳어 있는 김지후(강수리영)의 얼굴 클로즈업.\n\nCARRIED STATE (persist exactly): Jihu is still wearing her white animal-bone necklace at this point before entering the forest.\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: Complete the flow’s dolly-in at eye level, settling slightly off 김지후(강수리영)'s gaze axis so her rigid three-quarter face occupies roughly three quarters of the frame while the forest-path entrance remains at the far edge. Hold the instant after the swallow, with her throat still taut and her eyes fixed beyond the camera toward the path.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 숲길 입구 (Leading from the village road into the forest) — The entrance recedes away from the camera beside her face; used as A narrow peripheral strip preserves the destination of her fearful gaze.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L22B03.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ] ], "asset_id": "f47dd3af-a525-4020-9937-f09054f464f0" }, "S29sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S29sh2.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: A narrow nighttime trail deep in the island's black-pine forest.\n\nSHOT TEXT (authoritative, Korean): 어둠 속 숲길에서 금월도 마을 청년들이 무언가 꿈틀거리는 커다란 포댓자루 두 개를 실은 리어카 손잡이를 쥔 채, 몸을 앞으로 기울여 한쪽 발을 내딛은 mid-action 광경.\n\nCARRIED STATE (persist exactly): Jihu continues to wear her animal-bone necklace while following the cart.\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 the flow’s slightly lowered chest-height position beside the concealed observer, pan across the path in a wide lateral reveal as two village youths lean into the cart handles and step through the frame. Keep their hands and forward-pitched torsos in the middle plane, with the cart and both visibly moving sacks fully readable behind them without letting either sack occupy more than a third of the image.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: leading village youth in the middle-right of the frame, midground, moves toward route deeper into the forest; second village youth in the middle-center of the frame, midground, moves toward route deeper into the forest; route deeper into the forest in the middle-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: 좁은 숲길 (Surrounded by 해송 trees) — The path crosses the frame and continues toward screen right; used as Provides the narrow lateral route across which the group is revealed; 리어카 (Loaded with two large sacks) — Its side and both handles are visible as it advances across the camera axis; used as Carries the two sacks and connects the youths' grips to their forward movement; 커다란 포댓자루 두 개 (Loaded on the cart; contents moving) — Their outward-facing sides show intermittent bulges from movement inside; used as Both remain visible behind the youths, with localized movement readable in their outlines.\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:마을 청년 #1", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/68cce61b-b8fd-49d9-902b-e7acc0ea9080.png" ], [ "char:마을 청년 #2", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/fbeea2cb-52b5-4692-8dfe-5102c6564af4.png" ] ], "asset_id": "a4214bf0-5fc6-4a4f-be84-af37e359c589" }, "S29sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S30sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S30sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S30sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S31sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S31sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L27B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The open-sided goat pen deep in the forest, among tightly gathered black goats.\n\nSHOT TEXT (authoritative, Korean): 신경을 곤두세운 채 검은 염소 떼 사이 빈 공간으로 조심스레 한쪽 발을 내디딘 김여상과 김지후(강수리영)의 모습.\n\nCARRIED STATE (persist exactly): Jihu’s animal-bone necklace remains on as she and Yeosang follow through the goat enclosure.\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: Dolly in from waist height through the established open gap between the goats, remaining about two paces ahead of 김여상 and 김지후(강수리영). Frame them in a cautious full-body two-shot as each lowers their center of gravity and places one foot into the gap, while black goats form irregular foreground and side barriers without blocking their route.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 김여상 testing the route in the middle-left of the frame, midground, moves toward open gap between the goats; 김지후(강수리영) following beside him in the middle-right of the frame, midground, moves toward open gap between the goats; open gap between the goats in the lower-center of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: 검은 염소 떼 (Dozens gathered inside the pen) — Goats flank both sides of the camera-facing gap, with partial bodies crossing the frame edges; used as Forms living foreground and lateral occlusion around the pair's narrow passage; 염소 떼 사이 빈 공간 (Temporarily clear after the village youths passed) — The opening runs from the lower center toward the approaching pair; used as Defines the precise route into which both characters are stepping.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L27B02.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ], [ "char:김여상", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/a787ce2f-ee5b-438f-8533-a931d5bbed9a.png" ] ], "asset_id": "1c72234a-103b-4af8-a82e-05b2b3882b25" }, "S32sh10": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S32sh10.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L29B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The main work floor of the rough wooden slaughterhouse, surrounded by hanging knives, hooks and blood buckets in darkness.\n\nSHOT TEXT (authoritative, Korean): 한 마을 청년이 허공 높이 무시무시한 도축용 칼을 치켜든 순간.\n\nCARRIED STATE (persist exactly): The blood-leaking sacks have been opened inside the slaughterhouse, with their struggling contents on the killing floor. Jihu still wears her necklace outside the window.\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 knee height inside the structure, complete the upward tilt along the struggling form to 마을 청년 #1's twisted torso and fully raised arm. Keep his body in a low-angle three-quarter view at center-left, the slaughter knife high in the upper third, and only an indistinct portion of the victim below so the imminent downward arc is unmistakable.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 도축용 칼 (Held high immediately before the blow) — The blade is raised above the youth, with its striking edge angled toward the struggling form below; used as Suspended at the top of the composition as the endpoint of the tilt and the threat of the next motion; 벽에 매달린 다양한 크기의 칼 (Hanging in rows) — Their hanging sides and edges are visible behind the youth; used as Creates repeated sharp vertical shapes behind the raised arm; 걸개 갈고리 (Hanging among the tools) — Their hooked profiles hang along the background wall; used as Adds slaughterhouse context without competing with the raised knife; 피받이 양동이 (Placed inside the slaughter area) — Its open top is partially visible from the low camera angle; used as Remains low in the background as part of the prepared slaughter area.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere.", "skipped_reason": null, "error": null, "ref_paths": [ [ "plate", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L29B01.png" ], [ "char:마을 청년 #1", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/68cce61b-b8fd-49d9-902b-e7acc0ea9080.png" ] ], "asset_id": "8a675677-a545-416e-ab90-20b10e1eb081" }, "S32sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S32sh14": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S33sh6": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S33sh6.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: A small open trail junction at the edge of the dense island forest.\n\nSHOT TEXT (authoritative, Korean): 오솔길에 서서 헐떡이는 수리영과, 맞은편 숲을 등지고 우뚝 선 산들이 서로 마주하고 있는 전경.\n\nCARRIED STATE (persist exactly): Jihu still wears the animal-bone necklace when she encounters Sandel on the path.\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 chest height at one side of the path, the completed lateral arc resolves into a static wide profile composition: 김지후(강수리영) occupies the left midground, folded forward and breathless, while 고산들 holds the right midground with the forest behind him. The open path remains between them as a central band of negative space, preserving the confrontation axis for the coming advance between their sightlines.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 김지후(강수리영) in the middle-left of the frame, midground; 고산들 in the middle-right of the frame, midground; open path between the opponents in the middle-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: forest path (open between the two figures) — The path runs away through the center of the frame between the opposing figures; used as Forms the central negative space separating the two figures and defines their confrontation axis; forest edges (nighttime forest bordering the path); used as Closes the background behind each figure and emphasizes that they emerged from opposite sides.\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:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ], [ "char:고산들 (육혈귀 각성 상태)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/e12d2e7a-360a-4a4e-9ef5-19ee771c8aa5.png" ] ], "asset_id": "9a19cba3-6342-4807-b242-bda1663ad31d" }, "S33sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S33sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S34sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S34sh1.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: The driver's seat of a moving compact sedan on a rural highway in daylight, enclosed by the dashboard, controls and adjacent seats.\n\nSHOT TEXT (authoritative, Korean): 한쪽 팔에 깁스를 한 인우가 운전석에서 미간을 잔뜩 찌푸린 채 전방을 주시하는 측면.\n\nCARRIED STATE (persist exactly): Inwoo’s injured arm is now immobilized in a cast, which remains with him thereafter.\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 the front passenger area at shoulder height, a static medium composition observes 정인우 in right profile, his tense face in the upper left-to-center area and the steering wheel with his cast arm visible below. The passenger-side angle keeps his attention aimed through the windshield rather than toward the camera, while the phone mount remains near the forward edge for the next move.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: steering wheel (held while the car is moving) — Its driver-facing side is angled away from the passenger-side camera; used as Anchors 정인우’s driving action in the lower portion of the composition; windshield (car moving along a provincial road) — The road ahead is visible through the windshield; used as Provides the forward sightline that 정인우 watches; phone mount (phone secured in place) — The mounted phone face angles toward the driver and partly toward the passenger-side camera; used as Sits near the forward frame edge as the destination of the following 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, "no_plate": true, "ref_paths": [ [ "char:정인우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/ecdfd0e0-1e18-4495-a3f0-fab877f83fe1.png" ] ], "asset_id": "b0e27061-878f-4ca2-9646-2caf424aecde" }, "S34sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S35sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S35sh1.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: A dreamlike forest footpath on the island, with the road stretching unnaturally between daughter and mother.\n\nSHOT TEXT (authoritative, Korean): 어스름한 오솔길 한가운데 홀로 서 있는 수리영의 뒷모습.\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: Centered at shoulder height behind 김지후(강수리영), the static wide frame places her back in the lower center and 강민숙(홍은미) far ahead on the upper path. The long central sightline makes their separation visually explicit, with the path connecting them while withholding any sense that the distance can close.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 김지후(강수리영) in the lower-center of the frame, foreground, looks toward 강민숙(홍은미) on the upper path; 강민숙(홍은미) in the upper-center of the frame, background, looks toward 김지후(강수리영) down the path; path separating mother and daughter in the middle-center of the frame, midground.\n- KEY BACKGROUND ELEMENTS: forest path (daytime path within the dream) — The path rises through the center from 김지후(강수리영) toward 강민숙(홍은미); used as Creates the impossible depth corridor linking but separating mother and daughter; forest (surrounding the path); used as Borders the long sightline and contains both figures within the same dream space.\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:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ] ], "asset_id": "0f3823d6-8dc2-4b74-a54a-24473246f20e" }, "S35sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S35sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S36sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S36sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L21B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: A neatly arranged rear sleeping room of the restaurant, warmed by daylight entering through its window.\n\nSHOT TEXT (authoritative, Korean): 정갈한 뒷방 이불 위에 누운 수리영이 가위에 눌려 눈만 번쩍 뜬 채 몸이 굳어있는 찰나.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): She is fully reclined on the bedding with her head resting back and all four limbs rigid and motionless under sleep paralysis. Only her wide-open eyes move.\n\nCARRIED STATE (persist exactly): Jihu is no longer wearing the animal-bone necklace; it was removed sometime after she entered the forest.\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 head end of the bedding, a static close high angle looks down across 김지후(강수리영)’s abruptly opened eyes and rigid upper body. Her face occupies the central portion while the orderly bedding remains visible around her, making the mismatch between wakefulness and bodily paralysis immediately legible.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: bedding (laid out in the neatly arranged back room); used as Surrounds the immobilized upper body and provides the room’s orderly context; neatly arranged room (orderly and excessively calm); used as Appears as limited peripheral room context around the bedding.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L21B01.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ] ], "asset_id": "f2804adb-08bb-41e4-acfe-ddccdc984060" }, "S36sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S36sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S37sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S37sh5": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S37sh5.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L22B03.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The restaurant's rear doorway opening onto its daylight back garden and storage shed.\n\nSHOT TEXT (authoritative, Korean): 식당 뒷문 쪽에 굳은 표정으로 서 있는 강영란(흰 머리 여자)의 전신.\n\nCARRIED STATE (persist exactly): Jihu remains without her missing animal-bone necklace while Youngran watches her.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From beside the open storage doorway at eye level, the pan completes on 강영란(흰 머리 여자) at long-shot distance in the restaurant rear doorway. Her full figure is held near the far side of the frame, with the backyard distance between camera and doorway turning her rigid watchfulness into the sole emphasis.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 강영란(흰 머리 여자) in the middle-right of the frame, background, looks toward Suri-young beside the storage doorway; restaurant rear doorway in the middle-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: 식당 뒷문 (영란이 문에 자리함) — The doorway faces across the backyard toward the camera position by the storage entrance; used as Anchors Young-ran at the far end of the established sightline; 식당 뒤뜰 (낮의 뒤뜰); used as Maintains the long spatial separation between the two doorways.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L22B03.png" ], [ "char:강영란(흰 머리 여자)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/ef6b221a-22a8-48e4-a7c0-c24ae84eed10.png" ] ], "asset_id": "e58bfe7d-8c6b-48b6-983f-3dbb1ebc81eb" }, "S37sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S38sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S38sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L19B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The bow of a fishing boat moored alongside the island pier in daylight.\n\nSHOT TEXT (authoritative, Korean): 선착장에 정박된 낚시 어선 뱃머리에서 황봉업(황 씨)이 기괴한 종이 인형들이 매달린 새끼줄을 묶고 있는 모습.\n\nCARRIED STATE (persist exactly): The fishing boat remains decorated with the straw rope and its hanging paper figures.\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 waist height on the dock, the forward move begins at a slight angle to the fishing boat's bow and tightens enough to read 황봉업(황 씨)'s working hands without losing his upper body. He bends over the rope at frame center-right while the hanging paper figures remain smaller accents below and beside his hands.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 정박한 낚시 어선 뱃머리 (선착장에 정박됨) — The bow is seen obliquely from the dock, with its tying point turned toward Hwang's hands; used as Places Hwang's ritual-like but practical decoration work within the boat setting; 새끼줄 장식 (묶는 중) — The working section runs across the bow, with the tied portion and loose working end both visible; used as Provides the immediate action focus beneath Hwang's hands; 종이 인형들 (새끼줄에 매달림) — Their cut-paper faces and varied silhouettes are visible hanging toward the camera from the rope; used as Creates unsettling silhouettes while remaining subordinate to Hwang's figure; 선착장 (낮의 선착장) — Its length recedes from the camera toward the boat's bow; used as Establishes the camera's approach route and the boat's dockside position.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L19B02.png" ], [ "char:황봉업(황 씨)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/d24430e4-4040-4468-8661-7df5275241bb.png" ] ], "asset_id": "b2734578-fd5a-4a9b-96d2-fe540ee81290" }, "S38sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S39sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S39sh3.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: A residential lane through the island's coastal village, bordered by house fronts and low walls.\n\nSHOT TEXT (authoritative, Korean): 훅 끼쳐온 역겨운 냄새에 반사적으로 코를 움켜쥔 채 미간을 잔뜩 구긴 김지후(강수리영)의 얼굴 클로즈업.\n\nCARRIED STATE (persist exactly): Jihu’s animal-bone necklace remains missing.\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: On Suri-young's front-side axis at eye level, the dolly-in ends in a facial close-up as her hand snaps over her nose. Her face takes most of the frame at a three-quarter angle, with knitted brows and the interrupted walking motion carrying the sudden sensory shock.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 김지후(강수리영) in the middle-center of the frame, midground.\n- KEY BACKGROUND ELEMENTS: 마을 길 (낮의 마을 길); used as Remains as limited contextual blur around the close reaction.\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:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ] ], "asset_id": "f5438b8d-9573-469e-90ca-444e5b3ea4de" }, "S39sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S39sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S40sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S40sh1.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: The threshold of a narrow forest footpath, where the daylight village road gives way to unnaturally dark woods.\n\nSHOT TEXT (authoritative, Korean): 대낮임에도 불구하고 어둠이 짙게 깔린 숲길 오솔길 입구 앞에 우두커니 선 김지후(강수리영)의 뒷모습.\n\nCARRIED STATE (persist exactly): Jihu’s animal-bone necklace is still missing at the forest entrance.\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 several meters behind Suri-young at upper-back height, the dolly-in begins along the exact axis of her view into the forest path. Her motionless back occupies the lower center while the path entrance opens above her and recedes into the dark interior, preserving a wide spatial relationship between watcher and threshold.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 김지후(강수리영) in the lower-center of the frame, midground, looks toward forest path entrance; forest path entrance in the upper-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: 숲으로 통하는 오솔길 입구 (입구 앞에 수리영이 멈춰 있음) — The path faces away from the camera and narrows into the forest beyond Suri-young; used as Acts as the central threshold aligned with Suri-young's view and the forthcoming memory cut; 빛이 닿지 않는 듯 어두운 숲속 (한낮에도 어둑함); used as Creates the dark destination beyond the daylight threshold.\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:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ] ], "asset_id": "2163dc8a-f9c0-4223-b35c-80884fde7f97" }, "S40sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S40sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S41sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S41sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S41sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S42sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S43sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S43sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S44sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S44sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S44sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S45sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S45sh3.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: A descending black-pine forest trail outside the slaughterhouse in daylight.\n\nSHOT TEXT (authoritative, Korean): 우뚝 멈춰 선 채 고개를 뒤로 돌려 고산들을 뚫어지게 응시하는 강영란(흰 머리 여자)의 측면.\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: Hold nearly static at 강영란(흰 머리 여자)'s shoulder height after the profile-side pan, placing her rigid profile in the left midground and extending the axis toward 고산들 several steps behind on the right. Use a medium, slightly compressed composition so her backward gaze forms a clean line to him without forcing either character into a frontal pose.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 강영란(흰 머리 여자) in the middle-left of the frame, midground, looks toward 고산들 behind her; 고산들 in the middle-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: 숲길 (present); used as Defines the receding line between the halted characters; 숲의 나무들 (present) — Trunks are seen from the side along the path behind both characters; used as Breaks up the background while preserving the sightline between the two figures.\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:강영란(흰 머리 여자)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/ef6b221a-22a8-48e4-a7c0-c24ae84eed10.png" ] ], "asset_id": "20499f54-fb95-4603-bf38-9b00a162cef2" }, "S45sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S45sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S46sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S46sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_forest_path_network_sel.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The marker-stone clearing deep in the forest, among several stones all bearing the same name.\n\nSHOT TEXT (authoritative, Korean): 김지후(강수리영)가 낡은 비석 표면에 선명하게 음각된 '수 리 영' 세 글자를 내려다보는 시선.\n\nCARRIED STATE (persist exactly): The forest stones continue to bear the name “Su Ri-young,” with rotting meat before them. Jihu’s necklace remains missing.\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: Settle just behind 김지후(강수리영)'s shoulder at close range, using her shoulder and lowered head as a near-edge frame for the marker. The inscribed face occupies the central lower portion without exceeding a natural scale, and the three characters “수 리 영” sit precisely at the endpoint of her downward eyeline.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 비석의 ‘수 리 영’ 음각면 in the lower-center of the frame, midground; 김지후(강수리영) in the middle-left of the frame, foreground, looks toward inscribed marker face.\n- KEY BACKGROUND ELEMENTS: 낡은 비석 (old, with the name clearly incised) — Its inscribed front face is angled toward camera, clearly showing the recessed Korean characters ‘수 리 영’; used as Primary focal surface at the end of 김지후(강수리영)'s gaze; 주변의 다른 비석들 (present, each bearing the same name) — Only partial side and front planes are visible farther into the forest; used as Provides limited depth around the marker and shoulder framing.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_forest_path_network_sel.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ] ], "asset_id": "2faea7d8-dc3d-4ff6-b620-a6a0475cb9a4" }, "S46sh11": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S46sh16": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S47sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S47sh1.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: A working harbor pier beside a barrel fire where local fishermen sit in daylight.\n\nSHOT TEXT (authoritative, Korean): 대낮의 해안가 선착장에서 드럼통 모닥불 곁에 쪼그리고 앉은 정인우가 수심이 가득한 표정으로 낚싯꾼 #1을 올려다보는 모습.\n\nCARRIED STATE (persist exactly): Inwoo’s injured arm remains immobilized in its cast.\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: Remain static at crouched eye level and slightly to 정인우's side, placing him low in the left foreground beside the drum fire and 낚싯꾼 #1 opposite in the right midground. Use a medium two-shot in which 정인우's upward, troubled gaze meets the fisherman's guarded three-quarter angle, with cups and the barrel kept at realistic supporting scale.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 모닥불이 든 드럼통 (containing a lit fire) — Its open top is visible obliquely between the seated figures without blocking either face; used as Shared foreground anchor beside the low conversation group; 소주잔 (in use) — One cup is raised in 낚싯꾼 #1's hand while additional cups remain within the group area; used as Small hand-held objects that communicate the fishermen's indifference; 해안마을 선착장 (present); used as Establishes the coastal dock setting behind the conversation.\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:정인우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/ecdfd0e0-1e18-4495-a3f0-fab877f83fe1.png" ] ], "asset_id": "ac5c9172-0412-4e3c-a168-27292f6e2384" }, "S47sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S47sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S48sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S48sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L20B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: A corner dining table inside the restaurant, facing the kitchen work area in daylight.\n\nSHOT TEXT (authoritative, Korean): 식당 구석 테이블에 잔뜩 웅크리고 앉은 김지후(강수리영)가 주방 쪽의 고산들을 불안한 눈빛으로 곁눈질하는 측면.\n\nCARRIED STATE (persist exactly): Jihu remains without her missing necklace while the dead black goat is butchered in the kitchen.\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 seated shoulder height beside the corner table, maintain the lateral track in a slightly tightened medium profile of 김지후(강수리영), placing her hunched figure across the left and center while the kitchen remains across her eyeline on the right. Her sideways glance leads through the depth to 고산들 at the work area, with the table edge enclosing her lower frame like a barrier.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 김지후(강수리영) in the middle-left of the frame, foreground, looks toward 고산들 in the kitchen; 고산들 in the middle-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: 구석 테이블 (Occupied by 김지후(강수리영)) — Its near edge runs across the lower foreground, with the kitchen-facing side aligned to her gaze; used as Creates a confining foreground line around 김지후(강수리영)'s folded posture; 주방 작업 공간 (In use by 고산들) — Its working side faces partly toward the camera from across the room; used as Holds 고산들 and the threatening work in the far end of the eyeline; 죽은 검은 염소와 핏빛 육고기 (Decapitated and being processed) — The butchered remains are seen obliquely at the kitchen work area; used as Provides the explicit source of the butchering activity behind her anxious glance.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L20B01.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ] ], "asset_id": "900dee4b-18c0-44b7-bb0f-ef23a7fc6c12" }, "S48sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S49sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S49sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S50sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S50sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L21B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The window side of the restaurant's dark rear room, looking through a curtain onto the village lane.\n\nSHOT TEXT (authoritative, Korean): 커튼 틈 사이로 보이는 골목길에 금월도 마을 청년들이 식당 쪽을 뚫어지게 주시하며 서 있는 전경.\n\nCARRIED STATE (persist exactly): Jihu remains without her animal-bone necklace while the village youths maintain their watch outside.\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 immediately behind the curtain opening at eye level, hold a static subjective view outward, using the two curtain edges as dark foreground borders while widening enough to place 마을 청년 #1 and 마을 청년 #2 together in the alley. Keep them in separate thirds at mid-distance, both watchful toward the restaurant, with open alley space beside them suggesting the ongoing changeover.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: parted curtain edges in the middle-center of the frame, foreground; 마을 청년 #1 in the middle-left of the frame, midground, looks toward restaurant window; 마을 청년 #2 in the middle-right of the frame, midground, looks toward restaurant window.\n- KEY BACKGROUND ELEMENTS: 커튼 틈 (Slightly parted by 김지후(강수리영)) — The inner edges face the camera from both sides, leaving a central opening toward the alley; used as Creates the narrow covert foreground frame around the surveillance view; 창문 (Viewed from inside the room) — The camera looks outward through it from the room, with the village youths visible beyond; used as Provides the transparent boundary between the hidden observer and the watchers; 골목길 (Occupied by village youths monitoring the restaurant); used as Holds the watching youths and the changeover space in a single exterior plane.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L21B02.png" ], [ "char:마을 청년 #1", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/68cce61b-b8fd-49d9-902b-e7acc0ea9080.png" ], [ "char:마을 청년 #2", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/fbeea2cb-52b5-4692-8dfe-5102c6564af4.png" ] ], "asset_id": "79f5858a-0c1c-42bd-b8a3-65d344ad4515" }, "S50sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S51sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S51sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L37B06.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: A deep holding recess inside the natural cave, dimly lit by a low-wattage bulb.\n\nSHOT TEXT (authoritative, Korean): 고산들이 바닥에 묶인 강민숙(홍은미)을 안타까운 시선으로 묵묵히 내려다보는 전신.\n\nCARRIED STATE (persist exactly): Minsuk remains imprisoned in the cave, secured by a heavy chain and visibly emaciated.\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: Finish the floor-level dolly-out at a low three-quarter wide angle near 강민숙(홍은미)'s head height, revealing 고산들 full-length in the center-right while she remains bound along the lower-left plane beneath his gaze. Preserve the vertical imbalance by giving him clear space above and keeping her chain line visible against the floor without exaggerating its foreground scale.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 고산들 in the middle-right of the frame, midground, looks toward 강민숙(홍은미) on the floor; 강민숙(홍은미) in the lower-left of the frame, foreground, looks toward 고산들 above her.\n- KEY BACKGROUND ELEMENTS: 동굴 내부 (Occupied by the two figures at night); used as Defines the enclosing interior around the unequal vertical relationship; 쇠사슬 (Securing 강민숙(홍은미)) — The chain extends from her bound body across a short section of floor toward its restraint point; used as Makes 강민숙(홍은미)'s captivity immediately legible along the lower plane; 촉 낮은 전구 등 (Switched on); used as Appears high in the composition as the named fixture illuminating her awakening.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L37B06.png" ], [ "char:강민숙(홍은미)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/e39fec85-e247-425b-ab08-80750a61aad8.png" ], [ "char:고산들", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/5b67a89a-2ce6-477b-980d-2e945d4cbd8a.png" ] ], "asset_id": "cee37974-5667-44a5-b263-c37121c22b76" }, "S51sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S51sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S52sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S52sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S53sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S53sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_mainland_harbor_sel.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The deck of a fishing boat moored at the mainland harbor pier in daylight.\n\nSHOT TEXT (authoritative, Korean): 밝은 대낮의 선착장에 정박한 낚시 어선 위에서 황봉업(황 씨)이 불만 가득한 표정으로 꼿꼿하게 선 모습.\n\nCARRIED STATE (persist exactly): Inwoo’s injured arm remains in a cast as he confronts Hwang at the dock.\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 standing eye level on the pier, hold a static wide composition facing 황봉업(황 씨) across the short gap to the boat. Place him rigidly in the middle-right aboard the vessel, leaving the pier-to-boat separation visible on the left so his refusal reads as a territorial barrier.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 정박한 낚시 어선 (선착장에 정박해 있음) — The pier-facing side of the boat is visible, with 황봉업(황 씨) positioned aboard it; used as Elevates 황봉업(황 씨) above the pier and establishes the contested means of passage; 선착장 (낚시 어선과 맞닿아 있음) — Its length leads from the lower-left foreground toward the moored boat; used as Creates the foreground approach line toward the boat.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_mainland_harbor_sel.png" ], [ "char:황봉업(황 씨)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/d24430e4-4040-4468-8661-7df5275241bb.png" ] ], "asset_id": "78c2b044-a7cf-4d6d-af85-ff3631e54ab9" }, "S53sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S54sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S54sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L16B01.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: Inside the fishing boat's compact wheelhouse, enclosed by the helm, windows and navigation controls in daylight.\n\nSHOT TEXT (authoritative, Korean): 조타실 안에서 핸들을 쥔 황봉업(황 씨)이 뱃머리의 정인우를 향해 적대감 가득한 눈빛을 쏘아보는 측면.\n\nCARRIED STATE (persist exactly): Inwoo remains aboard with one arm in a cast as Hwang pilots the boat.\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: Inside the wheelhouse at 황봉업(황 씨)'s shoulder height, hold a static medium profile from his side, aligned toward the bow. His hands and the wheel occupy the left midground while his hostile profile turns across the frame toward 정인우, who remains smaller in the right background at the bow, preserving their shared line of sight.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: Hwang Bongup in the middle-left of the frame, midground, looks toward Jung Inwoo at the bow; Jung Inwoo in the middle-right of the frame, background; boat bow in the upper-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: 조타 핸들 (황봉업(황 씨)이 잡고 조종 중임) — Its rim is seen obliquely from the side with 황봉업(황 씨)'s hands closed around it; used as Anchors 황봉업(황 씨)'s controlling posture in the left half of the frame; 조타실 내부 (황봉업(황 씨)이 내부에서 배를 조종하고 있음) — The camera looks lengthwise from 황봉업(황 씨)'s side toward the front of the vessel; used as Encloses 황봉업(황 씨) while maintaining the visual axis toward 정인우 and the bow; 뱃머리 (정인우가 자리해 앞을 살피고 있음) — The forward-facing bow recedes toward the right background; used as Provides the distant position occupied by 정인우 and the direction of travel.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L16B01.png" ], [ "char:황봉업(황 씨)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/d24430e4-4040-4468-8661-7df5275241bb.png" ] ], "asset_id": "0e14280b-bc1a-4ad8-8f74-3845c900d7bf" }, "S54sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S55sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S55sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L19B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The island pier and its landward approach, crowded by hostile villagers in daylight.\n\nSHOT TEXT (authoritative, Korean): 선착장에 모인 금월도 마을 주민들이 정인우를 향해 적대적이고 차가운 시선을 던지는 광경.\n\nCARRIED STATE (persist exactly): Inwoo’s injured arm remains casted as the villagers stare at him.\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 정인우's eye level near the center of the dock path, pan into a wide over-the-shoulder composition that lets his hesitant back and half-raised phone occupy the lower-left foreground. Across the middle and background, the gathered residents form an uneven arc facing him, their cold expressions held in a shared plane rather than isolated portraits.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 선착장 진입로 (마을 쪽으로 이어져 있음) — The path recedes from 정인우 in the foreground toward the gathered residents; used as Provides the central depth axis separating 정인우 from the hostile gathering; 정인우의 핸드폰 (시그널이 잡히지 않는 먹통 상태임) — The screen face is tilted upward toward 정인우, with its failed signal status visible only as a small foreground detail; used as Supplies the visible evidence for 정인우's isolation from outside communication.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L19B01.png" ], [ "char:정인우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/ecdfd0e0-1e18-4495-a3f0-fab877f83fe1.png" ] ], "asset_id": "6622e07f-e320-4411-b8e2-a2fc157634e4" }, "S55sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S55sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S56sh6": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S56sh6.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: A steep exposed rock passage where the narrow coastal path disappears beneath the forest slope.\n\nSHOT TEXT (authoritative, Korean): 가파른 해안가 바위벽에 찰싹 달라붙은 채 조심스럽게 위쪽으로 한쪽 발을 뻗은 김지후(강수리영)와 정인우의 모습.\n\nCARRIED STATE (persist exactly): Inwoo keeps his injured arm in the cast while climbing with Jihu, whose animal-bone necklace remains missing.\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 lower-torso height a short distance beside the climbers, briefly hold the lateral track parallel to the steep coastal rocks and angle the frame upward. 김지후(강수리영) occupies the middle-left and 정인우 the middle-right, both pressed close to the rock face with one foot caught reaching for a higher placement; the sea remains visible below as the consequence of a slip.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: Suriyoung in the middle-left of the frame, midground, moves toward higher foothold on the rock face; Jung Inwoo in the middle-right of the frame, midground, moves toward higher foothold on the rock face; upper rock route toward the forest in the upper-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: 가파른 해안가 바위벽 (좁은 길이 끝난 뒤 가파른 바위들이 이어져 있음) — Its climbable face runs diagonally upward across the frame, nearly parallel to the camera track; used as Forms the steep climbing plane and the diagonal route through the frame; 바닷물 (바위 아래에 있어 발을 헛디디면 빠질 수 있음); used as Remains visible beneath the climbers to express the risk of falling; 숲 쪽 상부 (김지후(강수리영)와 정인우가 바위를 붙잡고 이 방향으로 올라가고 있음); used as Marks the direction the climbers are trying to reach.\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:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ], [ "char:정인우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/ecdfd0e0-1e18-4495-a3f0-fab877f83fe1.png" ] ], "asset_id": "9f0d24c2-d832-47d9-af0c-9d3144dea475" }, "S56sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S57sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S57sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S58sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S58sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S59sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S59sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S59sh16": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S60sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S60sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S61sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S61sh12": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S61sh16": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S62sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S62sh4.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: The open aft deck of a stopped police patrol boat on the dark evening sea.\n\nSHOT TEXT (authoritative, Korean): 시체에서 빼낸 반지와 젖은 현금을 쥐고 탐욕스러운 미소를 짓는 구창모의 얼굴 클로즈업.\n\nCARRIED STATE (persist exactly): Yeosang’s bloated corpse remains on the patrol boat while Changmo removes his ring and wet cash.\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 구창모’s chest height beside the body, complete the dolly-in on a close facial frame angled slightly from his left, allowing his greedy smile to occupy most of the image without becoming a straight-on portrait. His fist containing the ring and wet cash rises into the lower edge as a secondary focal plane, while the deck and corpse remain only marginal context.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 반지와 현금 (Removed from the corpse; the cash is wet); used as Held together in 창모’s lower-foreground hand as evidence of his theft; 순찰정 갑판 (The corpse has been placed on it); used as Provides a narrow contextual strip behind 창모 and his hand.\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:구창모", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/851dae38-2b42-4642-852f-83c39e70e078.png" ] ], "asset_id": "606b9643-28e3-4bb4-a879-f2d1b1746de7" }, "S62sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S62sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S63sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S63sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L20B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The window side of the restaurant dining hall, looking through wooden latticework onto the watched village lane at night.\n\nSHOT TEXT (authoritative, Korean): 창문 밖 골목에 선 금월도 마을 청년들이 식당 안쪽을 향해 기괴한 웃음을 짓는 찰나.\n\nCARRIED STATE (persist exactly): Jihu remains without her animal-bone necklace, and Inwoo’s injured arm remains in its cast while the youths watch outside.\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 inside the restaurant at eye level beside the window, frame 마을 청년 #1 and 마을 청년 #2 in a medium view through the wooden lattice, letting the grid divide their laughing faces into separate compartments. Retain only a narrow table edge and interior wall at the frame margins so their inward-directed surveillance is unmistakable without shifting focus away from the alley.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 격자무늬 나무 창 (Separates the interior from the youths outside) — The camera looks from the restaurant interior through the lattice toward the youths in the alley; used as Acts as an intervening grid that frames and partially partitions the watching youths; 창밖 골목 (Occupied by the watching village youths); used as Places the youths outside and establishes the direction of their surveillance; 식당 테이블 가장자리 (Set inside the restaurant) — Only its interior-facing edge is retained at the frame margin; used as Provides minimal interior orientation at the lower frame edge.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L20B01.png" ], [ "char:마을 청년 #1", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/68cce61b-b8fd-49d9-902b-e7acc0ea9080.png" ] ], "asset_id": "25dcb7fb-8029-4c14-8a53-ad28de3d442e" }, "S63sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S63sh13": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S64sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S64sh3.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: A pitch-dark black-pine trail climbing toward the ritual clearing under a nearly full moon.\n\nSHOT TEXT (authoritative, Korean): 강영란(흰 머리 여자)의 주변을 에워싼 채 굳은 표정으로 어두운 숲을 향해 한쪽 발을 내디딘 mid-stride 자세의 금월도 마을 주민들의 모습.\n\nCARRIED STATE (persist exactly): Youngran continues wearing the red shaman robe as the villagers escort her through the forest.\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 on the path centerline, continue dollying backward in a wide frontal composition as 강영란(흰 머리 여자) advances near center and the villagers close around her in staggered depth. Catch the group with one foot committed forward, allowing the dark forest path to converge behind them while 영란’s unhesitating stride acts as the visual spearhead.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 강영란 in the middle-center of the frame, midground, moves toward forest path ahead; 숲길의 진행 방향 in the lower-center of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: 금월도 숲길 (Dark and occupied by the ascending procession); used as Creates the central movement axis and converging depth behind the advancing group; 어두운 숲 (Surrounds the path at night); used as Encloses the villagers and limits the visible escape routes around the path.\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:강영란(흰 머리 여자)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/ef6b221a-22a8-48e4-a7c0-c24ae84eed10.png" ] ], "asset_id": "3ef9c132-4831-4bc3-bb2a-58e5b3a2e3d9" }, "S65sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S65sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L40B04.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The village lane immediately outside the restaurant, watched by stationed residents at night.\n\nSHOT TEXT (authoritative, Korean): 화재 경보 소리에 화들짝 놀라 식당 뒤편으로 고개를 홱 돌린 금월도 마을 청년들의 찰나.\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 eye level beside the clustered youths, hold a medium frame as the pan catches their upper bodies snapping toward the restaurant's rear. Place one youth in the left foreground and another in the right midground, both turning toward the same off-screen direction while the alley remains readable behind them.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 식당 밖 골목 (마을 주민과 청년들이 자리하고 있음); used as Provides the surveillance setting and a clear axis toward the alarm source; 반월 식당 (외부가 보임) — The side and route leading toward the restaurant's rear angle away from the camera; used as Its rearward direction motivates the youths' synchronized head turn and the continuing pan.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L40B04.png" ], [ "char:마을 청년 #1", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/68cce61b-b8fd-49d9-902b-e7acc0ea9080.png" ], [ "char:마을 청년 #2", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/fbeea2cb-52b5-4692-8dfe-5102c6564af4.png" ] ], "asset_id": "2934fc5d-6b9c-4861-a318-256bc14beea7" }, "S66sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S67sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S67sh3.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: A dark ascending black-pine forest trail lit momentarily by a handheld flashlight.\n\nSHOT TEXT (authoritative, Korean): 갑작스러운 플래시 불빛에 눈이 부셔 미간을 찡그리며 화들짝 놀란 김지후(강수리영)의 얼굴 클로즈업.\n\nCARRIED STATE (persist exactly): Jihu remains without her necklace, while Inwoo’s injured arm remains casted and he carries his backpack and flashlight.\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: Dolly in at eye level directly before 김지후(강수리영), ending on a close facial frame as the sudden flashlight beam catches her mid-flinch. Her face occupies most of the center-left frame, while the forest path and 정인우 remain excluded to isolate the shock without turning the shot into an extreme close-up.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 김지후(강수리영) in the middle-center of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: 숲길 (밤의 숲길); used as Soft, limited context behind the close reaction without competing with her face; 플래쉬 라이트 (켜져 있음) — Positioned off camera in 정인우's direction, with its beam aimed toward her face; used as Produces the abrupt illumination responsible for the reaction while remaining outside the narrow frame.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\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:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ] ], "asset_id": "bb018548-412f-43df-84f9-bb859e18999b" }, "S67sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S67sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S68sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S68sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S69sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S69sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S70sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S70sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L26B03.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The forest ground directly before the timber-braced mouth of the large natural cave at night.\n\nSHOT TEXT (authoritative, Korean): 기괴하게 나무 기둥이 덧대어진 거대한 자연동굴 입구 앞 어둠 속에 멈춰 선 김지후(강수리영)와 정인우의 뒷모습.\n\nCARRIED STATE (persist exactly): Jihu remains without her necklace, while Inwoo retains his cast, backpack, and flashlight at the cave entrance.\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 standing eye height several meters behind the pair, hold a static wide frame with 김지후(강수리영) on the left and 정인우 on the right, both stopped in the lower third before the centered cave entrance. Their backs and unequal forward lean make the hesitation legible while the irregular added wooden posts break up the entrance behind them.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 김지후(강수리영) in the lower-left of the frame, midground; 정인우 in the lower-right of the frame, midground; large cave entrance in the upper-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: 거대한 자연동굴 입구 (어둠 속에 열려 있음) — The opening faces the camera, with its interior extending directly away behind the two characters; used as Central destination and negative-space focal point behind both characters; 덧대어진 나무 기둥 (동굴 입구에 기괴하게 덧대어져 있음) — Their uneven front and side faces are visible around the cave opening; used as Irregular vertical divisions that make the entrance appear uncanny.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L26B03.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ], [ "char:정인우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/ecdfd0e0-1e18-4495-a3f0-fab877f83fe1.png" ] ], "asset_id": "0a013a00-a770-45cc-8411-f058da71a506" }, "S70sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S71sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S71sh14": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S71sh19": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S72sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S72sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L22B06.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The restaurant's back garden beside the charred remains of the storage shed at night.\n\nSHOT TEXT (authoritative, Korean): 다 타버린 창고를 바라보며 허탈감에 빠져 멍하니 서 있는 황봉업(황 씨)의 측면.\n\nCARRIED STATE (persist exactly): The shed is now completely burned out and continues emitting dark smoke.\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 eye level beside 황봉업(황 씨), finish the dolly-in on a medium side profile with him occupying the right third and the burned warehouse remaining across his leftward eyeline in the background. His weight hangs back from the object of his stare, allowing the empty space between face and warehouse to carry his stunned loss.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 황봉업(황 씨) in the middle-right of the frame, midground, looks toward burned warehouse; burned warehouse in the middle-left of the frame, background.\n- KEY BACKGROUND ELEMENTS: 다 타버린 창고 (홀라당 타버린 상태) — Its burned exterior faces the camera beyond 황봉업(황 씨)'s profile; used as Visible object of 황봉업(황 씨)'s vacant stare; 거뭇한 연기 (창고에서 뿜어져 나오고 있음); used as Slow atmospheric movement rising from the ruined building.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L22B06.png" ], [ "char:황봉업(황 씨)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/d24430e4-4040-4468-8661-7df5275241bb.png" ] ], "asset_id": "8a69a99b-ed47-44f5-afbc-a56714c9ab18" }, "S72sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S73sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S73sh4.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: The edge of the firelit ritual clearing behind the officiant and giant boulder.\n\nSHOT TEXT (authoritative, Korean): 마을 청년 #2가 고산들의 귓가에 바짝 입을 댄 채 긴밀한 표정으로 멈춰 있는 고정된 찰나.\n\nCARRIED STATE (persist exactly): Youngran remains dressed in the red shaman robe at the ritual ground.\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 head height beside the pair, let the dolly-in settle into a tight profile two-shot at the instant 마을 청년 #2's mouth is closest to 고산들's ear. Place the whisperer along the left edge and the listener on the right, with overlapping profiles but a clear gap around the mouth and ear so the secretive action reads immediately.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 마을 청년 #2 in the middle-left of the frame, foreground; 고산들 in the middle-right of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: 모닥불 (활활 타오르고 있음); used as Soft background depth linking the private whisper to the ongoing rite; 북과 징 (무악사들이 연주하고 있음) — Only oblique portions of the instruments are visible behind the pair; used as Partially visible ritual context beyond the tight two-shot.\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:고산들", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/5b67a89a-2ce6-477b-980d-2e945d4cbd8a.png" ], [ "char:마을 청년 #2", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/fbeea2cb-52b5-4692-8dfe-5102c6564af4.png" ] ], "asset_id": "b06e1941-4613-4ffa-96a2-497411cd6b1c" }, "S73sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S74sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S74sh2.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: A lightless escape route through dense black-pine forest below the cave.\n\nSHOT TEXT (authoritative, Korean): 강민숙(홍은미)이 홱 뒤를 돌아본 고정된 자세로 분노에 찬 얼굴을 한 채 입을 크게 벌려 소리치는 찰나.\n\nCARRIED STATE (persist exactly): Minsuk is free of the cave chain; Jihu remains without her necklace, and Inwoo retains his cast, backpack, and flashlight while escaping with them.\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 eye level close to 강민숙(홍은미)'s front side, hold static immediately after her abrupt turn, framing her face and twisted upper torso slightly right of center. Her open shout is directed past the left edge toward 김지후(강수리영), while the caught mid-stop posture preserves the momentum of the group's hurried descent without bringing anyone else into the narrow frame.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 강민숙(홍은미) in the middle-right of the frame, foreground, looks toward 김지후(강수리영) outside the left frame edge.\n- KEY BACKGROUND ELEMENTS: 숲 (불빛 없이 어두운 상태); used as Soft, close background enclosure around the halted confrontation; 숲의 수풀 (일행의 진행 방향을 둘러싸고 있음); used as Partial foreground and background layering around 강민숙(홍은미)'s turned shoulders.\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:강민숙(홍은미)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/e39fec85-e247-425b-ab08-80750a61aad8.png" ] ], "asset_id": "fec68ab5-33de-41da-ab94-dfb84a376116" }, "S74sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S75sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S76sh5": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S76sh5.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L28B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The exterior doorway of the forest slaughterhouse beside the goat pen at night.\n\nSHOT TEXT (authoritative, Korean): 도축장의 열린 문 안쪽 어둠 속을 향해 상체를 쑥 밀어 넣은 강민숙(홍은미)의 mid-action 자세, 뒷발이 문턱 바깥 지면을 디디고 있는 찰나.\n\nCARRIED STATE (persist exactly): Minsuk remains free of her severed chain as she enters the slaughterhouse; Jihu’s necklace is absent and Inwoo’s arm remains casted.\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 a low waist-height position just outside the open doorway, the dolly finishes behind and diagonally to 강민숙(홍은미), retaining her entire forward-driving pose. Her upper body crosses into the dark interior in the upper center while her planted rear foot remains visible at the lower edge outside the threshold, making the split between exterior and interior unmistakable.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 강민숙(홍은미) in the middle-center of the frame, midground, moves toward dark slaughterhouse interior; open doorway and interior in the upper-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: slaughterhouse doorway (open) — The exterior-facing side surrounds the opening, with the interior visible beyond it; used as Forms the central threshold frame around her divided body position; slaughterhouse interior (dark); used as Receives her upper body and provides the dark destination of the movement; door threshold (unobstructed) — Its outer edge crosses the lower center of the frame; used as Separates her rear foot from the part of her body already inside.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L28B01.png" ], [ "char:강민숙(홍은미)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/e39fec85-e247-425b-ab08-80750a61aad8.png" ] ], "asset_id": "f0b27881-2bef-48f4-956d-93f349f80f50" }, "S77sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S77sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L29B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The dark main work floor inside the slaughterhouse, beside buckets filled with goat blood.\n\nSHOT TEXT (authoritative, Korean): 어두운 도축장 안에서 강민숙(홍은미)이 붉은 염소 피가 가득 든 양동이를 머리 위로 쏟아붓는 찰나.\n\nCARRIED STATE (persist exactly): Minsuk coats herself completely in goat blood to mask her scent. Jihu remains without her necklace, and Inwoo retains his cast and backpack.\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 several meters in front of 강민숙(홍은미), the opening dolly-in holds a wide frontal three-quarter composition so her raised arms, tipped bucket, and full-body braced action remain legible. She occupies the middle third as the falling goat blood crosses her head and torso, with open interior space retained around her rather than isolating the bucket.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: bucket of goat blood (being emptied) — The open top is tipped downward toward her head, with the handle held above it; used as Action prop held above her head, kept proportionate to her body; slaughterhouse interior (dark); used as Provides restrained spatial context around the pouring action.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L29B01.png" ], [ "char:강민숙(홍은미)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/e39fec85-e247-425b-ab08-80750a61aad8.png" ] ], "asset_id": "f9c0c13d-f664-4c38-8f14-b48fc41e89c2" }, "S77sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S77sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S78sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S78sh1.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: The firelit altar area before the blood-smeared boulder in the forest ritual clearing.\n\nSHOT TEXT (authoritative, Korean): 일렁이는 모닥불 불빛과 핏빛 바위 앞에서 강영란(흰 머리 여자)이 기괴하고 날 선 표정으로 서 있는 전경.\n\nCARRIED STATE (persist exactly): Youngran remains in her red shaman robe before the blood-marked ritual rock; Jihu’s necklace stays on its altar.\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 chest height several meters in front of 강영란(흰 머리 여자), the camera begins its dolly past a low ribbon of bonfire in the foreground toward her and the blood-red rock behind. 강영란 holds the center in a rigid three-quarter confrontation, while 고산들 remains near the opposite frame edge on the same axis, preserving the charged distance between them.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: bonfire in the lower-center of the frame, foreground; 강영란(흰 머리 여자) in the middle-center of the frame, midground, looks toward 고산들; 고산들 in the middle-right of the frame, midground, looks toward 강영란(흰 머리 여자).\n- KEY BACKGROUND ELEMENTS: bonfire (burning and flickering); used as A low foreground layer that separates the camera from the confrontation without obscuring either figure; blood-red rock (positioned behind 강영란(흰 머리 여자)); used as Frames 강영란(흰 머리 여자) from behind as the ominous visual anchor.\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:강영란(흰 머리 여자)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/ef6b221a-22a8-48e4-a7c0-c24ae84eed10.png" ] ], "asset_id": "9536fecf-a083-4e12-979b-788e985800a0" }, "S78sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S78sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S79sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S79sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L19B07.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The brightly lit island pier around the moored fishing boat at night.\n\nSHOT TEXT (authoritative, Korean): 밝은 조명이 켜진 선착장 어선 주변으로 금월도 마을 청년들이 빽빽하게 모여 서 있는 전경.\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 an elevated eye line near the dock edge, a static wide view places the moored fishing boat in the central background and the dense gathering of village youths around it across the midground. 마을 청년 #1 and 마을 청년 #2 are distinguishable near opposite sides of the boat, but neither is isolated from the wider crowd, allowing the dock-wide mobilization to remain the primary image.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: moored fishing boat surrounded by village youths in the middle-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: 황 씨의 낚시 어선 (moored) — The side of the moored boat faces the camera, with its length extending across the dock; used as Central gathering anchor encircled by the youths and readable in the elevated layout; dock (crowded with village youths) — Its length recedes from the lower frame toward the boat; used as Defines the gathering area and separates the clustered youths from the boat.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L19B07.png" ], [ "char:마을 청년 #1", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/68cce61b-b8fd-49d9-902b-e7acc0ea9080.png" ] ], "asset_id": "baf707fb-57fe-42fb-852c-24b0e240e642" }, "S79sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S80sh14": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S80sh14.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L41B03.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: A cramped corner inside the pier-side fishing-gear shed, hidden behind floor-to-ceiling stacks of nets, traps, rods and fish baskets.\n\nSHOT TEXT (authoritative, Korean): 어두운 창고 구석의 낡은 그물 더미 틈새 사이로 피범벅이 된 강민숙(홍은미)의 굳은 얼굴이 드러나 있는 정지된 순간.\n\nCARRIED STATE (persist exactly): Minsuk, Jihu, and Inwoo remain thoroughly coated in goat blood while hiding among the nets. Jihu’s necklace remains absent, and Inwoo’s cast, backpack, flashlight, and phone stay with him.\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: Pause the dolly-in at face height where the first clear opening between the piled nets reveals Kang Min-sook in a tight three-quarter close view. Her blood-covered rigid face occupies the right side while soft, irregular strands of netting partially occlude the left foreground and preserve the sense of concealment.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 낡은 어망 더미 (층층이 쌓여 얼굴 일부를 가림); used as Irregular foreground occlusion and concealment frame around Kang Min-sook's face; 어구 장비 더미 (창고 안에 높고 빽빽하게 쌓임) — Only crowded edges and overlapping sides are visible behind the net pile; used as Compressed background clutter that prevents a clear escape route from the corner.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L41B03.png" ], [ "char:강민숙(홍은미)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/e39fec85-e247-425b-ab08-80750a61aad8.png" ] ], "asset_id": "434bb50f-6350-4eec-9a50-1b0f2fe42681" }, "S80sh31": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S80sh31.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L41B04.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The dirt yard of a thatched rural house under a bright full moon during the historical famine.\n\nSHOT TEXT (authoritative, Korean): 고통스러운 비명을 내지르듯 입을 크게 벌린 채 두 눈이 피가 맺힌 듯 새빨갛게 충혈된 경신 대기근의 아낙의 끔찍한 얼굴 클로즈업.\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 the peak of the forward move, frame the woman at face height in an extreme facial close-up, with a slight low tilt following her head as her mouth opens and her bloodshot eyes strain upward. Her eyes and sharpened teeth remain together in frame, while the contorted body and lengthening nails survive only as cropped edge details.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 경신 대기근의 아낙 in the middle-center of the frame, foreground.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L41B04.png" ], [ "char:경신 대기근의 아낙", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/8e3de02c-c1b3-49ed-a02e-ab1e8bd9a2e6.png" ] ], "asset_id": "99463c29-4560-41ad-8b10-37d272f2f3df" }, "S80sh56": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S80sh56.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L41B05.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The island's shoreline landing where arriving historical survivors first meet the welcoming native residents.\n\nSHOT TEXT (authoritative, Korean): 금월도 해변에 첫발을 내디딘 과거의 조선인 육혈귀 생존자들이 자신들을 환영하는 원주민들을 향해 의미심장하고 섬뜩한 미소를 짓는 찰나.\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: Settle near the end of the shoreline approach at chest-to-eye height, isolating a shallow row of disembarking survivors in a medium frame as their bodies finish stepping ashore. The foremost survivor turns in three-quarter view with a restrained smile toward the welcoming residents beyond the camera, while additional survivors recede behind and the arriving boat remains a scale reference at frame edge.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 도착한 배 (금월도 입구에 도착함) — The side nearest the shoreline is visible behind the survivors as they leave it; used as Partial background and edge reference establishing the survivors' disembarkation; 바다 (낮의 해안에 접함); used as Environmental separation between the arriving boat and the island shoreline; 금월도 해변 (생존자들이 막 발을 내디딤); used as Ground plane under the survivors' first steps ashore.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L41B05.png" ], [ "char:과거의 조선인 육혈귀 생존자", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/606d14b7-2308-49a3-8ee5-c6470c2fb82e.png" ] ], "asset_id": "f99f8466-40c1-4bbb-a8c7-6b1415f03157" }, "S81sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S81sh4.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L41B03.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The concealed corner of the packed fishing-gear shed behind piled nets and equipment.\n\nSHOT TEXT (authoritative, Korean): 강민숙(홍은미)이 턱을 아래로 당긴 채 묵묵히 긍정의 뜻을 내비치는 순간의 클로즈업.\n\nCARRIED STATE (persist exactly): Minsuk, Jihu, and Inwoo remain coated in goat blood inside the gear shed. Jihu’s necklace is absent, and Inwoo’s injured arm remains casted.\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: Complete the dolly-in at Kang Min-sook's eye level on a slightly off-frontal three-quarter angle, lowering the close framing just enough to retain the small descent of her chin. Her face occupies the left-center of frame, with only compressed traces of the crowded warehouse behind her.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 쌓인 어망 (창고 안에 층층이 쌓임); used as Soft compressed background that maintains the hidden warehouse context.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L41B03.png" ], [ "char:강민숙(홍은미)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/e39fec85-e247-425b-ab08-80750a61aad8.png" ] ], "asset_id": "e7ea7bb4-d837-4d0d-a0a0-7f7b5bb84d36" }, "S81sh10": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S81sh10.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L41B03.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The narrow hiding space among stacked nets, traps and fishing baskets inside the pier-side gear shed.\n\nSHOT TEXT (authoritative, Korean): 김지후(강수리영)가 눈물을 가득 머금은 채 원망스러운 눈빛으로 강민숙(홍은미)을 쏘아보는 찰나.\n\nCARRIED STATE (persist exactly): Jihu remains blood-coated and without her necklace; Minsuk is likewise blood-coated, and Inwoo retains his cast.\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: Finish the advance beside Suri-young's eyeline in a tight close view, placing her tear-filled face on the right-center and Kang Min-sook's soft shoulder and cheek edge in the left foreground. The slightly off-axis angle preserves the physical line between daughter and mother while Suri-young's accusatory gaze becomes the sharpest plane.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 김지후(강수리영) in the middle-right of the frame, midground, looks toward 강민숙(홍은미); 강민숙(홍은미) in the middle-left of the frame, foreground, looks toward 김지후(강수리영).\n- KEY BACKGROUND ELEMENTS: 어구 창고 내부 (어구 장비가 빽빽하게 쌓임); used as Soft background compression that keeps the confrontation inside the concealed warehouse.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L41B03.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ] ], "asset_id": "afa3bfd6-cea1-414f-954a-3b713384146b" }, "S81sh12": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S81sh12.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L41B03.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The cramped rear corner of the fishing-gear shed, screened from the door by piled nets and equipment.\n\nSHOT TEXT (authoritative, Korean): 강민숙(홍은미)이 고개를 푹 떨군 채 얼굴을 일그러뜨리며 서럽게 오열하고 있는 순간.\n\nCARRIED STATE (persist exactly): Minsuk remains coated in goat blood as she cries; Jihu and Inwoo retain the same blood disguise nearby.\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: On the reverse angle at Kang Min-sook's lowered face level, hold a static close frame and tilt down slightly as her head collapses toward her chest. Her distorted face and heaving shoulders occupy the lower center, with the surrounding warehouse reduced to soft, constricting edges.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 쌓인 어망과 어구 (창고 구석을 빽빽하게 둘러쌈); used as Soft peripheral enclosure around the breakdown.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L41B03.png" ], [ "char:강민숙(홍은미)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/e39fec85-e247-425b-ab08-80750a61aad8.png" ] ], "asset_id": "3f47210d-bf9d-4621-9f1b-a984af9a45da" }, "S82sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S83sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S83sh4.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L20B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The restaurant's front-door area overlooking the island pier and searching villagers in daylight.\n\nSHOT TEXT (authoritative, Korean): 고산들이 심각한 표정으로 강영란(흰 머리 여자)을 묵묵히 내려다보는 측면.\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: Hold at Sandeul's chest height from his side, framing his grave profile in the middle foreground and seated Yeongran below his natural downward eyeline. The open doorway and passing searchers remain deeper in frame, but focus stays on the silent vertical tension between him and Yeongran before the camera advances.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 고산들 in the middle-right of the frame, midground, looks toward 강영란(흰 머리 여자); 강영란(흰 머리 여자) in the lower-left of the frame, foreground; 열린 식당 문 in the upper-left of the frame, background.\n- KEY BACKGROUND ELEMENTS: 식당 문 (열려 있음) — The doorway is seen from inside at an angle, with the exterior visible beyond it; used as Deep background opening that retains the continuing village search beyond the conversation; 문 밖을 오가는 마을 주민들 (수리영 일행을 찾으며 오가는 중); used as Distant activity visible through the open doorway; 수리영이 늘 앉던 테이블 (강영란이 그 자리에 앉아 있음) — Its near edge angles across the lower frame beside Yeongran; used as Lower spatial anchor establishing Yeongran's seated position.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L20B02.png" ], [ "char:고산들", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/5b67a89a-2ce6-477b-980d-2e945d4cbd8a.png" ] ], "asset_id": "08f50216-04df-422b-93b3-2c4ea8e897af" }, "S83sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S84sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S84sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L41B06.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The dusty window side of the packed pier-side fishing-gear shed, overlooking the harbor through obscured glass.\n\nSHOT TEXT (authoritative, Korean): 먼지가 잔뜩 낀 흐릿한 창문 틈새로 바깥을 예리하게 내다보는 강민숙(홍은미)의 뒷모습.\n\nCARRIED STATE (persist exactly): Minsuk, Jihu, and Inwoo remain in hiding in the gear shed, with the goat blood still masking their scent. Jihu’s necklace remains on the ritual altar and Inwoo’s arm remains casted.\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 eye level directly behind 강민숙(홍은미), hold a tight static frame in which her back occupies roughly two-thirds of the image, offset just enough to preserve a narrow sightline through the window. Her shoulders and head form a dark foreground enclosure around the small, hazy exterior view, establishing the starting axis for the later backward move.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 강민숙(홍은미) in the middle-center of the frame, foreground, looks toward outside through the window.\n- KEY BACKGROUND ELEMENTS: 흐릿한 창문 (먼지가 잔뜩 껴 흐릿함) — The dust-covered pane faces the camera obliquely, with only a narrow, indistinct view toward the outside pier visible through it; used as The window preserves a narrow exterior sightline beyond 강민숙(홍은미)'s 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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L41B06.png" ], [ "char:강민숙(홍은미)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/e39fec85-e247-425b-ab08-80750a61aad8.png" ] ], "asset_id": "622e4aec-55af-4f01-a0bd-424ed4f310c3" }, "S84sh5": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S84sh5.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L41B06.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The narrow hiding area inside the fishing-gear shed among stacked nets, traps and baskets.\n\nSHOT TEXT (authoritative, Korean): 정인우가 백팩에서 38구경 권총을 불쑥 꺼내 든 찰나의 클로즈업.\n\nCARRIED STATE (persist exactly): Inwoo reveals and takes possession of the .38-caliber handgun from his backpack; his injured arm remains casted. All three remain blood-coated, and Jihu’s necklace remains absent.\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 waist height beside 정인우, complete the dolly-in as his hand jerks the handgun clear of the backpack, isolating the weapon, gripping hand, and opening while retaining a sliver of his torso as scale reference. The handgun is caught laterally rather than aimed toward the lens, and the compressed framing emphasizes only the reduced camera distance from the preceding conversational coverage.\n- FRAMING SCALE: insert close-up on a detail\n- KEY BACKGROUND ELEMENTS: 백팩 (열린 상태) — The open top is angled toward the camera, with 정인우's hand emerging from inside; used as Its opening forms the lower framing pocket from which the weapon suddenly emerges; 38구경 권총 (백팩에서 막 꺼내 든 상태) — Its side profile is visible as it clears the backpack, with the muzzle directed safely across the frame rather than at camera; used as The weapon and gripping hand are the isolated focal detail at the instant of revelation.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L41B06.png" ], [ "char:정인우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/ecdfd0e0-1e18-4495-a3f0-fab877f83fe1.png" ] ], "asset_id": "e422901d-bb7b-4dc2-bd97-3ebcf58eb237" }, "S85sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S85sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L40B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The village lane between the restaurant frontage and the pier-side fishing-gear shed.\n\nSHOT TEXT (authoritative, Korean): 고산들의 옆에서 한 손으로는 어구 창고를 가리키고, 다른 한 손은 허공에 펼쳐 들어 강하게 만류하는 자세로 굳어 있는 마을 청년 #1의 모습.\n\nCARRIED STATE (persist exactly): Minsuk, Jihu, and Inwoo remain hidden inside the gear shed under their goat-blood disguise. Inwoo retains the .38 handgun and cast, while Jihu’s necklace remains on the ritual altar.\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: Track at eye level beside 고산들 without crossing the shared axis, placing 마을 청년 #1 in the near middle-right and 고산들 at the left edge while the 어구 창고 aligns beyond the youth's pointing arm. Hold the youth in a tense three-quarter profile, one arm indicating the structure and the opposite palm spread toward 고산들 as a forceful visual barrier.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 마을 청년 #1 in the middle-right of the frame, midground, points to 어구 창고; 어구 창고 in the upper-left of the frame, background; 고산들 in the middle-left of the frame, midground.\n- KEY BACKGROUND ELEMENTS: 선착장 옆 어구 창고 (선착장 옆에 위치함) — A camera-facing outer side is visible beyond the youth's pointing arm; used as The structure is aligned with the youth's extended hand, making the disputed search location immediately legible; 숲 쪽으로 이어지는 길 (고산들이 다시 올라가려던 방향); used as The path anchors 고산들's interrupted movement toward the forest.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L40B01.png" ], [ "char:고산들", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/5b67a89a-2ce6-477b-980d-2e945d4cbd8a.png" ], [ "char:마을 청년 #1", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/68cce61b-b8fd-49d9-902b-e7acc0ea9080.png" ] ], "asset_id": "28727209-cb49-4d87-8d3b-6926a3d6bf68" }, "S85sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S86sh7": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S86sh7.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L19B03.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The boarding edge between the island pier and the open deck of the moored police patrol boat.\n\nSHOT TEXT (authoritative, Korean): 경찰 순찰정 갑판 위에 올라선 정인우가 뒤따라온 김지후(강수리영)와 강민숙(홍은미)의 손을 꽉 맞잡고 위로 끌어올리는 힘이 실린 mid-action 순간.\n\nCARRIED STATE (persist exactly): Jihu, Minsuk, and Inwoo remain coated with goat blood as Inwoo pulls the two women aboard. Inwoo retains his cast and concealed .38 handgun; Jihu remains without her necklace.\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 deck height near the boarding point, finish the dolly-in on the triangular tension created by 정인우 above and 김지후(강수리영) and 강민숙(홍은미) reaching from below, with their locked hands centered and all three upper bodies retained. 정인우 braces in the upper-left while the two women rise diagonally from the lower-right, allowing the rail and deck edge to make the difference in elevation physically clear.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 정인우 in the upper-left of the frame, midground, reaches for the two women below the deck edge; 김지후(강수리영) in the lower-center of the frame, foreground, reaches for 정인우's hand; 강민숙(홍은미) in the lower-right of the frame, foreground, reaches for 정인우's hand.\n- KEY BACKGROUND ELEMENTS: 순찰정 난간 (승선 지점에 위치함) — Its deck-side edge cuts diagonally behind the linked arms; used as The rail separates deck level from the lower boarding position and frames the joined hands; 순찰정 갑판 (정인우가 올라선 상태); used as The visible upper surface supports 정인우's braced posture and establishes that he is already aboard.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L19B03.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ], [ "char:정인우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/ecdfd0e0-1e18-4495-a3f0-fab877f83fe1.png" ] ], "asset_id": "e67f324c-a6c4-4414-9491-9a8294f859c6" }, "S86sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S86sh13": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S87sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S87sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_police_patrol_boat_deck_sel.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The outer rail and bow edge of the moving police patrol boat just off the island pier.\n\nSHOT TEXT (authoritative, Korean): 몸의 반이 바닷물에 빠진 상태에서 한 손으로 배의 가장자리를 짚고 거칠게 몸을 솟구쳐 오르는 mid-action 순간의 고산들의 기괴하고 야수적인 전신.\n\nCARRIED STATE (persist exactly): Jihu, Minsuk, and Inwoo remain goat-blood-coated; Inwoo still has his cast and .38 handgun. Sandel boards soaked with seawater.\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: Crane upward from water level just outside the bow-side rail, briefly widening and tilting up so 고산들 (육혈귀 각성 상태)'s entire body remains visible as one hand anchors him and his lower body surges out of the water. Place the rail diagonally across the middle of the frame, with his torso cresting above it and his trailing legs below, preserving the continuous rise toward the deck.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 고산들 (육혈귀 각성 상태) in the middle-center of the frame, midground, moves toward patrol boat deck; bow-side rail in the middle-center of the frame, midground.\n- KEY BACKGROUND ELEMENTS: 선수 가장자리 레일 바 (고산들이 한 손으로 붙잡은 상태) — Its outer side faces camera and runs diagonally across the frame beneath 고산들's gripping hand; used as The rail is the physical pivot for the one-handed ascent and divides sea level from deck level; 바닷물 (고산들의 몸 절반이 빠졌다가 솟구쳐 오르는 중); used as The water around his lower body shows the violent rebound used to reach the deck; 순찰정 갑판 (고산들이 올라서려는 위치); used as The upper surface beyond the rail provides the landing destination.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_police_patrol_boat_deck_sel.png" ], [ "char:고산들 (육혈귀 각성 상태)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/e12d2e7a-360a-4a4e-9ef5-19ee771c8aa5.png" ] ], "asset_id": "19d52f0f-6830-4fca-b4f5-22af0bdc0303" }, "S87sh19": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S87sh23": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S88sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S88sh6": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S88sh6.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_police_patrol_boat_deck_sel.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: Inside the patrol boat's compact wheelhouse, enclosed by the helm, windows and controls while the boat approaches shore.\n\nSHOT TEXT (authoritative, Korean): 조타실 안의 구창모가 총구를 밖의 정인우를 향해 정확히 겨눈 채 위협하는 찰나.\n\nCARRIED STATE (persist exactly): Changmo retains the firearm aimed at Inwoo. Jihu and Inwoo remain blood-coated, Jihu is still without her necklace, and Inwoo’s injured arm remains casted.\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 the end of the chest-height track inside the wheelhouse, settle at medium distance just beside the weapon axis, with Chang-mo in the left midground and the gun extending diagonally toward In-woo outside on the right. Keep In-woo visible beyond the wheelhouse boundary so the line of aim is physically continuous and unmistakable, while the camera remains offset rather than looking directly down the barrel.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 구창모 in the middle-left of the frame, midground; 정인우 in the middle-right of the frame, background; wheelhouse opening between gun and target in the middle-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: 조타실 키 (No longer held as Chang-mo raises the gun) — Its operating side is angled toward Chang-mo and partially toward the camera; used as Appears behind Chang-mo as evidence that he has turned away from steering to threaten the deck; 조타실과 갑판의 경계 (In-woo is visible beyond it) — The deck-facing side is presented obliquely beside the weapon axis; used as Preserves a clear sightline from Chang-mo and the weapon to In-woo outside.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_police_patrol_boat_deck_sel.png" ], [ "char:구창모", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/851dae38-2b42-4642-852f-83c39e70e078.png" ] ], "asset_id": "6fe3a12c-4fd1-4e91-b84c-8953cfcb5b4e" }, "S89sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S89sh3.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: The island's rocky shoreline beside the patrol boat's return route, where the villagers gather to receive it.\n\nSHOT TEXT (authoritative, Korean): 선착장에 모인 채 배를 향해 팔을 뻗고 기괴하게 활짝 웃고 있는 금월도 마을 주민들의 전경.\n\nCARRIED STATE (persist exactly): Sandel remains wet and wounded among the villagers, while Youngran retains her red shaman robe.\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: Finish the eye-level dolly-out in a broad wide frame, increasing only the camera distance until the villagers read as a full collective tableau rather than isolated faces. Place the group across the middle of the frame with arms thrust toward the boat-facing camera line, their broad smiles and forward-reaching hands creating disturbing depth without exaggerated foreground scale.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 선착장 (Occupied by the gathered villagers); used as Supports the spread of the gathered villagers across the frame and fixes their relationship to the approaching boat direction; 바다 방향 (The patrol boat is approaching from this direction); used as Defines the off-camera direction toward which the villagers reach.\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:마을 청년 #1", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/68cce61b-b8fd-49d9-902b-e7acc0ea9080.png" ] ], "asset_id": "8ff87c42-4044-4180-862d-909ea2703e54" }, "S90sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S90sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S91sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S91sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L22B04.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The restaurant's outdoor back garden in the fading sunset, behind the empty building.\n\nSHOT TEXT (authoritative, Korean): 식당 뒤뜰에 멈춰 선 채 불안한 눈빛으로 고개를 돌려 주변을 살피고 있는 김지후(강수리영).\n\nCARRIED STATE (persist exactly): Within the vision, Jihu remains without her animal-bone necklace while searching the yard.\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 eye level, continue a measured dolly-in from a loose environmental distance while Su-ri-young remains within the central third and turns her head through the surrounding yard. Preserve enough space on both sides for her search direction to change naturally, catching the instant her weight pivots beneath her while the camera begins its slight arc toward her three-quarter side.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 식당 뒤뜰 (Min-sook is not visible); used as Provides the surrounding search space and negative areas into which Su-ri-young repeatedly looks.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L22B04.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ] ], "asset_id": "2a1a4d1c-8dbf-4632-a037-6b2090bd486e" }, "S92sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S92sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L40B02.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The restaurant frontage and village lane overlooking the far end of the island pier at sunset.\n\nSHOT TEXT (authoritative, Korean): 노을 지는 선착장 끝 돌바닥에 앉아 바다를 향해 있는 강민숙(홍은미)의 뚜렷한 뒷모습.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Her soaked corpse is held limp across 강영란(흰 머리 여자)’s lap and arms at the end of the dock, with her upper body and face concealed behind 강영란(흰 머리 여자)’s shoulder. Her head and limbs have no muscular support while the body is directed toward the sea.\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 directly behind Min-sook at eye height, end the forward dolly at a medium distance on the pier axis, keeping her seated back centered and clearly separated from the sea beyond. Her compact figure occupies less than half the frame, with the stone surface leading toward her and open space above her shoulders preserving the lonely orientation toward the horizon.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: 선착장 돌바닥 (Min-sook is seated near its end); used as Creates a centered leading axis from the camera to Min-sook’s seated figure; 바다 (Visible beyond Min-sook); used as Forms the open background toward which Min-sook faces.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L40B02.png" ], [ "char:강민숙(홍은미)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/e39fec85-e247-425b-ab08-80750a61aad8.png" ] ], "asset_id": "2385d556-f2ad-4fd4-981d-8edab32ad2ae" }, "S93sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S93sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S93sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S94sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S94sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L37B06.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: A dark cave holding chamber between two opposing rock walls fitted with prisoner chains.\n\nSHOT TEXT (authoritative, Korean): 맞은편 동굴 벽에 쇠사슬로 묶인 채 얼굴이 상처투성이가 된 정인우의 전신.\n\nCARRIED STATE (persist exactly): Inwoo remains tightly chained to the opposite cave wall with his face bruised and cut; his injured arm is still casted. Jihu is also chained and remains without her necklace.\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 mid height near 김지후(강수리영)'s side of the chamber, hold a wide pan-completed composition that places 정인우 head to foot against the opposite wall, slightly off-center with the chains tracing outward from his body. Keep his battered face legible within the full-body frame as he braces against the restraints and directs his plea across the chamber.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: opposite cave wall (정인우 is restrained against it); used as Forms the rear plane that makes the restraint visually explicit; iron chains (fastened tightly around 정인우) — The chain lengths extend from 정인우 toward their wall restraints; used as Runs between 정인우 and the wall as the central evidence of captivity.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L37B06.png" ], [ "char:정인우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/ecdfd0e0-1e18-4495-a3f0-fab877f83fe1.png" ] ], "asset_id": "f9ebc7be-ddef-4f89-b7b1-e70d630eaf2f" }, "S94sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S95sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S95sh1.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: The exposed edge of a high coastal cliff overlooking bright blue sea and sky.\n\nSHOT TEXT (authoritative, Korean): 눈부신 하늘과 바다를 배경으로 절벽 끝에 선 강영란(흰 머리 여자)의 옷자락이 바람에 흩날리는 전경.\n\nCARRIED STATE (persist exactly): Youngran continues to wear the red shaman robe at the cliff.\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 chest height several meters inland, hold a static wide view biased toward 강영란(흰 머리 여자) at the cliff edge, with 황봉업(황 씨) retained beside her and both figures seen against the broad sea and sky. 강영란's red shaman skirt supplies the moving foreground accent while the cliff line crosses the lower frame and the blue distance occupies most of the image.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: cliff edge in the lower-center of the frame, midground; blue sea in the middle-center of the frame, background; blue sky in the upper-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: cliff edge (exposed above the sea) — The inland top leads toward the drop beyond 강영란 and 황봉업; used as Defines the lower boundary and the figures' precarious placement; sea (blue and rolling); used as Creates the expansive background beyond the two figures; sky (blue); used as Forms the bright upper field behind the figures.\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:강영란(흰 머리 여자)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/ef6b221a-22a8-48e4-a7c0-c24ae84eed10.png" ] ], "asset_id": "6a40399a-8f33-4d83-8dfb-8c3feea8ebd9" }, "S95sh10": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S95sh18": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S96sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S96sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S97sh1": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S97sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S97sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S98sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S98sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S98sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S99sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S99sh1.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: A desk area inside the brightly lit mainland police substation.\n\nSHOT TEXT (authoritative, Korean): 밝은 지구대 안에서 구창모가 의자에 느긋하게 기대앉아 핸드폰 화면을 들여다보는 모습.\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 standing eye level near the 지구대 entrance, hold a static wide frontal view across the room toward 구창모. He reclines in his chair in the middle distance, slightly off-center, with the phone held at chest level and enough surrounding office space retained for the later pan and lateral exchange.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 의자 (구창모가 기대앉아 있음) — Its seated front is angled slightly across the camera rather than square to it; used as Supports 구창모's relaxed posture in the middle distance; 핸드폰 (게임 화면을 보고 있음) — The active game screen faces 구창모 and is seen obliquely by the camera; used as The visible screen establishes his absorbed, leisurely activity without becoming oversized in the frame; 지구대 실내 (밝은 실내); used as Provides the broad spatial context from the entrance-side viewpoint.\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:구창모", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/851dae38-2b42-4642-852f-83c39e70e078.png" ] ], "asset_id": "dff9730e-f2a2-454d-a541-e1275378a6de" }, "S99sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S100sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S100sh3.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: The mainland harbor pier beside a parked van and the waiting passengers in daylight.\n\nSHOT TEXT (authoritative, Korean): 구창모가 거들먹거리는 표정으로 선착장에 모인 술집 여자들 앞에서 가슴을 편 고정된 자세로 서 있는 모습.\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 several meters in front of 구창모, hold a static medium-wide composition with him centered and the 술집 여자들 gathered across his forward-facing space on both sides. His planted posture and thrust chest provide the visual axis, while the women remain sufficiently visible to read as the audience for his boastful instructions.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 까만색 그랜드카니발 (여자들과 구창모가 내린 뒤 선착장에 있음) — A side and partial front face remain visible behind the assembled group; used as Held behind and to the side of the group as evidence of their arrival; 선착장 (구창모와 여자들이 모여 있음); used as Defines the outdoor gathering space and leaves an open direction for the following pan.\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:구창모", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/851dae38-2b42-4642-852f-83c39e70e078.png" ] ], "asset_id": "fc238a76-36a9-4e85-8fe5-0733a929de2f" }, "S100sh5": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S101sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S101sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L15B06.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The crowded open passenger deck of the fishing boat in bright daylight.\n\nSHOT TEXT (authoritative, Korean): 밝은 대낮의 낚시 어선 갑판 위로 화려한 옷차림의 술집 여자들과 후반부 낚싯꾼들이 발 디딜 틈 없이 빼곡하게 모여 서 있는 전경.\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: Begin in a high, downward-angled wide view over the fishing boat deck, holding the tightly packed passengers as a single dense field while preserving enough of the deck boundary to show that the boat is full. The 술집 여자들 and fishermen overlap across foreground, middle ground, and background, with no isolated hero position before the crane descends toward the pier.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: 낚시 어선 갑판 (승객들로 만원임) — The deck is seen from above, with its occupied length extending across the frame; used as The visible deck boundary supplies scale and proves the density of the crowd; 낚시 어선 (술집 여자들과 낚싯꾼들이 함께 올라타 있음) — Its upper deck and outer boundary are visible from the elevated camera position; used as Defines the transport holding the tightly packed group.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L15B06.png" ] ], "asset_id": "32fc71ed-0d3e-4f53-b074-45f50e6f318c" }, "S101sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S101sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S102sh1": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S102sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L37B06.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The rock wall and chained-prisoner position inside the dark cave holding chamber.\n\nSHOT TEXT (authoritative, Korean): 어두운 동굴 안에서 정인우가 핏대를 세운 채 벽에 연결된 굵은 쇠사슬을 양손으로 팽팽하게 잡아당기는 얼굴 클로즈업.\n\nCARRIED STATE (persist exactly): Inwoo and Jihu remain chained to the cave walls; his injured arm remains casted, and her necklace remains at the ritual altar.\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 face height within arm’s reach, the camera faces 정인우 beside the wall connection point and holds the opening position of the planned dolly-out. His strained face occupies the center and upper half, while both pulling hands and the taut chain enter across the lower frame, keeping the anchor visible near one edge.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 정인우 in the middle-center of the frame, foreground; wall connection point in the middle-right of the frame, midground.\n- KEY BACKGROUND ELEMENTS: wall connection point (Connected to the taut chain) — Its projecting side and the attached chain face the camera at the frame edge; used as Keeps the chain’s fixed endpoint visible beside the straining face; thick iron chain (Pulled taut) — Its length angles from the lower frame toward the wall connection point; used as Forms a hard diagonal from the hands toward the wall.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L37B06.png" ], [ "char:정인우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/ecdfd0e0-1e18-4495-a3f0-fab877f83fe1.png" ] ], "asset_id": "6a9be857-71c9-4e63-a0e4-a5189b2b4356" }, "S102sh12": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S102sh12.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L37B02.png", "prompt": "The attached image is the LOCATION PHOTOGRAPH (loose spatial reference only).\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: Inside an open fish hold below the fishing boat's deck, where restrained women are packed together beneath the hatch.\n\nSHOT TEXT (authoritative, Korean): 열린 어창 바닥에 손발이 묶이고 입이 천으로 틀어막힌 어창에 감금된 여성 제물들이 공포에 질려 잔뜩 웅크린 상태.\n\nCARRIED STATE (persist exactly): The women hidden in the open fish holds remain bound hand and foot and gagged with cloth.\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 inside an open cargo hold, the camera looks down at a high angle and remains static at the end of the captive reveal. The bound women form a compressed cluster across the lower two-thirds, with the open rim retained along the upper edge to make their confinement immediately legible.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: cargo hold opening (Open) — The open mouth and its surrounding rim face upward toward the camera; used as Creates the upper boundary of the high-angle enclosure; cargo hold floor (Occupied by the bound captives); used as Establishes the confined floor area around the huddled group; adjacent cargo-hold lids (Open) — Their opened panels are seen obliquely beyond the primary hold; used as Reveals that multiple holds have been accessed beyond the primary compartment.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L37B02.png" ] ], "asset_id": "78cd6e19-b6a4-4a7a-ae1a-f7897784aaac" }, "S102sh17": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S102sh17.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L37B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The altar before the giant boulder in the forest ritual clearing, illuminated by red firelight at evening.\n\nSHOT TEXT (authoritative, Korean): 순백의 무녀복을 입은 강영란(흰 머리 여자)이 제단 앞 붉은 모닥불 불빛을 받으며 꼿꼿하고 위엄 있게 선 전신.\n\nCARRIED STATE (persist exactly): Youngran has changed from the red robe into a pure white shaman robe; Jihu’s necklace remains on the ritual altar before her.\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 waist height on the central axis before the altar, the camera holds a static full-body view of 강영란(흰 머리 여자). She occupies the center with the altar and rock arranged directly behind her, while the ritual fire remains offset so its light shapes her white ceremonial clothing without obscuring her silhouette.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 강영란(흰 머리 여자) in the middle-center of the frame, midground; altar in the lower-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: altar before the rock (Set before the rock) — Its front side faces the camera behind the ritual leader; used as Anchors the ritual leader on the central ceremonial axis; rock (Used as the ritual backdrop) — Its altar-facing side is visible behind 강영란(흰 머리 여자); used as Provides the large ritual backdrop behind the altar; ritual fire (Blazing); used as Remains offset in the composition and motivates the red illumination.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L37B01.png" ], [ "char:강영란(흰 머리 여자)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/ef6b221a-22a8-48e4-a7c0-c24ae84eed10.png" ] ], "asset_id": "2c3e612b-c736-490c-a424-3eede267f32e" }, "S103sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S103sh2.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: A wave-washed rock shelf at the island's shoreline during evening.\n\nSHOT TEXT (authoritative, Korean): 바닷물에 흠뻑 젖은 고산들이 갯바위 위에 대자로 벌러덩 드러누운 전신.\n\nCARRIED STATE (persist exactly): Sandel remains soaked from the sea and carries deep stab wounds through his back and chest, plus the gunshot wound in his shoulder.\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 crane reaches a high oblique full-body view aligned with 고산들’s length, revealing him from head to feet on the rocks. His splayed figure occupies the central diagonal while the rock edge and striking water remain visible around him as spatial context before the camera descends toward his head.\n- FRAMING SCALE: wide shot\n- KEY BACKGROUND ELEMENTS: shore rocks (Beside the sea); used as Supports the full-body silhouette and provides scale around the collapsed figure; sea and waves (Waves striking the rocks); used as Borders the rock and retains the setting of his emergence.\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:고산들", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/5b67a89a-2ce6-477b-980d-2e945d4cbd8a.png" ] ], "asset_id": "b0372a1b-e2eb-4f10-9476-7f3027282984" }, "S103sh4": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S104sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S104sh3.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L40B04.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The dark village lane climbing toward the restaurant entrance at night.\n\nSHOT TEXT (authoritative, Korean): 어두운 마을길 아래에서 물에 빠진 생쥐 꼴의 고산들이 살기 어린 눈빛으로 길을 향해 한 발을 크게 내디딘 mid-stride 자세의 위압적인 전신.\n\nCARRIED STATE (persist exactly): Sandel remains soaking wet and visibly wounded as he advances toward the restaurant.\n\nPROPS FACE THE RIGHT WAY (also in this sketch): every handheld or used\nobject must be oriented as its real-world use requires. A person\nreading, watching or operating something (a phone, a photograph, a\npaper, any device) has its functional side — screen, front, page —\nfacing THEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, gaze on the target the SHOT TEXT implies; avoid\na stiff attention stance (feet together, arms hanging straight down)\nand a blank stare into the lens. If the SHOT TEXT or any POSE contract\nabove stages stillness, death, sleep, unconsciousness, restraint,\ndrill or an explicit direct-to-camera look, draw THAT exactly — this\nclause never overrides it.\n\nKEYSHOT LAYOUT VALUE: this storyboard frame is a KEY FRAME extracted\nfrom a finished film — its layout alone must convey why this moment\nmatters in the scene. Compose the frame so the subject's pose, gaze\ntarget and spatial relationships read clearly. Do not fill the frame\nwith a single face and do not draw a subject standing square to the\ncamera in a passport-photo composition unless the SHOT TEXT itself\nexplicitly stages that framing for a narrative reason. Even in an\nextreme close-up, keep at least one meaning-bearing element (the gaze\ntarget, the object reacted to, the relevant surroundings) inside or\nat the edge of the frame.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At knee height on the road axis, the camera holds the inherited low frontal geometry as 고산들 drives one large step toward the restaurant. His full body is isolated in the center with the leading foot entering the lower foreground and the road receding behind him, turning the advancing posture into the sole visual threat.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 고산들 in the middle-center of the frame, midground, moves toward restaurant entrance; restaurant entrance in the upper-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: village road (Leading toward the restaurant); used as Creates the central approach axis beneath the advancing figure; restaurant entrance (Ahead on the road) — The entrance faces the approaching 고산들 and the low camera axis; used as Provides the destination of the threatening advance.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L40B04.png" ], [ "char:고산들", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/5b67a89a-2ce6-477b-980d-2e945d4cbd8a.png" ] ], "asset_id": "2441c681-1a48-4b44-9d6b-0a86e43d290b" }, "S104sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S105sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S105sh3.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: The central altar before the giant boulder, enclosed by ritual fires and black-clad worshippers.\n\nSHOT TEXT (authoritative, Korean): 순백의 무녀복을 입은 강영란(흰 머리 여자)이 검붉은 피가 뚝뚝 떨어지는 잘린 염소 머리를 허공 높이 치켜든 찰나.\n\nCARRIED STATE (persist exactly): Youngran remains in the pure white shaman robe as she raises the severed goat head; Jihu’s necklace remains on the altar.\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 dolly-in ends below 강영란(흰 머리 여자)’s shoulder height in a low-angle near-medium composition beside the altar. Her blood-marked torso occupies the lower center while her raised arm leads to the severed black goat head in the upper third, preserving both the officiant and the elevated ritual object without enlarging the head beyond natural scale.\n- FRAMING SCALE: medium shot\n- KEY BACKGROUND ELEMENTS: ritual rock (Splashed with blood) — The side receiving the scattered blood is visible behind the raised arm; used as Keeps the blood-splashed ritual surface beside the officiant; altar (Set before the rock) — Its side nearest 강영란(흰 머리 여자) faces the camera obliquely; used as Forms the nearby ceremonial base at the lower edge; ritual fire (Blazing); used as Provides flickering illumination and separates the white robe from the surrounding worshippers; circle of black-clad worshippers (Gathered around the fire); used as Creates a partial dark perimeter around the central action.\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:강영란(흰 머리 여자)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/ef6b221a-22a8-48e4-a7c0-c24ae84eed10.png" ] ], "asset_id": "40244745-1fa2-428f-b307-0febebc66ac6" }, "S105sh7": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S106sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S107sh3": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S107sh3.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: A pitch-dark, disorienting trail through dense black-pine forest.\n\nSHOT TEXT (authoritative, Korean): 극심한 공포에 휩싸여 눈물이 맺힌 채 숲길을 허둥지둥 달리느라 머리카락이 뒤로 흩날리는 구창모의 얼굴 클로즈업.\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 구창모’s eye height, the camera tracks backward directly ahead of him at his running speed, tightening to a close facial frame without losing frontal alignment. His tearful face occupies most of the center while whipping hair and passing branches remain along the frame edges, preserving the sense that the forest is closing around his path.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 구창모 in the middle-center of the frame, foreground, moves toward camera position along the forest path.\n- KEY BACKGROUND ELEMENTS: 나무 잔가지 (Striking into the runner’s path); used as Branches streak past the frame edges and intermittently threaten the facial silhouette; 수풀 (Crowding the forest path); used as Soft peripheral shapes compress the visible route around the runner; 숲길 (Difficult to distinguish in the darkness); used as A narrow depth cue receding behind the runner.\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:구창모", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/851dae38-2b42-4642-852f-83c39e70e078.png" ] ], "asset_id": "2fbd3fac-1d01-4888-901c-1c7e4fbb4af8" }, "S108sh4": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S108sh4.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L29B05.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The dark storage annex inside the slaughterhouse, behind its small closed side door.\n\nSHOT TEXT (authoritative, Korean): 어두운 창고 안에서 구창모가 두 손으로 입을 꽉 틀어막은 채 숨을 참는 굳은 얼굴.\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 directly in front of 구창모 at eye level, the dolly-in reaches a tight close frame and settles on his rigid face above both hands sealing his mouth. His face and hands occupy the center while the storage room falls away at the margins; the composition leaves a small amount of lower-frame space for the coming tilt toward his hands.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 구창모 in the middle-center of the frame, midground.\n- KEY BACKGROUND ELEMENTS: 창고 내부 (Dark and quiet); used as Barely resolved spatial boundary behind the close portrait.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L29B05.png" ], [ "char:구창모", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/851dae38-2b42-4642-852f-83c39e70e078.png" ] ], "asset_id": "30852785-121e-4505-bb30-8fd1e291a71a" }, "S108sh6": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S108sh9": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S109sh2": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "bgonly", "error": null }, "S110sh21": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S110sh21.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: The central sacrificial platform before the giant boulder under the red eclipsed moon.\n\nSHOT TEXT (authoritative, Korean): 얼굴에 문자가 새겨진 김지후(강수리영)가 눈을 번쩍 뜬 채 섬뜩한 황금빛 눈동자를 번뜩이는 얼굴 클로즈업.\n\nCARRIED STATE (persist exactly): Jihu remains strapped to the altar with black script covering her entire body and face, and her eyes transformed to golden. Her animal-bone necklace remains on the altar nearby.\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: Directly in front of the altar at 김지후(강수리영) (그분 빙의 상태)’s eye height, the dolly-in finishes on a close facial frame as her eyes snap open. Her marked face sits centrally with only a narrow trace of the altar setting behind it, and the final distance prioritizes the spreading characters and golden eyes as a confrontational possession portrait.\n- FRAMING SCALE: close-up\n- FRAME LAYOUT: 김지후(강수리영) (그분 빙의 상태) in the middle-center of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: 제단 (김지후(강수리영)가 묶여 있는 의식 제단) — Its front-facing position is mostly obscured by the bound subject; used as A narrow, defocused contextual edge behind the possessed face; 거대한 바위 (검은 연기가 빠져나온 바위); used as Compressed background mass directly behind the altar axis.\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:김지후(강수리영) (그분 빙의 상태)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/238cf8a8-ae8d-432e-8261-21938bc45f0a.png" ] ], "asset_id": "a0c76d83-4137-466d-8d4d-80ca8ee646a8" }, "S110sh25": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S110sh41": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S111sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S111sh11": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S111sh19": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S112sh6": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S112sh6.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L19B01.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The boarding edge between the island pier and the open deck of the moored fishing boat in daylight.\n\nSHOT TEXT (authoritative, Korean): 낚시 어선 갑판에 먼저 올라탄 정인우가 선착장에 선 김지후(강수리영)를 향해 손을 뻗어 내민 모습.\n\nCARRIED STATE (persist exactly): Jihu’s animal-bone necklace remains permanently gone after disintegrating. Inwoo’s injured arm remains in its cast as he reaches from the boat.\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 chest height beside the gap, the static camera holds a wide two-person composition with 정인우 on the boat at frame left and 김지후(강수리영) on the dock at frame right. 정인우 braces himself and extends one open hand across the central gap, while 김지후 leans toward it without yet completing the contact.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 정인우 in the middle-left of the frame, midground, reaches for 김지후(강수리영)'s hand; 김지후(강수리영) in the middle-right of the frame, midground, reaches for 정인우's hand; gap between boat and dock in the lower-center of the frame, foreground.\n- KEY BACKGROUND ELEMENTS: 황 씨의 낚시 어선 (선착장 옆에 있으며 정인우가 갑판에 올라탄 상태) — The deck edge and boat side angle toward the central gap; used as Supports 정인우 and defines the left side of the separation; 선착장 (김지후(강수리영)가 배에 오르기 전 머물러 있음) — Its boat-facing edge runs toward the center of the frame; used as Supports 김지후(강수리영) and defines the right side of the separation; 바다 (햇빛에 눈부시게 반짝임); used as Visible beyond the boat-dock separation as spatial context.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L19B01.png" ], [ "char:김지후(강수리영)", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/37419c03-bde2-4b9f-9c39-a4f77a1b91af.png" ], [ "char:정인우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/ecdfd0e0-1e18-4495-a3f0-fab877f83fe1.png" ] ], "asset_id": "4f27bc1f-bea7-47ff-8122-7e696327e1c7" }, "S112sh8": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S112sh13": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null }, "S113sh2": { "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S113sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L15B07.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). Every following attached image is a CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The open deck of the fishing boat just beyond the island harbor, facing back toward the receding pier.\n\nSHOT TEXT (authoritative, Korean): 낚시 어선 갑판 위에서 금월도 방향으로 상체를 튼 채 애틋한 표정으로 시선을 고정한 정인우의 전신.\n\nCARRIED STATE (persist exactly): Inwoo’s injured arm remains immobilized in its cast as the fishing boat departs.\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: A waist-height tracking camera remains behind 정인우 on the moving deck, holding his full body in the middle-right as his torso twists back toward 금월도. The receding island is retained across the opposite background, allowing his fixed farewell gaze and the growing physical separation to read within one composition.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 정인우 in the middle-right of the frame, midground, looks toward receding Geumwoldo; receding Geumwoldo in the upper-left of the frame, background.\n- KEY BACKGROUND ELEMENTS: 낚시 어선 갑판 (금월도를 벗어나 육지로 향하는 중) — The deck extends away from the camera toward the boat’s direction of travel; used as Moving platform beneath 정인우 and foreground evidence of departure; 금월도 (배에서 점점 멀어지고 있음); used as Primary distant anchor of 정인우’s backward gaze; 바다와 물결 (물결이 반짝임); used as Separates the boat from the island and carries the reflected daylight.\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/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L15B07.png" ], [ "char:정인우", "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/reference/ecdfd0e0-1e18-4495-a3f0-fab877f83fe1.png" ] ], "asset_id": "8b86a8fe-3549-4cd0-a8ed-9fce4f573257" }, "S113sh3": { "image_path": null, "plate_path": null, "prompt": null, "skipped_reason": "prev", "error": null } }, "map_conti": {}, "conti_pack": "5.202607222353", "lane_conti": { "S1sh7": { "lane": "structure_plate", "group_id": "bg_reed_field_wooden_shed", "segment_id": "SEG_02", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_reed_field_wooden_shed_sel.png", "seed_asset_id": "4e922251-3792-4707-a773-ce5db24c255b", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L01B01.png", "bg_reason": "", "bypass_reason": "prev" }, "S7sh8": { "lane": "map_marker", "group_id": "bg_police_station", "segment_id": "SEG_02", "status": "ok", "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/lane_sketch_S7sh8.png", "base_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/canon_bg_police_station_map.png", "base_map_asset_id": "5c9fb401-5336-4f17-949e-d7496521e1c7", "marker_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/lane_marker_map_S7sh8.png", "marker_check": { "markers_ok": true, "details_ko": "정상" }, "marker_prompt": "Edit the attached TOP-DOWN SITE PLAN image: draw STAGING MARKERS on it\nat the positions described below. This is a planning aid for a film\ncrew, drawn over the plan.\n\nPLACEMENT AUTHORITY: each marker line below places its marker relative\nto a fixed feature, zone or boundary VISIBLE on the attached plan —\nthat landmark-relative description is the placement authority. The\nnormalized fractions in parentheses are coarse estimates of the same\nspot (x runs left→right 0..1, y runs top→bottom 0..1 of the full\ncanvas) — use them only to confirm the rough region; when in doubt,\nthe landmark description wins. Do NOT relocate a marker onto a\ndifferent salient line or feature than the one its description names.\n\nNEVER move a marker to make the drawing fit. The camera circle and\nevery subject circle go exactly where their descriptions place them,\neven when that leaves the view wedge or an arrow running off the edge\nof the image — in that case just let the wedge or arrow continue to\nthe image border and stop there. Shifting the camera outward, pulling\na subject aside, or shrinking the wedge to keep it inside the canvas\nall break the plan this map exists to record.\n\nDraw EXACTLY these markers, flat and high-contrast, small enough not\nto hide the plan under them:\n- CAMERA: one filled circle at the camera position, labelled CAM, and\n out of that circle a FIELD-OF-VIEW WEDGE showing what this shot\n sees — two straight thin lines, one running toward each of the two\n frame-edge positions given below, and a third thinner line to the\n look-target position between them. Fill the area between the two\n edge lines with a light translucent tint so the wedge reads as the\n camera's view; the plan underneath must stay fully readable through\n the tint. Every subject listed below stands inside this wedge —\n if your drawing leaves one outside it, the wedge is drawn wrong,\n not the subject.\n- SUBJECTS: one filled circle per subject at its position, labelled\n with its slot code (E1, E2, ...) followed by its short description\n in parentheses, and one short ARROW leaving that circle toward the\n spot the subject faces, so the direction each subject is turned is\n readable at a glance.\n\nChange NOTHING else: keep every zone, landmark, line, label and color\nof the plan exactly as attached — do not redraw, recolor, move or\nremove anything, do not add scenery, shadows or any other symbols or\ntext beyond the markers, wedge, arrows and labels specified above. The\noutput is the SAME plan image with only these staging markers added.\n\nMARKERS TO DRAW:\n- CAM (camera): circle At the upper end of the vehicle approach where it meets the lower edge of the police station parking area. (coarse estimate x=0.38, y=0.71); its sight line ends at LOOK TARGET: In the central parking aisle between the western parking row and the inner row of marked spaces. (coarse estimate x=0.51, y=0.51); the frame's LEFT edge cuts through On the middle section of the western row of marked parking spaces. (coarse estimate x=0.22, y=0.40) and its RIGHT edge through At the upper-right end of the inner row of marked parking spaces beside the station building recess. (coarse estimate x=0.72, y=0.39)\n- E1 (middle-aged woman walking away): circle In the parking aisle beside the upper section of the inner row of marked parking spaces. (coarse estimate x=0.58, y=0.46), facing On the paved parking area just below the recessed entrance of the station building. (coarse estimate x=0.66, y=0.34)\n- E2 (stationary man holding a lowered envelope): circle In the central parking area left of the inner row of marked parking spaces. (coarse estimate x=0.44, y=0.59), facing In the parking aisle beside the upper section of the inner row of marked parking spaces. (coarse estimate x=0.58, y=0.46)\n\n[REGENERATE — the previous attempt failed the marker check: 카메라(CAM) 마커가 차량 진입로 상단(주차장 경계)이 아닌 진입로 하단 도로 쪽에 잘못 배치되었고, 원본 도면의 'A1', 'A2' 라벨이 삭제되었으며 마커 아래에 불필요한 텍스트가 추가되었습니다.. Draw exactly the specified markers and change nothing else on the plan.]", "marker_attempts": 2, "geometry": { "camera": { "look_target": { "x": 0.51, "y": 0.51 }, "look_target_anchor_en": "In the central parking aisle between the western parking row and the inner row of marked spaces.", "origin": { "x": 0.38, "y": 0.71 }, "origin_anchor_en": "At the upper end of the vehicle approach where it meets the lower edge of the police station parking area.", "view_left": { "x": 0.22, "y": 0.4 }, "view_left_anchor_en": "On the middle section of the western row of marked parking spaces.", "view_right": { "x": 0.72, "y": 0.39 }, "view_right_anchor_en": "At the upper-right end of the inner row of marked parking spaces beside the station building recess." }, "entity_placements": [ { "anchor_en": "In the parking aisle beside the upper section of the inner row of marked parking spaces.", "camera_facing_evidence": "mid-stride 뒷모습", "camera_facing_relation": "away_from_camera", "facing": { "x": 0.66, "y": 0.34 }, "facing_anchor_en": "On the paved parking area just below the recessed entrance of the station building.", "slot": "E1", "subject_en": "middle-aged woman walking away", "x": 0.58, "y": 0.46 }, { "anchor_en": "In the central parking area left of the inner row of marked parking spaces.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.58, "y": 0.46 }, "facing_anchor_en": "In the parking aisle beside the upper section of the inner row of marked parking spaces.", "slot": "E2", "subject_en": "stationary man holding a lowered envelope", "x": 0.44, "y": 0.59 } ], "rationale_ko": "카메라는 차량 진입로와 주차장의 접점에서 넓게 위쪽을 바라본다. 남자는 가까운 좌측에 멈춰 있고, 여자는 충분히 분리된 우측 상단 방향으로 첫걸음을 내디디며 카메라 시선과 같은 방향으로 멀어지게 배치했다." }, "leakage": { "has_marker_leakage": false, "details_ko": "도면 기호나 평면도 형태의 유출이 없습니다." }, "prompt": "Draw a single CAMERA-VIEW storyboard frame (16:9) of the scene staged\non the attached MARKER-ANNOTATED TOP-DOWN SITE PLAN, seen from the\ncamera position marked on it.\n\nThe attached plan carries STAGING MARKERS drawn over it: a\ncamera-position marker with a field-of-view wedge (where the camera\nstands, which way it looks and how wide it sees) and one labelled\ncircle per subject with an arrow (where each subject stands and which\nway that subject is turned). Jurisdiction of sources — follow all three, they do not\nconflict:\n- The SITE PLAN under the markers is the SOT for what exists on the\n site and how its zones and landmarks are arranged relative to each\n other. The markers themselves are staging aids, NOT site content.\n- The markers on the plan are the SOT for XY POSITIONS, horizontal\n heading and body facing ONLY: where each subject stands on that\n plan, which way each one is turned, where the camera stands, which\n way it looks and how wide its wedge opens. Distances, directions\n and relative depths between subjects come from the marked\n positions; what the wedge covers is what this frame contains, and\n subjects outside the wedge are out of frame. The STAGING GEOMETRY\n text below restates the same staging with coarse normalized\n estimates — it never overrides the marked plan.\n- The CAMERA DIRECTION text below (when present) is the SOT for the\n VERTICAL angle, elevation, tilt and framing (eye-level, high angle,\n overhead crane, low angle, ...). If it asks for a high or overhead\n angle, draw that angle — the site plan being top-down does NOT mean\n the frame must be eye-level. It does NOT govern horizontal\n placement: which side of the frame a subject occupies and which way\n that subject is turned come from the marked plan and the staging\n text, even when that memo also mentions left, right, foreground or\n background.\n\nSTYLE — MANNEQUIN BLOCKING SKETCH: thin uniform dark outlines on plain\npaper, nothing else. Draw every person as a PLAIN ARTIST'S MANNEQUIN:\na featureless oval head with NO face, NO hair, NO clothing and no\ncostume detail — simple tapered limbs and torso, like a wooden posing\nfigure. Because the head has no face and no hair, the ONLY thing that\nshows which way a figure is turned is the BODY ITSELF: the direction\nthe chest, hips and feet point, and the way the head-oval sits on the\nshoulders. Aim each mannequin's chest and feet at the spot the staging\ntext says that person faces, and let the arms carry the action. A\nmannequin turned to the wrong side is the single worst error in this\ndrawing. Environment is reduced to a few placement lines (ground line,\nkey landmark silhouettes) — just enough to read positions and depth.\n\nSTAGING GEOMETRY — PLANNING DATA ONLY, NEVER RENDER IT: the lines\nbelow restate, marker by marker, the staging already marked on the\nattached plan: each landmark-relative description restates the\nmarker-map authority in words, and the normalized fractions in\nparentheses (x left→right 0..1, y top→bottom 0..1) are coarse audit\nestimates only — neither ever overrides the marked plan.\n\nThose fractions are TOP-DOWN bookkeeping. Never read them as left and\nright of your frame: on a plan seen from above, a subject \"to the\nright\" can sit on either side of a camera that looks any direction.\nEach subject line therefore ends with the SAME staging expressed from\nTHIS camera — which part of the frame the subject occupies, and which\nway that subject faces in screen terms (toward the left or right of\nthe frame, toward or away from the camera or side-on to it in\nprofile, and whom they are looking at). Those screen-space statements\nare what your drawing must match:\na figure said to face the right of the frame is turned to the right in\nyour drawing, never mirrored.\n\nDo NOT draw any of this data in the image — no numbers, no\ncoordinates, no labels, no arrows, no cones, no dots, no diagram\nsymbols of any kind.\n\nWhere the CAMERA DIRECTION text below also describes horizontal\nplacement (which side of the frame someone occupies, foreground left,\nbackground right), treat that as background reading only: for anything\nabout left, right and where a subject sits in this frame, the staging\nabove wins. CAMERA DIRECTION governs the vertical angle, elevation,\ntilt and framing.\n\nFor whether a subject faces the camera or is turned away from it, each\nsubject line above already states it in screen terms and the SHOT TEXT\nis the source it was derived from — draw exactly what the subject line\nsays, and never mirror it.\n- the camera stands At the upper end of the vehicle approach where it meets the lower edge of the police station parking area. (coarse estimate x=0.38, y=0.71); its sight line ends at LOOK TARGET: In the central parking aisle between the western parking row and the inner row of marked spaces. (coarse estimate x=0.51, y=0.51); the frame's LEFT edge cuts through On the middle section of the western row of marked parking spaces. (coarse estimate x=0.22, y=0.40) and its RIGHT edge through At the upper-right end of the inner row of marked parking spaces beside the station building recess. (coarse estimate x=0.72, y=0.39) — everything between those two edges is in frame, anything outside them is out of frame\n- middle-aged woman walking away stands In the parking aisle beside the upper section of the inner row of marked parking spaces. (coarse estimate x=0.58, y=0.46), facing On the paved parking area just below the recessed entrance of the station building. (coarse estimate x=0.66, y=0.34) — 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- stationary man holding a lowered envelope stands In the central parking area left of the inner row of marked parking spaces. (coarse estimate x=0.44, y=0.59), facing In the parking aisle beside the upper section of the inner row of marked parking spaces. (coarse estimate x=0.58, y=0.46) — 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 middle-aged woman walking away\n\nCAMERA DIRECTION (vertical angle / elevation / framing SOT): Cut to a static eye-level wide view from behind the departure line, timing 강민숙(홍은미) on her first full mid-stride step away from 정인우. Keep 정인우 separated in the nearer left side with the envelope lowered in his hand, while her full back-facing figure recedes toward the upper right with visibly dropped shoulders.\n\nTHE LOCATION: 경찰서 주차장\n\nSHOT TEXT (authoritative, Korean): 어깨가 축 처진 채 주차장을 향해 한쪽 발을 내딛어 걷고 있는 강민숙(홍은미)의 mid-stride 뒷모습과, 그 자리에 우두커니 서서 이를 바라보는 정인우의 광경.\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.", "reused": true, "lane_sketch_pack": "14.202607270344", "lane_geometry_pack": "4.202607270248", "mannequin_chain_contract": "1", "asset_id": "7ac61eff-4098-41f7-8ed3-1eaa33464942" }, "S11sh4": { "lane": "structure_plate", "group_id": "bg_multifamily_residence", "segment_id": "SEG_EXTERIOR_STAIR", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_multifamily_residence_sel.png", "seed_asset_id": "d74f097c-288e-4fa6-ac33-f9284505f0ba", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L10B05.png", "bg_reason": "", "bypass_reason": "prev" }, "S14sh2": { "lane": 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"/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L19B02.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S38sh1.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L19B02.png" }, "S39sh7": { "lane": "structure_plate", "group_id": "bg_island_residential_lanes", "segment_id": "SEG_03", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_island_residential_lanes_sel.png", "seed_asset_id": "d48363cb-e3f4-4ca7-99a1-d509c6e489cd", "seed_status": "ok", "bg_source": "seed", "bg_path": 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"/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_forest_path_network_sel.png", "seed_asset_id": "58a4c873-0b94-49b4-ad83-7174209aff1b", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_forest_path_network_sel.png", "bg_reason": "", "bypass_reason": "bg_only" }, "S42sh1": { "lane": "map_marker", "group_id": "bg_roadside_gas_station", "segment_id": "SEG_01", "marker_attempts": 1, "sketch_attempts": 1, "status": "ok", "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/lane_sketch_S42sh1.png", "base_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/canon_bg_roadside_gas_station_map.png", "base_map_asset_id": "aa720168-c1c9-4441-a85b-7a6970e8f174", "marker_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/lane_marker_map_S42sh1.png", "marker_check": { "markers_ok": true, "details_ko": "정상" }, "marker_prompt": "Edit the attached TOP-DOWN SITE PLAN image: draw STAGING MARKERS on it\nat the positions described below. This is a planning aid for a film\ncrew, drawn over the plan.\n\nPLACEMENT AUTHORITY: each marker line below places its marker relative\nto a fixed feature, zone or boundary VISIBLE on the attached plan —\nthat landmark-relative description is the placement authority. The\nnormalized fractions in parentheses are coarse estimates of the same\nspot (x runs left→right 0..1, y runs top→bottom 0..1 of the full\ncanvas) — use them only to confirm the rough region; when in doubt,\nthe landmark description wins. Do NOT relocate a marker onto a\ndifferent salient line or feature than the one its description names.\n\nNEVER move a marker to make the drawing fit. The camera circle and\nevery subject circle go exactly where their descriptions place them,\neven when that leaves the view wedge or an arrow running off the edge\nof the image — in that case just let the wedge or arrow continue to\nthe image border and stop there. Shifting the camera outward, pulling\na subject aside, or shrinking the wedge to keep it inside the canvas\nall break the plan this map exists to record.\n\nDraw EXACTLY these markers, flat and high-contrast, small enough not\nto hide the plan under them:\n- CAMERA: one filled circle at the camera position, labelled CAM, and\n out of that circle a FIELD-OF-VIEW WEDGE showing what this shot\n sees — two straight thin lines, one running toward each of the two\n frame-edge positions given below, and a third thinner line to the\n look-target position between them. Fill the area between the two\n edge lines with a light translucent tint so the wedge reads as the\n camera's view; the plan underneath must stay fully readable through\n the tint. Every subject listed below stands inside this wedge —\n if your drawing leaves one outside it, the wedge is drawn wrong,\n not the subject.\n- SUBJECTS: one filled circle per subject at its position, labelled\n with its slot code (E1, E2, ...) followed by its short description\n in parentheses, and one short ARROW leaving that circle toward the\n spot the subject faces, so the direction each subject is turned is\n readable at a glance.\n\nChange NOTHING else: keep every zone, landmark, line, label and color\nof the plan exactly as attached — do not redraw, recolor, move or\nremove anything, do not add scenery, shadows or any other symbols or\ntext beyond the markers, wedge, arrows and labels specified above. The\noutput is the SAME plan image with only these staging markers added.\n\nMARKERS TO DRAW:\n- CAM (camera): circle On the national road directly opposite the gas-station vehicle approach. (coarse estimate x=0.50, y=0.87); its sight line ends at LOOK TARGET: On the open fueling forecourt immediately right of the roadside fuel pump. (coarse estimate x=0.58, y=0.59); the frame's LEFT edge cuts through On the left side of the fueling forecourt inward from the road-facing edge. (coarse estimate x=0.22, y=0.43) and its RIGHT edge through On the right side of the fueling forecourt inward from the road-facing edge. (coarse estimate x=0.78, y=0.43)\n- E1 (parked old-model sedan): circle In the open vehicle standing space just right of the roadside fuel pump. (coarse estimate x=0.64, y=0.60), facing On the fueling forecourt farther right of the roadside fuel pump. (coarse estimate x=0.76, y=0.60)", "geometry": { "camera": { "look_target": { "x": 0.58, "y": 0.59 }, "look_target_anchor_en": "On the open fueling forecourt immediately right of the roadside fuel pump.", "origin": { "x": 0.5, "y": 0.87 }, "origin_anchor_en": "On the national road directly opposite the gas-station vehicle approach.", "view_left": { "x": 0.22, "y": 0.43 }, "view_left_anchor_en": "On the left side of the fueling forecourt inward from the road-facing edge.", "view_right": { "x": 0.78, "y": 0.43 }, "view_right_anchor_en": "On the right side of the fueling forecourt inward from the road-facing edge." }, "entity_placements": [ { "anchor_en": "In the open vehicle standing space just right of the roadside fuel pump.", "camera_facing_evidence": "", "camera_facing_relation": "unspecified", "facing": { "x": 0.76, "y": 0.6 }, "facing_anchor_en": "On the fueling forecourt farther right of the roadside fuel pump.", "slot": "E1", "subject_en": "parked old-model sedan", "x": 0.64, "y": 0.6 } ], "rationale_ko": "구형 승용차를 주유기 오른쪽의 개방된 차량 공간에 가로 방향으로 배치했다. 카메라는 국도 쪽에서 여러 차 길이 떨어진 위치에 두고 차량과 주유기를 함께 향하게 했으며, 넓은 프레임 안에 두 요소와 주변 주유소 전경이 들어오도록 시야 쐐기를 설정했다." }, "geometry_attempts": 1, "leakage": { "has_marker_leakage": false, "details_ko": "도면 기호나 텍스트 누출이 없습니다." }, "prompt": "Draw a single CAMERA-VIEW storyboard frame (16:9) of the scene staged\non the attached MARKER-ANNOTATED TOP-DOWN SITE PLAN, seen from the\ncamera position marked on it.\n\nThe attached plan carries STAGING MARKERS drawn over it: a\ncamera-position marker with a field-of-view wedge (where the camera\nstands, which way it looks and how wide it sees) and one labelled\ncircle per subject with an arrow (where each subject stands and which\nway that subject is turned). Jurisdiction of sources — follow all three, they do not\nconflict:\n- The SITE PLAN under the markers is the SOT for what exists on the\n site and how its zones and landmarks are arranged relative to each\n other. The markers themselves are staging aids, NOT site content.\n- The markers on the plan are the SOT for XY POSITIONS, horizontal\n heading and body facing ONLY: where each subject stands on that\n plan, which way each one is turned, where the camera stands, which\n way it looks and how wide its wedge opens. Distances, directions\n and relative depths between subjects come from the marked\n positions; what the wedge covers is what this frame contains, and\n subjects outside the wedge are out of frame. The STAGING GEOMETRY\n text below restates the same staging with coarse normalized\n estimates — it never overrides the marked plan.\n- The CAMERA DIRECTION text below (when present) is the SOT for the\n VERTICAL angle, elevation, tilt and framing (eye-level, high angle,\n overhead crane, low angle, ...). If it asks for a high or overhead\n angle, draw that angle — the site plan being top-down does NOT mean\n the frame must be eye-level. It does NOT govern horizontal\n placement: which side of the frame a subject occupies and which way\n that subject is turned come from the marked plan and the staging\n text, even when that memo also mentions left, right, foreground or\n background.\n\nSTYLE — MANNEQUIN BLOCKING SKETCH: thin uniform dark outlines on plain\npaper, nothing else. Draw every person as a PLAIN ARTIST'S MANNEQUIN:\na featureless oval head with NO face, NO hair, NO clothing and no\ncostume detail — simple tapered limbs and torso, like a wooden posing\nfigure. Because the head has no face and no hair, the ONLY thing that\nshows which way a figure is turned is the BODY ITSELF: the direction\nthe chest, hips and feet point, and the way the head-oval sits on the\nshoulders. Aim each mannequin's chest and feet at the spot the staging\ntext says that person faces, and let the arms carry the action. A\nmannequin turned to the wrong side is the single worst error in this\ndrawing. Environment is reduced to a few placement lines (ground line,\nkey landmark silhouettes) — just enough to read positions and depth.\n\nSTAGING GEOMETRY — PLANNING DATA ONLY, NEVER RENDER IT: the lines\nbelow restate, marker by marker, the staging already marked on the\nattached plan: each landmark-relative description restates the\nmarker-map authority in words, and the normalized fractions in\nparentheses (x left→right 0..1, y top→bottom 0..1) are coarse audit\nestimates only — neither ever overrides the marked plan.\n\nThose fractions are TOP-DOWN bookkeeping. Never read them as left and\nright of your frame: on a plan seen from above, a subject \"to the\nright\" can sit on either side of a camera that looks any direction.\nEach subject line therefore ends with the SAME staging expressed from\nTHIS camera — which part of the frame the subject occupies, and which\nway that subject faces in screen terms (toward the left or right of\nthe frame, toward or away from the camera or side-on to it in\nprofile, and whom they are looking at). Those screen-space statements\nare what your drawing must match:\na figure said to face the right of the frame is turned to the right in\nyour drawing, never mirrored.\n\nDo NOT draw any of this data in the image — no numbers, no\ncoordinates, no labels, no arrows, no cones, no dots, no diagram\nsymbols of any kind.\n\nWhere the CAMERA DIRECTION text below also describes horizontal\nplacement (which side of the frame someone occupies, foreground left,\nbackground right), treat that as background reading only: for anything\nabout left, right and where a subject sits in this frame, the staging\nabove wins. CAMERA DIRECTION governs the vertical angle, elevation,\ntilt and framing.\n\nFor whether a subject faces the camera or is turned away from it, each\nsubject line above already states it in screen terms and the SHOT TEXT\nis the source it was derived from — draw exactly what the subject line\nsays, and never mirror it.\n- the camera stands On the national road directly opposite the gas-station vehicle approach. (coarse estimate x=0.50, y=0.87); its sight line ends at LOOK TARGET: On the open fueling forecourt immediately right of the roadside fuel pump. (coarse estimate x=0.58, y=0.59); the frame's LEFT edge cuts through On the left side of the fueling forecourt inward from the road-facing edge. (coarse estimate x=0.22, y=0.43) and its RIGHT edge through On the right side of the fueling forecourt inward from the road-facing edge. (coarse estimate x=0.78, y=0.43) — everything between those two edges is in frame, anything outside them is out of frame\n- parked old-model sedan stands In the open vehicle standing space just right of the roadside fuel pump. (coarse estimate x=0.64, y=0.60), facing On the fueling forecourt farther right of the roadside fuel pump. (coarse estimate x=0.76, y=0.60) — from this camera the subject is in the RIGHT part of the frame and faces toward the RIGHT of the frame and away from the camera, into the depth of the shot, so the camera sees this subject from behind\n\nCAMERA DIRECTION (vertical angle / elevation / framing SOT): From the roadside side at chest height and several car lengths away, the camera begins a measured dolly toward the old-model Avante parked beside the fuel pump. The vehicle sits across the middle of the wide frame with the pump offset beside it, leaving the roadside station context visible around both.\n\nTHE LOCATION: 국도변 주유소\n\nSHOT TEXT (authoritative, Korean): 밝은 대낮의 국도변 주유소 주유기 옆에 세워진 구형 아반테 차량의 외부 전경.\n\nNATURAL PERFORMANCE (default only — every explicit direction above\nwins): when no pose contract or shot-text direction says otherwise,\nsketched figures read as alive in mid-moment — believable weight\nshift, hands engaged, head-oval and chest turned toward the target the\nSHOT TEXT implies; avoid a stiff attention stance (feet together, arms\nhanging straight down) and a head-oval squared flat to the lens. If the\nSHOT TEXT or any POSE contract above stages stillness, death, sleep,\nunconsciousness, restraint, drill or an explicit direct-to-camera look,\ndraw THAT exactly — this clause never overrides it.\n\nCRITICAL — THE SITE PLAN IS A STAGING REFERENCE, NOT CONTENT: do NOT\ndraw the plan itself, and do NOT draw any diagram elements in the\nframe — no circles, dots, wedges, cones, arrows, callouts, codes or\nany other overlay symbols. The output is a clean storyboard drawing\nof the scene as seen by the camera only.\n\nNo text, no letters, no numbers, no captions anywhere in the image.", "lane_sketch_pack": "14.202607270344", "lane_geometry_pack": "4.202607270248", "mannequin_chain_contract": "1", "asset_id": "6181b3fe-f036-44fa-8673-03573fcd120b" }, "S43sh5": { "lane": "structure_plate", "group_id": "bg_forest_path_network", "segment_id": "seg_marker_grove", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_forest_path_network_sel.png", "seed_asset_id": "58a4c873-0b94-49b4-ad83-7174209aff1b", "seed_status": "ok", "bg_source": "seed", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_forest_path_network_sel.png", "bg_reason": "", "bypass_reason": "bg_only" }, "S43sh6": { "lane": "structure_plate", "group_id": 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"/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_forest_path_network_sel.png", "bg_reason": "", "conti_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/conti_S46sh2.png", "plate_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_forest_path_network_sel.png" }, "S53sh1": { "lane": "structure_plate", "group_id": "bg_mainland_harbor", "segment_id": "SEG_D", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_mainland_harbor_sel.png", "seed_asset_id": "a211d2e1-5029-4f1e-afab-471db46f09bb", "seed_status": "ok", "bg_source": "seed", "bg_path": 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"/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_police_patrol_boat_deck_sel.png", "bg_reason": "", "bypass_reason": "prev" }, "S66sh1": { "lane": "structure_plate", "group_id": "bg_wooden_restaurant_compound", "segment_id": "seg_rear_yard_shed_axis", "status": "ab_select_bypass", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_wooden_restaurant_compound_sel.png", "seed_asset_id": "a724fb27-abad-4d06-bbe9-79bbb37368ab", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L22B05.png", "bg_reason": "", "bypass_reason": "bg_only" }, "S68sh1": { "lane": "map_marker", "group_id": "bg_forest_ritual_clearing", "segment_id": "seg_open_ritual_clearing", "status": "ok", "image_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/lane_sketch_S68sh1.png", "base_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/canon_bg_forest_ritual_clearing_map.png", "base_map_asset_id": "a002a4dd-6c78-46ca-86bd-d3850a122302", "marker_map_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/d6a9aa85-b75e-400c-980c-4ee7e876a15b/conti/lane_marker_map_S68sh1.png", "marker_check": { "markers_ok": true, "details_ko": "정상" }, "marker_prompt": "Edit the attached TOP-DOWN SITE PLAN image: draw STAGING MARKERS on it\nat the positions described below. This is a planning aid for a film\ncrew, drawn over the plan.\n\nPLACEMENT AUTHORITY: each marker line below places its marker relative\nto a fixed feature, zone or boundary VISIBLE on the attached plan —\nthat landmark-relative description is the placement authority. The\nnormalized fractions in parentheses are coarse estimates of the same\nspot (x runs left→right 0..1, y runs top→bottom 0..1 of the full\ncanvas) — use them only to confirm the rough region; when in doubt,\nthe landmark description wins. Do NOT relocate a marker onto a\ndifferent salient line or feature than the one its description names.\n\nNEVER move a marker to make the drawing fit. The camera circle and\nevery subject circle go exactly where their descriptions place them,\neven when that leaves the view wedge or an arrow running off the edge\nof the image — in that case just let the wedge or arrow continue to\nthe image border and stop there. Shifting the camera outward, pulling\na subject aside, or shrinking the wedge to keep it inside the canvas\nall break the plan this map exists to record.\n\nDraw EXACTLY these markers, flat and high-contrast, small enough not\nto hide the plan under them:\n- CAMERA: one filled circle at the camera position, labelled CAM, and\n out of that circle a FIELD-OF-VIEW WEDGE showing what this shot\n sees — two straight thin lines, one running toward each of the two\n frame-edge positions given below, and a third thinner line to the\n look-target position between them. Fill the area between the two\n edge lines with a light translucent tint so the wedge reads as the\n camera's view; the plan underneath must stay fully readable through\n the tint. Every subject listed below stands inside this wedge —\n if your drawing leaves one outside it, the wedge is drawn wrong,\n not the subject.\n- SUBJECTS: one filled circle per subject at its position, labelled\n with its slot code (E1, E2, ...) followed by its short description\n in parentheses, and one short ARROW leaving that circle toward the\n spot the subject faces, so the direction each subject is turned is\n readable at a glance.\n\nChange NOTHING else: keep every zone, landmark, line, label and color\nof the plan exactly as attached — do not redraw, recolor, move or\nremove anything, do not add scenery, shadows or any other symbols or\ntext beyond the markers, wedge, arrows and labels specified above. The\noutput is the SAME plan image with only these staging markers added.\n\nMARKERS TO DRAW:\n- CAM (camera): circle On the southern open clearing ground between the upright rock and the forest perimeter. (coarse estimate x=0.50, y=0.85); its sight line ends at LOOK TARGET: At the center of the immense upright ritual rock. (coarse estimate x=0.50, y=0.50); the frame's LEFT edge cuts through On the northwestern open clearing ground just inside the forest perimeter. (coarse estimate x=0.18, y=0.31) and its RIGHT edge through On the northeastern open clearing ground just inside the forest perimeter. (coarse estimate x=0.82, y=0.31)\n- E1 (kneeling white-haired woman): circle On the open clearing ground just below the southern edge of the immense upright ritual rock. (coarse estimate x=0.50, y=0.68), facing At the lower central face of the immense upright ritual rock. (coarse estimate x=0.50, y=0.52)", "marker_attempts": 1, "geometry": { "camera": { "look_target": { "x": 0.5, "y": 0.5 }, "look_target_anchor_en": "At the center of the immense upright ritual rock.", "origin": { "x": 0.5, "y": 0.85 }, "origin_anchor_en": "On the southern open clearing ground between the upright rock and the forest perimeter.", "view_left": { "x": 0.18, "y": 0.31 }, "view_left_anchor_en": "On the northwestern open clearing ground just inside the forest perimeter.", "view_right": { "x": 0.82, "y": 0.31 }, "view_right_anchor_en": "On the northeastern open clearing ground just inside the forest perimeter." }, "entity_placements": [ { "anchor_en": "On the open clearing ground just below the southern edge of the immense upright ritual rock.", "camera_facing_evidence": "무릎을 꿇고 앉은 뒷모습", "camera_facing_relation": "away_from_camera", "facing": { "x": 0.5, "y": 0.52 }, "facing_anchor_en": "At the lower central face of the immense upright ritual rock.", "slot": "E1", "subject_en": "kneeling white-haired woman", "x": 0.5, "y": 0.68 } ], "rationale_ko": "흰 머리 여자를 거대한 바위의 남쪽 정면에 무릎 꿇린 뒤 바위를 향하게 했다. 카메라는 그녀보다 여러 걸음 남쪽에 두어 북쪽을 바라보게 함으로써 뒷모습과 바위를 중앙에 겹쳐 담는다. 넓은 좌우 시야는 바위 주변의 의식 공간과 원형 모닥불 배치를 포괄할 수 있도록 열린 공터 양측까지 확장했다." }, "leakage": { "has_marker_leakage": false, "details_ko": "다이어그램 기호나 평면도 요소가 없는 정상적인 투시 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: thin uniform dark outlines on plain\npaper, nothing else. Draw every person as a PLAIN ARTIST'S MANNEQUIN:\na featureless oval head with NO face, NO hair, NO clothing and no\ncostume detail — simple tapered limbs and torso, like a wooden posing\nfigure. Because the head has no face and no hair, the ONLY thing that\nshows which way a figure is turned is the BODY ITSELF: the direction\nthe chest, hips and feet point, and the way the head-oval sits on the\nshoulders. Aim each mannequin's chest and feet at the spot the staging\ntext says that person faces, and let the arms carry the action. A\nmannequin turned to the wrong side is the single worst error in this\ndrawing. Environment is reduced to a few placement lines (ground line,\nkey landmark silhouettes) — just enough to read positions and depth.\n\nSTAGING GEOMETRY — PLANNING DATA ONLY, NEVER RENDER IT: the lines\nbelow restate, marker by marker, the staging already marked on the\nattached plan: each landmark-relative description restates the\nmarker-map authority in words, and the normalized fractions in\nparentheses (x left→right 0..1, y top→bottom 0..1) are coarse audit\nestimates only — neither ever overrides the marked plan.\n\nThose fractions are TOP-DOWN bookkeeping. Never read them as left and\nright of your frame: on a plan seen from above, a subject \"to the\nright\" can sit on either side of a camera that looks any direction.\nEach subject line therefore ends with the SAME staging expressed from\nTHIS camera — which part of the frame the subject occupies, and which\nway that subject faces in screen terms (toward the left or right of\nthe frame, toward or away from the camera or side-on to it in\nprofile, and whom they are looking at). Those screen-space statements\nare what your drawing must match:\na figure said to face the right of the frame is turned to the right in\nyour drawing, never mirrored.\n\nDo NOT draw any of this data in the image — no numbers, no\ncoordinates, no labels, no arrows, no cones, no dots, no diagram\nsymbols of any kind.\n\nWhere the CAMERA DIRECTION text below also describes horizontal\nplacement (which side of the frame someone occupies, foreground left,\nbackground right), treat that as background reading only: for anything\nabout left, right and where a subject sits in this frame, the staging\nabove wins. CAMERA DIRECTION governs the vertical angle, elevation,\ntilt and framing.\n\nFor whether a subject faces the camera or is turned away from it, each\nsubject line above already states it in screen terms and the SHOT TEXT\nis the source it was derived from — draw exactly what the subject line\nsays, and never mirror it.\n- the camera stands On the southern open clearing ground between the upright rock and the forest perimeter. (coarse estimate x=0.50, y=0.85); its sight line ends at LOOK TARGET: At the center of the immense upright ritual rock. (coarse estimate x=0.50, y=0.50); the frame's LEFT edge cuts through On the northwestern open clearing ground just inside the forest perimeter. (coarse estimate x=0.18, y=0.31) and its RIGHT edge through On the northeastern open clearing ground just inside the forest perimeter. (coarse estimate x=0.82, y=0.31) — everything between those two edges is in frame, anything outside them is out of frame\n- kneeling white-haired woman stands On the open clearing ground just below the southern edge of the immense upright ritual rock. (coarse estimate x=0.50, y=0.68), facing At the lower central face of the immense upright ritual rock. (coarse estimate x=0.50, y=0.52) — 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\nCAMERA DIRECTION (vertical angle / elevation / framing SOT): From standing eye level several paces behind 강영란(흰 머리 여자), hold a centered wide tableau of her kneeling back, the large rock beyond, and the circular fires around the ritual area. Keep the distant witnesses small along the outer depth of the frame so the static geometry reads as a guarded ceremony rather than a crowd scene.\n\nTHE LOCATION: 숲속 만월제 도당\n\nSHOT TEXT (authoritative, Korean): 모닥불이 둥글게 타오르는 숲속 제단의 거대한 바위 앞에 강영란(흰 머리 여자)이 무릎을 꿇고 앉은 뒷모습.\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.", "reused": true, "lane_sketch_pack": "14.202607270344", "lane_geometry_pack": "4.202607270248", "mannequin_chain_contract": "1", "asset_id": "a2d138d1-57cd-468c-bc5e-47398e100879" }, "S70sh1": { "lane": "structure_plate", "group_id": "bg_natural_cave", "segment_id": "SEG_01", "status": "ab_select_ready", "seed_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/images/background_chain/seed_bg_natural_cave_sel.png", "seed_asset_id": "1f532b2a-43f8-4b45-9ba3-d29cefed617e", "seed_status": "ok", "bg_source": "plate", "bg_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/e716bafb-24bb-42b7-aea0-fdb383844ee8/episodes/d6a9aa85-b75e-400c-980c-4ee7e876a15b/images/background_chain/L26B03.png", "bg_reason": "", "conti_path": 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