{
  "status": "completed",
  "applicable_count": 90,
  "completed_count": 90,
  "failed_count": 0,
  "schema_version": 3,
  "config_hash": "787c440f826114ed",
  "data": {
    "groups": {
      "L07B01": {
        "status": "ok",
        "location_id": "L07",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L07B01.png",
        "t2i_prompt": "2069년 대한민국의 생활 흔적이 남은 이층 단독주택 외벽과 잔디 마당을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 미래에도 계속 사용되는 기존 주택의 현실적인 구조이며, 과장된 미래 장식이나 공중 정보창은 없다. 사람이 없는 주간의 외부 공간으로, 일층 거실의 열린 통유리창, 그 옆에서 몸을 완전히 숨길 수 있는 불투명한 외벽 모퉁이, 같은 외벽의 이층에 있는 열린 탈출용 창문을 한 화면에 담는다. 일층 통유리창은 알루미늄 창틀의 큰 미닫이 유리창으로, 유리짝이 옆으로 밀려 실제로 통과할 수 있는 개구부가 드러나 있다. 모퉁이 뒤로 짧은 측면 외벽이 이어져 거실 쪽 시선에서 가려지는 공간을 만든다. 이층 창문 아래에는 지붕이나 발코니 없이 잔디밭까지 이어지는 외벽과 빈 수직 공간이 분명하게 보인다. 이층 창턱, 일층 창 상단, 지면 사이의 실제 층고와 높이 차이를 유지하고, 창문 바로 아래와 모퉁이 옆 잔디밭은 물체를 받거나 이동할 수 있도록 비워 둔다.\n마당에서 건물을 비스듬히 바라보는 시점. 실제 디지털 일안 반사식 카메라 또는 미러리스 카메라의 35밀리미터급 렌즈를 사용하고, 카메라는 지면에서 약 1.6미터 높이에 둔다. 외벽에서 충분히 물러나 이층 창문부터 전경의 잔디까지 함께 담으며 시선만 약간 위로 향한다. 열린 거실창은 화면 왼쪽, 몸을 숨길 외벽 모퉁이는 오른쪽, 이층 창문은 상부에 두어 같은 건물의 연속된 외벽임을 명확히 한다. 내려다보는 시점이나 평면도, 건축 도면이 아니다.\n한국의 기존 단독주택에서 볼 수 있는 도장한 콘크리트 외벽, 창틀 가장자리의 실리콘 보수 자국, 창턱 아래의 옅은 빗물 얼룩, 금속 레일에 쌓인 먼지와 미세한 마모를 사실적으로 보여준다. 잔디는 살아 있는 녹색을 유지하되 길이와 밀도가 조금씩 다르고 외벽 기단 주변에는 흙이 부분적으로 드러난다. 유리에는 실제 하늘과 마당의 약한 반사가 생기고, 열린 부분 안쪽 거실은 실외보다 자연스럽게 어둡다. 낮의 자연광이 외벽과 잔디를 비추며 모퉁이 안쪽에는 물리적으로 타당한 그늘이 생긴다. 침입과 탈출 중인 상태는 열린 두 창문과 비어 있는 이동 공간으로만 드러내고, 근거 없는 파손이나 파편은 추가하지 않는다. 사람, 얼굴, 동물, 로봇, 시신, 혈흔은 전혀 없다. 실제 콘크리트와 금속, 유리, 흙과 잔디의 질감, 자연스러운 피사계 심도와 노출을 유지한다. 실제 장소 기록 사진과 구별되지 않는 촬영본이며, 인위적인 색 보정이나 효과, 광고용으로 지나치게 정돈된 표면, 삽화나 컴퓨터 생성 이미지, 건축 시각화 표현을 배제한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S5_Shot10",
            "guide_text": "공통 외벽 배경을 사용한다. 열린 거실 통유리창과 은폐 가능한 모퉁이를 식별할 수 있게 유지하고, 이층 창문에서 바로 아래 잔디밭까지의 수직 공간을 가리지 않는다. 후속 동작 배치를 위해 창 아래 전경을 비워 두며 사람, 로봇, 동물은 배경에 포함하지 않는다."
          },
          {
            "shot_id": "S5_Shot20",
            "guide_text": "같은 외벽의 창문 배치와 모퉁이 방향, 주간 조명과 재질을 그대로 이어 간다. 이층 탈출 창문과 지면의 높이 관계가 읽히도록 하고, 창 아래 잔디에서 모퉁이 옆으로 이어지는 이동 공간을 충분히 확보한다. 후속 탈출 동작을 위한 빈 배경으로 유지하며 개나 인물, 부상 흔적을 미리 그리지 않는다."
          }
        ],
        "shot_ids": [
          "S5_Shot10",
          "S5_Shot20"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {},
        "reference_decision": {
          "mode": "surface_role_direct_plate",
          "surface_role": "exterior_plate",
          "fp_id": "",
          "source_bg_ids": []
        },
        "effective_render_prompt": "2069년 대한민국의 생활 흔적이 남은 이층 단독주택 외벽과 잔디 마당을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 미래에도 계속 사용되는 기존 주택의 현실적인 구조이며, 과장된 미래 장식이나 공중 정보창은 없다. 사람이 없는 주간의 외부 공간으로, 일층 거실의 열린 통유리창, 그 옆에서 몸을 완전히 숨길 수 있는 불투명한 외벽 모퉁이, 같은 외벽의 이층에 있는 열린 탈출용 창문을 한 화면에 담는다. 일층 통유리창은 알루미늄 창틀의 큰 미닫이 유리창으로, 유리짝이 옆으로 밀려 실제로 통과할 수 있는 개구부가 드러나 있다. 모퉁이 뒤로 짧은 측면 외벽이 이어져 거실 쪽 시선에서 가려지는 공간을 만든다. 이층 창문 아래에는 지붕이나 발코니 없이 잔디밭까지 이어지는 외벽과 빈 수직 공간이 분명하게 보인다. 이층 창턱, 일층 창 상단, 지면 사이의 실제 층고와 높이 차이를 유지하고, 창문 바로 아래와 모퉁이 옆 잔디밭은 물체를 받거나 이동할 수 있도록 비워 둔다.\n마당에서 건물을 비스듬히 바라보는 시점. 실제 디지털 일안 반사식 카메라 또는 미러리스 카메라의 35밀리미터급 렌즈를 사용하고, 카메라는 지면에서 약 1.6미터 높이에 둔다. 외벽에서 충분히 물러나 이층 창문부터 전경의 잔디까지 함께 담으며 시선만 약간 위로 향한다. 열린 거실창은 화면 왼쪽, 몸을 숨길 외벽 모퉁이는 오른쪽, 이층 창문은 상부에 두어 같은 건물의 연속된 외벽임을 명확히 한다. 내려다보는 시점이나 평면도, 건축 도면이 아니다.\n한국의 기존 단독주택에서 볼 수 있는 도장한 콘크리트 외벽, 창틀 가장자리의 실리콘 보수 자국, 창턱 아래의 옅은 빗물 얼룩, 금속 레일에 쌓인 먼지와 미세한 마모를 사실적으로 보여준다. 잔디는 살아 있는 녹색을 유지하되 길이와 밀도가 조금씩 다르고 외벽 기단 주변에는 흙이 부분적으로 드러난다. 유리에는 실제 하늘과 마당의 약한 반사가 생기고, 열린 부분 안쪽 거실은 실외보다 자연스럽게 어둡다. 낮의 자연광이 외벽과 잔디를 비추며 모퉁이 안쪽에는 물리적으로 타당한 그늘이 생긴다. 침입과 탈출 중인 상태는 열린 두 창문과 비어 있는 이동 공간으로만 드러내고, 근거 없는 파손이나 파편은 추가하지 않는다. 사람, 얼굴, 동물, 로봇, 시신, 혈흔은 전혀 없다. 실제 콘크리트와 금속, 유리, 흙과 잔디의 질감, 자연스러운 피사계 심도와 노출을 유지한다. 실제 장소 기록 사진과 구별되지 않는 촬영본이며, 인위적인 색 보정이나 효과, 광고용으로 지나치게 정돈된 표면, 삽화나 컴퓨터 생성 이미지, 건축 시각화 표현을 배제한다. 16:9 가로 비율, 실제 카메라 촬영본\n\nOne attached image is a PHOTOREAL RENDER of this SAME place — the same physical location, possibly seen from a different angle or at a different moment. Treat it as the PLACE IDENTITY reference. Keep this render consistent with it: the same spatial layout and architecture, the same surface materials and colors, and the same permanently installed fixtures and furniture. Lettering visible in the reference is reproduced EXACTLY — same characters, same mark, same position; never invent different wording from render to render. Camera angle, framing, lighting, time of day and weather follow THIS prompt — do NOT copy the reference's composition or mood; only the place's physical identity carries over.",
        "shot_aware_plan_mode": "surface_role_direct_plate",
        "attached_reference_lineage": {
          "fp_id": "",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "same_loc_anchor:L07B02"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        },
        "same_loc_anchor_ref": {
          "anchor_bg_id": "L07B02",
          "loc_id": "L07"
        }
      },
      "L07B02": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L07",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L07B02.png",
        "t2i_prompt": "2069년 대한민국의 관리된 단독주택 정원을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 현실의 한국 주택 건축이 이어진 절제된 외관으로, 콘크리트 외벽과 금속 창틀, 실제 유리의 반사와 두께가 자연스럽게 보인다. 주간의 자연광이 잔디와 주택 외벽을 비추며, 창틀 아래와 건물 모서리에 물리적으로 타당한 그림자가 생긴다. 잔디 잎의 불균일한 길이와 녹색 차이, 외벽의 미세한 표면 요철과 일상적인 풍화, 금속 표면의 옅은 사용감을 담는다. 공간은 깨끗하고 정돈된 평온한 상태다.\n\n담장 안쪽 정원의 남서편에 서서 북동쪽 주택을 바라보는 시점이다. 지면에서 약 1.6미터 높이에 둔 35밀리미터 규격의 전면형 센서 미러리스 카메라와 28밀리미터 광각 렌즈로 촬영한다. 정원 중앙과 남쪽으로 이어지는 잔디가 화면 전경과 중경을 넓게 차지하고, 북쪽 주택의 정원 쪽 외벽과 남서쪽 모서리가 자연스러운 원근으로 보인다. 외벽 중앙에서 동쪽에 있는 2층 창문과 그 바로 아래 연속된 잔디 공간을 한 화면에 포함하여 높이와 거리의 관계를 명확하게 보여준다. 창문 아래 중경을 충분히 넓게 두고 전경과 좌우에도 개방된 잔디 공간을 확보한다. 외벽 서쪽의 지상층 개폐식 거실 유리창과 동쪽 출입문 및 문턱은 화면 가장자리에서 구별되도록 담는다. 정원의 서쪽·남쪽·동쪽 경계를 잇는 담장 중 동쪽 구간이 주택과 함께 공간의 둘러싸인 구조를 보여준다.\n\n실제 장소를 기록한 사진처럼 자연스러운 노출과 색, 광각 렌즈의 설득력 있는 원근, 자연스러운 피사계 심도를 유지한다. 과도한 보정이나 인위적인 표면 광택 없이 잔디에서 외벽까지 재료의 실제 질감을 읽을 수 있게 한다. 사람, 얼굴, 인체 형태의 형상은 반사면을 포함해 어디에도 표현하지 않는다. 위에서 내려다보는 구도나 평면도, 건축 도해가 아닌 지상 눈높이의 실제 현장 사진이다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S5_Shot24",
            "guide_text": "정원 남서편에서 북동쪽을 향하는 약 1.6미터 눈높이의 광각 구도를 사용한다. 2층 창문과 그 아래 잔디를 함께 보여주고, 중경의 중심 공간과 전경·좌우 여백을 넓게 확보한다. 주택 외벽을 배경의 기준면으로 유지하며 지상층 거실 유리창과 출입문은 가능한 범위에서 가장자리에 포함한다. 동쪽 담장으로 정원의 경계를 읽을 수 있게 하고, 배경 자체는 인물 없는 정돈된 주간 공간으로 유지한다."
          }
        ],
        "shot_ids": [
          "S5_Shot24"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Within the southwest portion of number 1, inside number 3, facing northeast across the clear landing location toward number 2 and number 7.",
          "camera_height": "Eye-level standing, approximately 1.6 m",
          "lens_hint": "28mm wide angle",
          "framing_notes": "Keep the lawn landing location prominent in the middle ground and include the upper window above it to establish their vertical relationship. Preserve open foreground and lateral space for several surrounding officers in downstream character staging. Include the ground-floor glazing and entrance toward the facade edges where framing permits, with the eastern perimeter wall providing enclosure. The floor-plan reference remains free of characters, weapons, and event marks."
        },
        "reference_decision": {
          "bg_id": "L07B02",
          "fp_id": "fp_luxury_house_yard",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L07B02 is the sole clean anchor candidate and is ready for S5_Shot24. Establish dwelling identity directly from base markers 1–7 without references. Camera unit 3, looking toward unit 2 through the listed aim cell [2, 5], provides withdrawn wide coverage across unit 1 toward the fixed structure, supporting the staged foreground, middle-distance, and far-side arrangement.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/floor_plan/fp_luxury_house_yard.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_reference_anchor",
            "why_single_ref_or_two_refs": "No reference is required for the initial dwelling-identity anchor; the same-fp reference catalog is empty.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 3,
            "camera_cell": [
              9,
              4
            ],
            "look_at_unit": 2,
            "look_at_cell": [
              2,
              5
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad, withdrawn coverage from unit 3 across unit 1 toward unit 2. Use the shot's committed elevated, obliquely downward endpoint as the static framing cue; preserve depth for the foreground, middle distance, and far side."
          },
          "render_guidance": {
            "visible_space_directive": "Establish unit 1 as the continuous foreground-to-middle-distance surface, with unit 2 beyond and unit 4 at its supplied position. Retain the visible portions of boundary marker 3. Reference openings 5, 6, and 7 at their supplied positions on unit 2, preserving marker 7's upper-floor status rather than interpreting its plan cell as ground-level height. The visibility lists are supersets: include only portions within the chosen forward wide view, without asserting visibility through openings.",
            "camera_framing_directive": "Use camera unit 3 at [9, 4], looking toward unit 2 at the exact candidate cell [2, 5], with a wide lens and 90-degree field of view. Maintain broad coverage and the staged elevated, obliquely downward endpoint. Leave sufficient continuous unit-1 surface to read the central full figure slightly left of center and the surrounding positions at multiple depths.",
            "subject_position_directive": "S5_Shot24 commits a central full figure slightly left of center on unit 1, straightened with locked shoulders and looking toward an officer beyond the near edge. Surrounding figures occupy foreground, middle distance, and far-side positions, aiming inward with varied footing, elbow height, shoulder rotation, and spacing. Preserve these placement cues relative to the camera; do not invent additional subjects or substitute repeated identical poses.",
            "state_cue_directive": "The dossier marks this BG clean_background_expected=true, uses base markers 1–7, and lists no transient markers. No committed background state cue beyond \"clean residential space\" applies; refrain from inventing additional cues. Retain the shot's daylight with restrained saturation. Treat the staged occupancy and inward-aiming action as shot-layer cues rather than permanent changes to the base space.",
            "negative_continuity_directive": "No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating markers 1–7, flattening marker 7 to ground level, introducing unlisted fixed elements, or depicting off-cone portions merely because they occur in visibility supersets. Do not infer opening adjacency or interior visibility from cell positions alone."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [9, 4]\n  - look_at_unit: 2\n  - look_at_cell: [2, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad, withdrawn coverage from unit 3 across unit 1 toward unit 2. Use the shot's committed elevated, obliquely downward endpoint as the static framing cue; preserve depth for the foreground, middle distance, and far side.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 1 as the continuous foreground-to-middle-distance surface, with unit 2 beyond and unit 4 at its supplied position. Retain the visible portions of boundary marker 3. Reference openings 5, 6, and 7 at their supplied positions on unit 2, preserving marker 7's upper-floor status rather than interpreting its plan cell as ground-level height. The visibility lists are supersets: include only portions within the chosen forward wide view, without asserting visibility through openings.\n  - camera_framing_directive: Use camera unit 3 at [9, 4], looking toward unit 2 at the exact candidate cell [2, 5], with a wide lens and 90-degree field of view. Maintain broad coverage and the staged elevated, obliquely downward endpoint. Leave sufficient continuous unit-1 surface to read the central full figure slightly left of center and the surrounding positions at multiple depths.\n  - subject_position_directive: S5_Shot24 commits a central full figure slightly left of center on unit 1, straightened with locked shoulders and looking toward an officer beyond the near edge. Surrounding figures occupy foreground, middle distance, and far-side positions, aiming inward with varied footing, elbow height, shoulder rotation, and spacing. Preserve these placement cues relative to the camera; do not invent additional subjects or substitute repeated identical poses.\n  - state_cue_directive: The dossier marks this BG clean_background_expected=true, uses base markers 1–7, and lists no transient markers. No committed background state cue beyond \"clean residential space\" applies; refrain from inventing additional cues. Retain the shot's daylight with restrained saturation. Treat the staged occupancy and inward-aiming action as shot-layer cues rather than permanent changes to the base space.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating markers 1–7, flattening marker 7 to ground level, introducing unlisted fixed elements, or depicting off-cone portions merely because they occur in visibility supersets. Do not infer opening adjacency or interior visibility from cell positions alone.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [9, 4]\n  - look_at_unit: 2\n  - look_at_cell: [2, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad, withdrawn coverage from unit 3 across unit 1 toward unit 2. Use the shot's committed elevated, obliquely downward endpoint as the static framing cue; preserve depth for the foreground, middle distance, and far side.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 1 as the continuous foreground-to-middle-distance surface, with unit 2 beyond and unit 4 at its supplied position. Retain the visible portions of boundary marker 3. Reference openings 5, 6, and 7 at their supplied positions on unit 2, preserving marker 7's upper-floor status rather than interpreting its plan cell as ground-level height. The visibility lists are supersets: include only portions within the chosen forward wide view, without asserting visibility through openings.\n  - camera_framing_directive: Use camera unit 3 at [9, 4], looking toward unit 2 at the exact candidate cell [2, 5], with a wide lens and 90-degree field of view. Maintain broad coverage and the staged elevated, obliquely downward endpoint. Leave sufficient continuous unit-1 surface to read the central full figure slightly left of center and the surrounding positions at multiple depths.\n  - subject_position_directive: S5_Shot24 commits a central full figure slightly left of center on unit 1, straightened with locked shoulders and looking toward an officer beyond the near edge. Surrounding figures occupy foreground, middle distance, and far-side positions, aiming inward with varied footing, elbow height, shoulder rotation, and spacing. Preserve these placement cues relative to the camera; do not invent additional subjects or substitute repeated identical poses.\n  - state_cue_directive: The dossier marks this BG clean_background_expected=true, uses base markers 1–7, and lists no transient markers. No committed background state cue beyond \"clean residential space\" applies; refrain from inventing additional cues. Retain the shot's daylight with restrained saturation. Treat the staged occupancy and inward-aiming action as shot-layer cues rather than permanent changes to the base space.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating markers 1–7, flattening marker 7 to ground level, introducing unlisted fixed elements, or depicting off-cone portions merely because they occur in visibility supersets. Do not infer opening adjacency or interior visibility from cell positions alone.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [9, 4]\n  - look_at_unit: 2\n  - look_at_cell: [2, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad, withdrawn coverage from unit 3 across unit 1 toward unit 2. Use the shot's committed elevated, obliquely downward endpoint as the static framing cue; preserve depth for the foreground, middle distance, and far side.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 1 as the continuous foreground-to-middle-distance surface, with unit 2 beyond and unit 4 at its supplied position. Retain the visible portions of boundary marker 3. Reference openings 5, 6, and 7 at their supplied positions on unit 2, preserving marker 7's upper-floor status rather than interpreting its plan cell as ground-level height. The visibility lists are supersets: include only portions within the chosen forward wide view, without asserting visibility through openings.\n  - camera_framing_directive: Use camera unit 3 at [9, 4], looking toward unit 2 at the exact candidate cell [2, 5], with a wide lens and 90-degree field of view. Maintain broad coverage and the staged elevated, obliquely downward endpoint. Leave sufficient continuous unit-1 surface to read the central full figure slightly left of center and the surrounding positions at multiple depths.\n  - subject_position_directive: S5_Shot24 commits a central full figure slightly left of center on unit 1, straightened with locked shoulders and looking toward an officer beyond the near edge. Surrounding figures occupy foreground, middle distance, and far-side positions, aiming inward with varied footing, elbow height, shoulder rotation, and spacing. Preserve these placement cues relative to the camera; do not invent additional subjects or substitute repeated identical poses.\n  - state_cue_directive: The dossier marks this BG clean_background_expected=true, uses base markers 1–7, and lists no transient markers. No committed background state cue beyond \"clean residential space\" applies; refrain from inventing additional cues. Retain the shot's daylight with restrained saturation. Treat the staged occupancy and inward-aiming action as shot-layer cues rather than permanent changes to the base space.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating markers 1–7, flattening marker 7 to ground level, introducing unlisted fixed elements, or depicting off-cone portions merely because they occur in visibility supersets. Do not infer opening adjacency or interior visibility from cell positions alone.\n\n2069년 대한민국의 관리된 단독주택 정원을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 현실의 한국 주택 건축이 이어진 절제된 외관으로, 콘크리트 외벽과 금속 창틀, 실제 유리의 반사와 두께가 자연스럽게 보인다. 주간의 자연광이 잔디와 주택 외벽을 비추며, 창틀 아래와 건물 모서리에 물리적으로 타당한 그림자가 생긴다. 잔디 잎의 불균일한 길이와 녹색 차이, 외벽의 미세한 표면 요철과 일상적인 풍화, 금속 표면의 옅은 사용감을 담는다. 공간은 깨끗하고 정돈된 평온한 상태다.\n\n담장 안쪽 정원의 남서편에 서서 북동쪽 주택을 바라보는 시점이다. 지면에서 약 1.6미터 높이에 둔 35밀리미터 규격의 전면형 센서 미러리스 카메라와 28밀리미터 광각 렌즈로 촬영한다. 정원 중앙과 남쪽으로 이어지는 잔디가 화면 전경과 중경을 넓게 차지하고, 북쪽 주택의 정원 쪽 외벽과 남서쪽 모서리가 자연스러운 원근으로 보인다. 외벽 중앙에서 동쪽에 있는 2층 창문과 그 바로 아래 연속된 잔디 공간을 한 화면에 포함하여 높이와 거리의 관계를 명확하게 보여준다. 창문 아래 중경을 충분히 넓게 두고 전경과 좌우에도 개방된 잔디 공간을 확보한다. 외벽 서쪽의 지상층 개폐식 거실 유리창과 동쪽 출입문 및 문턱은 화면 가장자리에서 구별되도록 담는다. 정원의 서쪽·남쪽·동쪽 경계를 잇는 담장 중 동쪽 구간이 주택과 함께 공간의 둘러싸인 구조를 보여준다.\n\n실제 장소를 기록한 사진처럼 자연스러운 노출과 색, 광각 렌즈의 설득력 있는 원근, 자연스러운 피사계 심도를 유지한다. 과도한 보정이나 인위적인 표면 광택 없이 잔디에서 외벽까지 재료의 실제 질감을 읽을 수 있게 한다. 사람, 얼굴, 인체 형태의 형상은 반사면을 포함해 어디에도 표현하지 않는다. 위에서 내려다보는 구도나 평면도, 건축 도해가 아닌 지상 눈높이의 실제 현장 사진이다. 16:9 가로 비율, 실제 카메라 촬영본",
        "camera_decision": {
          "camera_unit": 3,
          "camera_cell": [
            9,
            4
          ],
          "look_at_unit": 2,
          "look_at_cell": [
            2,
            5
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad, withdrawn coverage from unit 3 across unit 1 toward unit 2. Use the shot's committed elevated, obliquely downward endpoint as the static framing cue; preserve depth for the foreground, middle distance, and far side."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Establish unit 1 as the continuous foreground-to-middle-distance surface, with unit 2 beyond and unit 4 at its supplied position. Retain the visible portions of boundary marker 3. Reference openings 5, 6, and 7 at their supplied positions on unit 2, preserving marker 7's upper-floor status rather than interpreting its plan cell as ground-level height. The visibility lists are supersets: include only portions within the chosen forward wide view, without asserting visibility through openings.",
          "camera_framing_directive": "Use camera unit 3 at [9, 4], looking toward unit 2 at the exact candidate cell [2, 5], with a wide lens and 90-degree field of view. Maintain broad coverage and the staged elevated, obliquely downward endpoint. Leave sufficient continuous unit-1 surface to read the central full figure slightly left of center and the surrounding positions at multiple depths.",
          "subject_position_directive": "S5_Shot24 commits a central full figure slightly left of center on unit 1, straightened with locked shoulders and looking toward an officer beyond the near edge. Surrounding figures occupy foreground, middle distance, and far-side positions, aiming inward with varied footing, elbow height, shoulder rotation, and spacing. Preserve these placement cues relative to the camera; do not invent additional subjects or substitute repeated identical poses.",
          "state_cue_directive": "The dossier marks this BG clean_background_expected=true, uses base markers 1–7, and lists no transient markers. No committed background state cue beyond \"clean residential space\" applies; refrain from inventing additional cues. Retain the shot's daylight with restrained saturation. Treat the staged occupancy and inward-aiming action as shot-layer cues rather than permanent changes to the base space.",
          "negative_continuity_directive": "No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating markers 1–7, flattening marker 7 to ground level, introducing unlisted fixed elements, or depicting off-cone portions merely because they occur in visibility supersets. Do not infer opening adjacency or interior visibility from cell positions alone."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_luxury_house_yard",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_luxury_house_yard"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L11B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L11",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L11B01.png",
        "t2i_prompt": "2069년 대한민국의 자원 부족 지역에 있는 야외 폐자재 회수장을 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 오래된 생활 폐기물과 재사용하는 금속 자재가 쌓인 실제 현장으로, 미래라는 이유로 새 장비나 장식적인 첨단 설비를 더하지 않는다. 제공된 평면도는 공간의 위치 관계를 파악하는 용도로만 사용한다. 중앙 작업 공터의 남서쪽 가장자리에서 북동쪽 고철 더미를 바라보며, 지면에서 약 1.6미터 높이의 서 있는 사람 눈높이와 35밀리미터 광각 렌즈로 촬영한다. 내려다보는 시점이 아닌 수평에 가까운 현장 사진이다.\n\n전경에는 작업 공터가 펼쳐지고, 왼쪽부터 뒤편 북쪽에는 큰 쓰레기 산이 자리한다. 북동쪽 고철 더미 앞에는 비어 있는 공간을 확보한다. 화면 오른쪽의 통로는 공터에서 고철 더미의 동쪽을 돌아 부지 북동쪽 끝으로 이어지며, 그 흐름과 바닥이 알아볼 수 있게 보인다. 오른쪽 아래 가장자리에는 통로 옆 진입 바닥의 맨홀 입구가 자연스럽게 걸린다. 각 더미의 범위와 통로의 위치 관계는 배치 자료를 따른다.\n\n북동쪽 고철 더미의 남쪽 가장자리에는 일부 고철 조각이 공터 쪽으로 조금 밀려나 비스듬히 놓여 있다. 이 변화는 더미 바로 앞의 좁은 범위에만 한정하며 더미 전체의 윤곽을 바꾸거나 오른쪽 통로를 막지 않는다. 중앙 공터에는 임시 수리 작업을 위해 펼쳐 놓은 낡은 모포, 회수한 음악 재생기, 흩어 놓은 소규모 수리 도구와 부품이 있다. 모포는 바닥에 납작하게 놓여 있고, 장비와 부품은 고정된 가구가 아니라 잠시 벌여 놓은 작업물처럼 배치한다.\n\n낮의 자연광이 노출된 공터를 밝히고, 쌓인 고철 사이에는 실제 깊이에 맞는 그림자가 생긴다. 금속 표면의 녹과 산화 얼룩, 긁히고 벗겨진 도장, 눌린 모서리, 맨홀 둘레 바닥의 마모, 모포의 거친 직조와 때 탄 주름을 실제 재질 그대로 기록한다. 회색과 갈색 위주의 색은 재료 자체의 색으로 표현하며 인위적인 색 보정이나 과장된 광택을 넣지 않는다. 전경의 작업물과 뒤쪽 통로를 함께 식별할 수 있는 자연스러운 피사계 심도. 사람, 얼굴, 신체 형태의 형상 없이 빈 공간과 사물만 촬영한다. 정돈된 광고 사진이 아니라 생활의 마모가 남은 실제 장소 답사 사진이며, 삽화나 컴퓨터 생성 영상, 건축 시각화가 아니다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S6_Shot21",
            "guide_text": "공통 눈높이 구도를 사용한다. 전경의 작업 공터와 모포 위 수리 작업물, 앞쪽 고철 더미 가장자리의 빈 공간을 읽을 수 있게 두고 오른쪽 이탈 통로를 확보한다. 밀려난 고철은 더미 남쪽 가장자리에만 유지하며 수리 부품의 세부 배치는 장면에 맞게 조정할 수 있다. 배경에는 인물이나 신체 형태의 대상을 그리지 않는다."
          },
          {
            "shot_id": "S6_Shot30",
            "guide_text": "동일한 공터와 고철 더미, 오른쪽 통로의 위치 및 주간 채광을 유지한 빈 배경을 사용한다. 얼굴 대조 사진과 부정 판정 문구는 주관 시점의 별도 합성 요소이며, 배경의 실물 사진이나 표지 또는 공중 물체로 만들지 않는다. 공터의 수리 작업물과 국소적으로 밀려난 고철은 공통 배경의 연속성을 유지한다."
          },
          {
            "shot_id": "S6_Shot46",
            "guide_text": "공통 카메라 위치를 기준으로 오른쪽 통로가 고철 더미 동쪽을 돌아 북동쪽으로 이어지는 관계를 유지한다. 뒤이은 위쪽 공개 구도가 필요하면 같은 위치에서 상향 재구도하며, 별도의 공간 배치나 두 번째 카메라 위치를 만들지 않는다. 고철 더미의 범위와 국소적인 고철 이동 상태는 유지하고, 이동하는 대상은 배경에 포함하지 않는다."
          }
        ],
        "shot_ids": [
          "S6_Shot21",
          "S6_Shot30",
          "S6_Shot46"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_2",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "near the southwest edge of number 4 (salvage work clearing), facing northeast toward number 3 (scrap pile), with number 2 (main waste mound) on the left and number 5 (departure passage) on the right",
          "camera_height": "standing eye level, approximately 1.5–1.6 m",
          "lens_hint": "28–35mm wide angle",
          "framing_notes": "Use one shared background camera for all listed shots. Preserve the work clearing in the foreground, the encounter space ahead, and the departure passage on the right. Number 8 may sit at the lower-right edge; its underground ladder need not be visible. Apply numbers 11 and 12 only as scene-local foreground continuity, without changing pile footprints or blocking the departure route. Repair assembly details may vary by shot. Face comparison photographs and diagnostic text belong to subjective compositing, never to this background. The later upward reveal is a shot-level reframing, not a second floor-plan camera."
        },
        "reference_decision": {
          "bg_id": "L11B01",
          "fp_id": "fp_junkyard_access",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L11B01 is ready and is the sole supplied anchor candidate. Render it fresh without references; the catalog is empty. The candidate metadata explicitly permits this fallback despite clean_background_expected=false and transient markers 11 and 12. Camera unit 2 with a wide view toward the opening-8 side of unit 5 prioritizes units 3, 4 and 5. The consuming shots commit different observer and device viewpoints, so this single background establishes fixed spatial identity rather than claiming to reproduce all three shot cameras.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/floor_plan/fp_junkyard_access.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "No reference is selected because this is the first and only node and the same-fp catalog is empty.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 2,
            "camera_cell": [
              2,
              4
            ],
            "look_at_unit": 5,
            "look_at_cell": [
              6,
              8
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad coverage from unit 2 at [2, 4], aimed at opening 8 at [6, 8] beside unit 5, not at unit 5's marker center. Both coordinates are exact entries in the unit-2 candidate arrays. The advertised wide FOV is 90 degrees; no view-cone record describes this exact opening-directed coordinate pair. Treat visibility supersets as possibilities, not proof of complete visibility. This is a fixed background framing, not a replacement for the differing shot-specific viewpoints."
          },
          "render_guidance": {
            "visible_space_directive": "Establish the base-plan arrangement from unit 2 toward opening 8 beside unit 5, with units 3 and 4 providing intermediate spatial context within the broad view. Preserve unit 4 south of unit 2 and southwest of unit 3, and unit 5 around the east side of unit 3. Keep opening 8 at its supplied southeast position. Unit 1 supplies overall site identity but its southwest marker need not appear in this framing. Do not interpret the visibility supersets as a requirement to display every unit or opening.",
            "camera_framing_directive": "Use camera_unit 2, camera_cell [2, 4], look_at_unit 5 and look_at_cell [6, 8], with a wide lens and 90-degree FOV for broad spatial coverage toward opening 8 beside unit 5. Preserve readable ground and layered depth for the wide consuming shots. Camera height and motion are not specified by the geometry; do not combine the low observer view, elevated device view and lateral tracking view into one camera.",
            "subject_position_directive": "Keep subject placements shot-specific rather than combining them into this background. S6_Shot21 commits the rising full figure central-right and two seated figures separated in the lower-left foreground. S6_Shot30 commits only a recorded portrait near the center, approximately one third of the image, with indistinct live-view surroundings; this is not a physical subject in the space. S6_Shot46 commits three walking figures left, center and right in a loose depth diagonal with all feet included. Preserve usable composition space without inventing shared subject coordinates, additional subjects or simultaneous poses.",
            "state_cue_directive": "Carry only the committed transient state represented by marker 11, 'Locally displaced scrap', and marker 12, 'Loose salvage repair setup', where supported by their placement data; their precise cells are not supplied. clean_background_expected=false, so do not substitute an unqualified clean-state plate. S6_Shot21 commits a locally broken-through state around the emerging figure. Preserve restrained daytime exposure shared by the shots. Keep the blue eye accent, the red 'NEGATIVE' interface layer and the worn disguise shot-specific rather than permanent environmental features.",
            "negative_continuity_directive": "The ignore_numbered_elements and ignored_state_overlay_marker_numbers lists are empty; do not introduce additional exclusions. Avoid moving base markers 2, 3, 4, 5 or 8 to accommodate conflicting shot compositions. Do not promote transient markers 11 and 12 into fixed structure or invent their exact locations. Do not force unit 1's marker, unit 6, opening 7 or fixture 10 into an unsupported view. Do not infer opening-to-unit connections from the visibility supersets or bake shot-specific interface and subject layers into permanent background identity."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [2, 4]\n  - look_at_unit: 5\n  - look_at_cell: [6, 8]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad coverage from unit 2 at [2, 4], aimed at opening 8 at [6, 8] beside unit 5, not at unit 5's marker center. Both coordinates are exact entries in the unit-2 candidate arrays. The advertised wide FOV is 90 degrees; no view-cone record describes this exact opening-directed coordinate pair. Treat visibility supersets as possibilities, not proof of complete visibility. This is a fixed background framing, not a replacement for the differing shot-specific viewpoints.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish the base-plan arrangement from unit 2 toward opening 8 beside unit 5, with units 3 and 4 providing intermediate spatial context within the broad view. Preserve unit 4 south of unit 2 and southwest of unit 3, and unit 5 around the east side of unit 3. Keep opening 8 at its supplied southeast position. Unit 1 supplies overall site identity but its southwest marker need not appear in this framing. Do not interpret the visibility supersets as a requirement to display every unit or opening.\n  - camera_framing_directive: Use camera_unit 2, camera_cell [2, 4], look_at_unit 5 and look_at_cell [6, 8], with a wide lens and 90-degree FOV for broad spatial coverage toward opening 8 beside unit 5. Preserve readable ground and layered depth for the wide consuming shots. Camera height and motion are not specified by the geometry; do not combine the low observer view, elevated device view and lateral tracking view into one camera.\n  - subject_position_directive: Keep subject placements shot-specific rather than combining them into this background. S6_Shot21 commits the rising full figure central-right and two seated figures separated in the lower-left foreground. S6_Shot30 commits only a recorded portrait near the center, approximately one third of the image, with indistinct live-view surroundings; this is not a physical subject in the space. S6_Shot46 commits three walking figures left, center and right in a loose depth diagonal with all feet included. Preserve usable composition space without inventing shared subject coordinates, additional subjects or simultaneous poses.\n  - state_cue_directive: Carry only the committed transient state represented by marker 11, 'Locally displaced scrap', and marker 12, 'Loose salvage repair setup', where supported by their placement data; their precise cells are not supplied. clean_background_expected=false, so do not substitute an unqualified clean-state plate. S6_Shot21 commits a locally broken-through state around the emerging figure. Preserve restrained daytime exposure shared by the shots. Keep the blue eye accent, the red 'NEGATIVE' interface layer and the worn disguise shot-specific rather than permanent environmental features.\n  - negative_continuity_directive: The ignore_numbered_elements and ignored_state_overlay_marker_numbers lists are empty; do not introduce additional exclusions. Avoid moving base markers 2, 3, 4, 5 or 8 to accommodate conflicting shot compositions. Do not promote transient markers 11 and 12 into fixed structure or invent their exact locations. Do not force unit 1's marker, unit 6, opening 7 or fixture 10 into an unsupported view. Do not infer opening-to-unit connections from the visibility supersets or bake shot-specific interface and subject layers into permanent background identity.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [2, 4]\n  - look_at_unit: 5\n  - look_at_cell: [6, 8]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad coverage from unit 2 at [2, 4], aimed at opening 8 at [6, 8] beside unit 5, not at unit 5's marker center. Both coordinates are exact entries in the unit-2 candidate arrays. The advertised wide FOV is 90 degrees; no view-cone record describes this exact opening-directed coordinate pair. Treat visibility supersets as possibilities, not proof of complete visibility. This is a fixed background framing, not a replacement for the differing shot-specific viewpoints.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish the base-plan arrangement from unit 2 toward opening 8 beside unit 5, with units 3 and 4 providing intermediate spatial context within the broad view. Preserve unit 4 south of unit 2 and southwest of unit 3, and unit 5 around the east side of unit 3. Keep opening 8 at its supplied southeast position. Unit 1 supplies overall site identity but its southwest marker need not appear in this framing. Do not interpret the visibility supersets as a requirement to display every unit or opening.\n  - camera_framing_directive: Use camera_unit 2, camera_cell [2, 4], look_at_unit 5 and look_at_cell [6, 8], with a wide lens and 90-degree FOV for broad spatial coverage toward opening 8 beside unit 5. Preserve readable ground and layered depth for the wide consuming shots. Camera height and motion are not specified by the geometry; do not combine the low observer view, elevated device view and lateral tracking view into one camera.\n  - subject_position_directive: Keep subject placements shot-specific rather than combining them into this background. S6_Shot21 commits the rising full figure central-right and two seated figures separated in the lower-left foreground. S6_Shot30 commits only a recorded portrait near the center, approximately one third of the image, with indistinct live-view surroundings; this is not a physical subject in the space. S6_Shot46 commits three walking figures left, center and right in a loose depth diagonal with all feet included. Preserve usable composition space without inventing shared subject coordinates, additional subjects or simultaneous poses.\n  - state_cue_directive: Carry only the committed transient state represented by marker 11, 'Locally displaced scrap', and marker 12, 'Loose salvage repair setup', where supported by their placement data; their precise cells are not supplied. clean_background_expected=false, so do not substitute an unqualified clean-state plate. S6_Shot21 commits a locally broken-through state around the emerging figure. Preserve restrained daytime exposure shared by the shots. Keep the blue eye accent, the red 'NEGATIVE' interface layer and the worn disguise shot-specific rather than permanent environmental features.\n  - negative_continuity_directive: The ignore_numbered_elements and ignored_state_overlay_marker_numbers lists are empty; do not introduce additional exclusions. Avoid moving base markers 2, 3, 4, 5 or 8 to accommodate conflicting shot compositions. Do not promote transient markers 11 and 12 into fixed structure or invent their exact locations. Do not force unit 1's marker, unit 6, opening 7 or fixture 10 into an unsupported view. Do not infer opening-to-unit connections from the visibility supersets or bake shot-specific interface and subject layers into permanent background identity.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [2, 4]\n  - look_at_unit: 5\n  - look_at_cell: [6, 8]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad coverage from unit 2 at [2, 4], aimed at opening 8 at [6, 8] beside unit 5, not at unit 5's marker center. Both coordinates are exact entries in the unit-2 candidate arrays. The advertised wide FOV is 90 degrees; no view-cone record describes this exact opening-directed coordinate pair. Treat visibility supersets as possibilities, not proof of complete visibility. This is a fixed background framing, not a replacement for the differing shot-specific viewpoints.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish the base-plan arrangement from unit 2 toward opening 8 beside unit 5, with units 3 and 4 providing intermediate spatial context within the broad view. Preserve unit 4 south of unit 2 and southwest of unit 3, and unit 5 around the east side of unit 3. Keep opening 8 at its supplied southeast position. Unit 1 supplies overall site identity but its southwest marker need not appear in this framing. Do not interpret the visibility supersets as a requirement to display every unit or opening.\n  - camera_framing_directive: Use camera_unit 2, camera_cell [2, 4], look_at_unit 5 and look_at_cell [6, 8], with a wide lens and 90-degree FOV for broad spatial coverage toward opening 8 beside unit 5. Preserve readable ground and layered depth for the wide consuming shots. Camera height and motion are not specified by the geometry; do not combine the low observer view, elevated device view and lateral tracking view into one camera.\n  - subject_position_directive: Keep subject placements shot-specific rather than combining them into this background. S6_Shot21 commits the rising full figure central-right and two seated figures separated in the lower-left foreground. S6_Shot30 commits only a recorded portrait near the center, approximately one third of the image, with indistinct live-view surroundings; this is not a physical subject in the space. S6_Shot46 commits three walking figures left, center and right in a loose depth diagonal with all feet included. Preserve usable composition space without inventing shared subject coordinates, additional subjects or simultaneous poses.\n  - state_cue_directive: Carry only the committed transient state represented by marker 11, 'Locally displaced scrap', and marker 12, 'Loose salvage repair setup', where supported by their placement data; their precise cells are not supplied. clean_background_expected=false, so do not substitute an unqualified clean-state plate. S6_Shot21 commits a locally broken-through state around the emerging figure. Preserve restrained daytime exposure shared by the shots. Keep the blue eye accent, the red 'NEGATIVE' interface layer and the worn disguise shot-specific rather than permanent environmental features.\n  - negative_continuity_directive: The ignore_numbered_elements and ignored_state_overlay_marker_numbers lists are empty; do not introduce additional exclusions. Avoid moving base markers 2, 3, 4, 5 or 8 to accommodate conflicting shot compositions. Do not promote transient markers 11 and 12 into fixed structure or invent their exact locations. Do not force unit 1's marker, unit 6, opening 7 or fixture 10 into an unsupported view. Do not infer opening-to-unit connections from the visibility supersets or bake shot-specific interface and subject layers into permanent background identity.\n\n2069년 대한민국의 자원 부족 지역에 있는 야외 폐자재 회수장을 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 오래된 생활 폐기물과 재사용하는 금속 자재가 쌓인 실제 현장으로, 미래라는 이유로 새 장비나 장식적인 첨단 설비를 더하지 않는다. 제공된 평면도는 공간의 위치 관계를 파악하는 용도로만 사용한다. 중앙 작업 공터의 남서쪽 가장자리에서 북동쪽 고철 더미를 바라보며, 지면에서 약 1.6미터 높이의 서 있는 사람 눈높이와 35밀리미터 광각 렌즈로 촬영한다. 내려다보는 시점이 아닌 수평에 가까운 현장 사진이다.\n\n전경에는 작업 공터가 펼쳐지고, 왼쪽부터 뒤편 북쪽에는 큰 쓰레기 산이 자리한다. 북동쪽 고철 더미 앞에는 비어 있는 공간을 확보한다. 화면 오른쪽의 통로는 공터에서 고철 더미의 동쪽을 돌아 부지 북동쪽 끝으로 이어지며, 그 흐름과 바닥이 알아볼 수 있게 보인다. 오른쪽 아래 가장자리에는 통로 옆 진입 바닥의 맨홀 입구가 자연스럽게 걸린다. 각 더미의 범위와 통로의 위치 관계는 배치 자료를 따른다.\n\n북동쪽 고철 더미의 남쪽 가장자리에는 일부 고철 조각이 공터 쪽으로 조금 밀려나 비스듬히 놓여 있다. 이 변화는 더미 바로 앞의 좁은 범위에만 한정하며 더미 전체의 윤곽을 바꾸거나 오른쪽 통로를 막지 않는다. 중앙 공터에는 임시 수리 작업을 위해 펼쳐 놓은 낡은 모포, 회수한 음악 재생기, 흩어 놓은 소규모 수리 도구와 부품이 있다. 모포는 바닥에 납작하게 놓여 있고, 장비와 부품은 고정된 가구가 아니라 잠시 벌여 놓은 작업물처럼 배치한다.\n\n낮의 자연광이 노출된 공터를 밝히고, 쌓인 고철 사이에는 실제 깊이에 맞는 그림자가 생긴다. 금속 표면의 녹과 산화 얼룩, 긁히고 벗겨진 도장, 눌린 모서리, 맨홀 둘레 바닥의 마모, 모포의 거친 직조와 때 탄 주름을 실제 재질 그대로 기록한다. 회색과 갈색 위주의 색은 재료 자체의 색으로 표현하며 인위적인 색 보정이나 과장된 광택을 넣지 않는다. 전경의 작업물과 뒤쪽 통로를 함께 식별할 수 있는 자연스러운 피사계 심도. 사람, 얼굴, 신체 형태의 형상 없이 빈 공간과 사물만 촬영한다. 정돈된 광고 사진이 아니라 생활의 마모가 남은 실제 장소 답사 사진이며, 삽화나 컴퓨터 생성 영상, 건축 시각화가 아니다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThe LAST attached image is a TOP-DOWN INTERIOR FLOOR PLAN of the building at this location — a STRUCTURAL REFERENCE ONLY, never content to draw. It defines the building's real scale: its footprint, room count, and the placement of its doors and windows. Render the scene so the building's exterior size, number of storeys, and the scale and placement of its doors and windows stay consistent with that plan. Do NOT draw the floor plan itself, its lines, text or numbers anywhere in the image.",
        "camera_decision": {
          "camera_unit": 2,
          "camera_cell": [
            2,
            4
          ],
          "look_at_unit": 5,
          "look_at_cell": [
            6,
            8
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad coverage from unit 2 at [2, 4], aimed at opening 8 at [6, 8] beside unit 5, not at unit 5's marker center. Both coordinates are exact entries in the unit-2 candidate arrays. The advertised wide FOV is 90 degrees; no view-cone record describes this exact opening-directed coordinate pair. Treat visibility supersets as possibilities, not proof of complete visibility. This is a fixed background framing, not a replacement for the differing shot-specific viewpoints."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Establish the base-plan arrangement from unit 2 toward opening 8 beside unit 5, with units 3 and 4 providing intermediate spatial context within the broad view. Preserve unit 4 south of unit 2 and southwest of unit 3, and unit 5 around the east side of unit 3. Keep opening 8 at its supplied southeast position. Unit 1 supplies overall site identity but its southwest marker need not appear in this framing. Do not interpret the visibility supersets as a requirement to display every unit or opening.",
          "camera_framing_directive": "Use camera_unit 2, camera_cell [2, 4], look_at_unit 5 and look_at_cell [6, 8], with a wide lens and 90-degree FOV for broad spatial coverage toward opening 8 beside unit 5. Preserve readable ground and layered depth for the wide consuming shots. Camera height and motion are not specified by the geometry; do not combine the low observer view, elevated device view and lateral tracking view into one camera.",
          "subject_position_directive": "Keep subject placements shot-specific rather than combining them into this background. S6_Shot21 commits the rising full figure central-right and two seated figures separated in the lower-left foreground. S6_Shot30 commits only a recorded portrait near the center, approximately one third of the image, with indistinct live-view surroundings; this is not a physical subject in the space. S6_Shot46 commits three walking figures left, center and right in a loose depth diagonal with all feet included. Preserve usable composition space without inventing shared subject coordinates, additional subjects or simultaneous poses.",
          "state_cue_directive": "Carry only the committed transient state represented by marker 11, 'Locally displaced scrap', and marker 12, 'Loose salvage repair setup', where supported by their placement data; their precise cells are not supplied. clean_background_expected=false, so do not substitute an unqualified clean-state plate. S6_Shot21 commits a locally broken-through state around the emerging figure. Preserve restrained daytime exposure shared by the shots. Keep the blue eye accent, the red 'NEGATIVE' interface layer and the worn disguise shot-specific rather than permanent environmental features.",
          "negative_continuity_directive": "The ignore_numbered_elements and ignored_state_overlay_marker_numbers lists are empty; do not introduce additional exclusions. Avoid moving base markers 2, 3, 4, 5 or 8 to accommodate conflicting shot compositions. Do not promote transient markers 11 and 12 into fixed structure or invent their exact locations. Do not force unit 1's marker, unit 6, opening 7 or fixture 10 into an unsupported view. Do not infer opening-to-unit connections from the visibility supersets or bake shot-specific interface and subject layers into permanent background identity."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_junkyard_access",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_junkyard_access",
            "building_fp:fp_sewer_and_crosscut_inset"
          ],
          "ref_used": "refs_2",
          "db_write_policy": "checkpoint_only"
        },
        "building_fp_ref": {
          "fp_id": "fp_sewer_and_crosscut_inset",
          "indoor_loc_sid": "L32",
          "group_id": "bg_junkyard_sewer_access",
          "fp_asset_id": "1435773a-2ab8-4f38-96c0-de661c57987a"
        }
      },
      "L32B02": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L32",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L32B02.png",
        "t2i_prompt": "2069년 대한민국의 피로연장 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 실내 공간만 담는다. 참고 평면에서 다른 도형과 떨어져 있는 우측 상단 피로연장 영역만 공간 배치의 근거로 사용하며, 실내에 서서 바라보는 하나의 사진으로 촬영한다. 실내 가장자리에서 방의 열린 중앙을 향해 북쪽을 바라보는 시점, 바닥에서 약 1.6미터 높이. 실제 풀프레임 미러리스 카메라의 35밀리미터급 렌즈로 촬영하고, 65밀리미터 준망원에 가까운 좁은 시야로 잘라낸 구도다. 가까운 전경에는 충분한 빈 여백을 두고, 방 중앙과 뒤쪽 벽면은 자연스러운 초점 심도로 부드럽게 흐려지되 공간의 깊이는 읽히게 한다.\n한국의 생활형 연회 실내가 오랜 기간 사용되어 온 현실적인 분위기이며, 미래라는 이유로 새로운 장비나 장식물을 추가하지 않는다. 벽과 천장의 무광 마감, 바닥 표면의 실제 미세한 질감과 은은한 반사 차이를 표현한다. 밤의 실내 조명이 벽과 천장에 반사되어 공간을 밝히며, 중성에 가까운 주변광과 약한 따뜻한 반사광이 자연스럽게 섞인다. 밝은 면의 세부와 어두운 면의 재질이 함께 남는 실제 촬영 노출을 유지한다. 공간은 정돈되어 있고 평온한 상태다. 인물, 얼굴, 신체 일부, 사람 모양의 형상은 전혀 묘사하지 않는다. 실제 장소 기록 사진과 구별되지 않는 재질과 광학적 깊이로 표현하고, 과도한 보정이나 광고 사진 같은 인위적인 광택은 사용하지 않는다. 삽화나 컴퓨터 생성 이미지, 건축 조감도 또는 평면도가 아닌 눈높이 실내 사진이다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S26_Shot5",
            "guide_text": "피로연장 가장자리의 약 1.6미터 눈높이에서 중앙을 바라본다. 가까운 전경을 비워 두고, 중경과 뒤쪽 벽면은 자연스럽게 초점 밖으로 흐려지는 실내 배경으로 유지한다. 사람이나 신체 일부를 배경에 넣지 않으며, 밤의 실내 반사광과 빈 공간의 깊이만 담는다."
          },
          {
            "shot_id": "S26_Shot8",
            "guide_text": "앞선 교차 장면과 동일한 실내 카메라 위치, 방향, 눈높이와 화각을 유지한다. 전경의 빈 여백과 부드럽게 흐려진 방 중앙을 그대로 사용하고, 벽과 바닥의 재질 및 밤 조명의 밝기를 일치시킨다. 인물 형상이나 새로운 사건성 물체를 추가하지 않는다."
          }
        ],
        "shot_ids": [
          "S26_Shot5",
          "S26_Shot8"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "Inside number 11 (reception room), near number 12 (reception entrance), facing north toward the open center of number 11.",
          "camera_height": "eye-level standing, approximately 1.6 m",
          "lens_hint": "65mm moderate telephoto",
          "framing_notes": "Use the same interior camera for both cross-cuts. Reserve the near foreground for the confrontation and the middle of the room for the threatened guest group, softly out of focus. People and weapons belong to shot staging, not the floor-plan layer. Exclude all sewer geometry; the entrance is behind the camera."
        },
        "reference_decision": {
          "bg_id": "L32B02",
          "fp_id": "fp_sewer_and_crosscut_inset",
          "node_index": 1,
          "mode": "related_style_new_space",
          "is_dwelling_identity_anchor": false,
          "rationale": "S26_Shot5 and S26_Shot8 target only unit 11, which the dossier explicitly separates from the connected geometry established by L32B03. L32B03 therefore supplies identity-level style continuity only, not a layout lock for unit 11. A normal view within unit 11 toward its opening-marker-12 side supplies neutral background coverage for both close consuming shots. There is no same-space or framing overlap warranting low-delta reuse.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L32B03.png"
          ],
          "source_bg_ids": [
            "L32B03"
          ],
          "fp_included": false,
          "reference_decision": {
            "selected_refs": [
              {
                "ref_bg_id": "L32B03",
                "physical_space_id": "space_units_4_5_6_7",
                "space_description": "Connected base structure identified by units 4, 5, 6, and 7."
              }
            ],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "single_style_reference_distinct_space",
            "why_single_ref_or_two_refs": "One same-fp reference suffices for shared identity-level style. Unit 11 is a detached space, and neither consuming shot commits co-visibility with the reference's units; a second spatial reference is unwarranted.",
            "physical_space_id_per_ref": [
              "space_units_4_5_6_7"
            ],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 11,
            "camera_cell": [
              1,
              8
            ],
            "look_at_unit": 11,
            "look_at_cell": [
              3,
              8
            ],
            "lens_enum": "normal",
            "fov_deg": 50,
            "framing_notes": "Neutral coverage contained within unit 11, aimed toward its opening-marker-12 side. The background supports the two committed close crops; their different subject-height cues do not establish additional grid coordinates or authorize an invented camera trajectory."
          },
          "render_guidance": {
            "visible_space_directive": "Confine the visible background to unit 11, using base marker 11 as the required identity. The look-at cell [3, 8] corresponds to opening marker 12 on its boundary; this aim does not imply visibility into any other unit. Carry only supported shared style from L32B03, while composing unit 11 according to its own detached base-plan structure.",
            "camera_framing_directive": "Use camera unit 11 at [1, 8], looking within unit 11 toward [3, 8], with a normal lens and 50-degree field of view. Maintain neutral coverage suitable for the close consuming crops and a softly resolved lower background in S26_Shot5. Treat the shot-specific height and crop descriptions as staging context, not an instruction to invent additional geometry or camera operations.",
            "subject_position_directive": "For S26_Shot5, reserve lower-left center for the kneeling, recoiling subject, with the other subject's gripping hand entering from upper right and that subject's face outside the crop. For S26_Shot8, reserve left-of-center space for the staged three-quarter face and open space to the right for its off-screen gaze. These are separate consuming-shot arrangements, not a combined tableau; keep the off-screen subject outside the frame.",
            "state_cue_directive": "No committed state cue beyond \"clean residential space\" applies to the background: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Use marker 11 and retain the supplied nighttime illumination with restrained contrast. The kneeling, gripping, redirected gaze, and slight smile are consuming-shot subject states, not persistent changes to the space.",
            "negative_continuity_directive": "Exclude ignored markers 1, 2, 3, 4, 5, 6, 7, 8, 9, and 10. Do not copy L32B03's layout into unit 11 or imply an opening connecting unit 11 to its reference space. Do not expose other units merely because they occur in visibility supersets. No state-overlay markers are specified; introduce none."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows a related part of the same dwelling, not the current room. Inherit the overall material and lighting identity only; the new space is its own architectural room and must read as the same home.\n\nREFERENCE PLAN: mode='related_style_new_space'\n  - selected_refs[0]: ref_bg_id='L32B03' physical_space_id='space_units_4_5_6_7'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 11\n  - camera_cell: [1, 8]\n  - look_at_unit: 11\n  - look_at_cell: [3, 8]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral coverage contained within unit 11, aimed toward its opening-marker-12 side. The background supports the two committed close crops; their different subject-height cues do not establish additional grid coordinates or authorize an invented camera trajectory.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Confine the visible background to unit 11, using base marker 11 as the required identity. The look-at cell [3, 8] corresponds to opening marker 12 on its boundary; this aim does not imply visibility into any other unit. Carry only supported shared style from L32B03, while composing unit 11 according to its own detached base-plan structure.\n  - camera_framing_directive: Use camera unit 11 at [1, 8], looking within unit 11 toward [3, 8], with a normal lens and 50-degree field of view. Maintain neutral coverage suitable for the close consuming crops and a softly resolved lower background in S26_Shot5. Treat the shot-specific height and crop descriptions as staging context, not an instruction to invent additional geometry or camera operations.\n  - subject_position_directive: For S26_Shot5, reserve lower-left center for the kneeling, recoiling subject, with the other subject's gripping hand entering from upper right and that subject's face outside the crop. For S26_Shot8, reserve left-of-center space for the staged three-quarter face and open space to the right for its off-screen gaze. These are separate consuming-shot arrangements, not a combined tableau; keep the off-screen subject outside the frame.\n  - state_cue_directive: No committed state cue beyond \"clean residential space\" applies to the background: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Use marker 11 and retain the supplied nighttime illumination with restrained contrast. The kneeling, gripping, redirected gaze, and slight smile are consuming-shot subject states, not persistent changes to the space.\n  - negative_continuity_directive: Exclude ignored markers 1, 2, 3, 4, 5, 6, 7, 8, 9, and 10. Do not copy L32B03's layout into unit 11 or imply an opening connecting unit 11 to its reference space. Do not expose other units merely because they occur in visibility supersets. No state-overlay markers are specified; introduce none.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows a related part of the same dwelling, not the current room. Inherit the overall material and lighting identity only; the new space is its own architectural room and must read as the same home.\n\nREFERENCE PLAN: mode='related_style_new_space'\n  - selected_refs[0]: ref_bg_id='L32B03' physical_space_id='space_units_4_5_6_7'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 11\n  - camera_cell: [1, 8]\n  - look_at_unit: 11\n  - look_at_cell: [3, 8]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral coverage contained within unit 11, aimed toward its opening-marker-12 side. The background supports the two committed close crops; their different subject-height cues do not establish additional grid coordinates or authorize an invented camera trajectory.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Confine the visible background to unit 11, using base marker 11 as the required identity. The look-at cell [3, 8] corresponds to opening marker 12 on its boundary; this aim does not imply visibility into any other unit. Carry only supported shared style from L32B03, while composing unit 11 according to its own detached base-plan structure.\n  - camera_framing_directive: Use camera unit 11 at [1, 8], looking within unit 11 toward [3, 8], with a normal lens and 50-degree field of view. Maintain neutral coverage suitable for the close consuming crops and a softly resolved lower background in S26_Shot5. Treat the shot-specific height and crop descriptions as staging context, not an instruction to invent additional geometry or camera operations.\n  - subject_position_directive: For S26_Shot5, reserve lower-left center for the kneeling, recoiling subject, with the other subject's gripping hand entering from upper right and that subject's face outside the crop. For S26_Shot8, reserve left-of-center space for the staged three-quarter face and open space to the right for its off-screen gaze. These are separate consuming-shot arrangements, not a combined tableau; keep the off-screen subject outside the frame.\n  - state_cue_directive: No committed state cue beyond \"clean residential space\" applies to the background: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Use marker 11 and retain the supplied nighttime illumination with restrained contrast. The kneeling, gripping, redirected gaze, and slight smile are consuming-shot subject states, not persistent changes to the space.\n  - negative_continuity_directive: Exclude ignored markers 1, 2, 3, 4, 5, 6, 7, 8, 9, and 10. Do not copy L32B03's layout into unit 11 or imply an opening connecting unit 11 to its reference space. Do not expose other units merely because they occur in visibility supersets. No state-overlay markers are specified; introduce none.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows a related part of the same dwelling, not the current room. Inherit the overall material and lighting identity only; the new space is its own architectural room and must read as the same home.\n\nREFERENCE PLAN: mode='related_style_new_space'\n  - selected_refs[0]: ref_bg_id='L32B03' physical_space_id='space_units_4_5_6_7'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 11\n  - camera_cell: [1, 8]\n  - look_at_unit: 11\n  - look_at_cell: [3, 8]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral coverage contained within unit 11, aimed toward its opening-marker-12 side. The background supports the two committed close crops; their different subject-height cues do not establish additional grid coordinates or authorize an invented camera trajectory.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Confine the visible background to unit 11, using base marker 11 as the required identity. The look-at cell [3, 8] corresponds to opening marker 12 on its boundary; this aim does not imply visibility into any other unit. Carry only supported shared style from L32B03, while composing unit 11 according to its own detached base-plan structure.\n  - camera_framing_directive: Use camera unit 11 at [1, 8], looking within unit 11 toward [3, 8], with a normal lens and 50-degree field of view. Maintain neutral coverage suitable for the close consuming crops and a softly resolved lower background in S26_Shot5. Treat the shot-specific height and crop descriptions as staging context, not an instruction to invent additional geometry or camera operations.\n  - subject_position_directive: For S26_Shot5, reserve lower-left center for the kneeling, recoiling subject, with the other subject's gripping hand entering from upper right and that subject's face outside the crop. For S26_Shot8, reserve left-of-center space for the staged three-quarter face and open space to the right for its off-screen gaze. These are separate consuming-shot arrangements, not a combined tableau; keep the off-screen subject outside the frame.\n  - state_cue_directive: No committed state cue beyond \"clean residential space\" applies to the background: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Use marker 11 and retain the supplied nighttime illumination with restrained contrast. The kneeling, gripping, redirected gaze, and slight smile are consuming-shot subject states, not persistent changes to the space.\n  - negative_continuity_directive: Exclude ignored markers 1, 2, 3, 4, 5, 6, 7, 8, 9, and 10. Do not copy L32B03's layout into unit 11 or imply an opening connecting unit 11 to its reference space. Do not expose other units merely because they occur in visibility supersets. No state-overlay markers are specified; introduce none.\n\n2069년 대한민국의 피로연장 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 실내 공간만 담는다. 참고 평면에서 다른 도형과 떨어져 있는 우측 상단 피로연장 영역만 공간 배치의 근거로 사용하며, 실내에 서서 바라보는 하나의 사진으로 촬영한다. 실내 가장자리에서 방의 열린 중앙을 향해 북쪽을 바라보는 시점, 바닥에서 약 1.6미터 높이. 실제 풀프레임 미러리스 카메라의 35밀리미터급 렌즈로 촬영하고, 65밀리미터 준망원에 가까운 좁은 시야로 잘라낸 구도다. 가까운 전경에는 충분한 빈 여백을 두고, 방 중앙과 뒤쪽 벽면은 자연스러운 초점 심도로 부드럽게 흐려지되 공간의 깊이는 읽히게 한다.\n한국의 생활형 연회 실내가 오랜 기간 사용되어 온 현실적인 분위기이며, 미래라는 이유로 새로운 장비나 장식물을 추가하지 않는다. 벽과 천장의 무광 마감, 바닥 표면의 실제 미세한 질감과 은은한 반사 차이를 표현한다. 밤의 실내 조명이 벽과 천장에 반사되어 공간을 밝히며, 중성에 가까운 주변광과 약한 따뜻한 반사광이 자연스럽게 섞인다. 밝은 면의 세부와 어두운 면의 재질이 함께 남는 실제 촬영 노출을 유지한다. 공간은 정돈되어 있고 평온한 상태다. 인물, 얼굴, 신체 일부, 사람 모양의 형상은 전혀 묘사하지 않는다. 실제 장소 기록 사진과 구별되지 않는 재질과 광학적 깊이로 표현하고, 과도한 보정이나 광고 사진 같은 인위적인 광택은 사용하지 않는다. 삽화나 컴퓨터 생성 이미지, 건축 조감도 또는 평면도가 아닌 눈높이 실내 사진이다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 11,
          "camera_cell": [
            1,
            8
          ],
          "look_at_unit": 11,
          "look_at_cell": [
            3,
            8
          ],
          "lens_enum": "normal",
          "fov_deg": 50,
          "framing_notes": "Neutral coverage contained within unit 11, aimed toward its opening-marker-12 side. The background supports the two committed close crops; their different subject-height cues do not establish additional grid coordinates or authorize an invented camera trajectory."
        },
        "shot_aware_plan_node_index": 1,
        "shot_aware_plan_mode": "related_style_new_space",
        "render_guidance": {
          "visible_space_directive": "Confine the visible background to unit 11, using base marker 11 as the required identity. The look-at cell [3, 8] corresponds to opening marker 12 on its boundary; this aim does not imply visibility into any other unit. Carry only supported shared style from L32B03, while composing unit 11 according to its own detached base-plan structure.",
          "camera_framing_directive": "Use camera unit 11 at [1, 8], looking within unit 11 toward [3, 8], with a normal lens and 50-degree field of view. Maintain neutral coverage suitable for the close consuming crops and a softly resolved lower background in S26_Shot5. Treat the shot-specific height and crop descriptions as staging context, not an instruction to invent additional geometry or camera operations.",
          "subject_position_directive": "For S26_Shot5, reserve lower-left center for the kneeling, recoiling subject, with the other subject's gripping hand entering from upper right and that subject's face outside the crop. For S26_Shot8, reserve left-of-center space for the staged three-quarter face and open space to the right for its off-screen gaze. These are separate consuming-shot arrangements, not a combined tableau; keep the off-screen subject outside the frame.",
          "state_cue_directive": "No committed state cue beyond \"clean residential space\" applies to the background: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Use marker 11 and retain the supplied nighttime illumination with restrained contrast. The kneeling, gripping, redirected gaze, and slight smile are consuming-shot subject states, not persistent changes to the space.",
          "negative_continuity_directive": "Exclude ignored markers 1, 2, 3, 4, 5, 6, 7, 8, 9, and 10. Do not copy L32B03's layout into unit 11 or imply an opening connecting unit 11 to its reference space. Do not expose other units merely because they occur in visibility supersets. No state-overlay markers are specified; introduce none."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_sewer_and_crosscut_inset",
          "prior_bg_ids": [
            "L32B03"
          ],
          "attached_ref_labels": [
            "bg:L32B03"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L32B03": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L32",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L32B03.png",
        "t2i_prompt": "2069년 대한민국의 지하 하수도에 남아 있는 오래된 토목 구조물을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 미래에도 계속 사용되는 실용적인 콘크리트 하수도이며, 좁은 통로의 벽과 바닥, 천장에는 실제 콘크리트의 골재감과 거푸집 이음, 오랜 사용에 따른 자연스러운 표면 질감이 보인다. 과도하게 매끈한 홍보용 사진이 아니라 실제 장소를 담담하게 기록한 현장 참고 사진으로 표현한다.\n\n평면도는 통로의 연결 관계를 파악하는 배치 자료로만 사용한다. 갈림길에서 북동쪽으로 조금 들어간 배출 방향 통로 안에 카메라를 두고, 남서쪽을 향해 갈림길 너머의 진입 통로를 바라본다. 진입 통로는 남쪽에서 북쪽으로 이어져 갈림길에 닿으며, 서쪽으로 뻗는 별도의 분기 통로가 접합부에서 분명히 구별된다. 카메라가 있는 통로는 갈림길에서 북동쪽으로 이어진 뒤 카메라 뒤쪽에서 북쪽으로 꺾이는 연결 구조다. 화면 앞쪽에는 좁지만 연속적으로 통행할 수 있는 바닥 면적을 충분히 확보하고, 전경에서 갈림길까지 이어지는 통행 공간과 그 뒤의 여유 공간이 자연스럽게 읽히게 한다. 통로를 거대한 지하 홀처럼 넓히지 않는다.\n\n카메라 높이는 서 있는 사람의 눈높이인 약 1.5미터, 35밀리미터 규격 감지기를 쓰는 실제 미러리스 카메라의 28밀리미터 광각 렌즈 시야로 설정한다. 수평에 가까운 시선과 과장되지 않은 원근으로 갈림길의 윤곽 및 서쪽 분기의 깊이를 함께 담는다. 야간 지하 공간의 약한 주변광이 콘크리트 표면에서 자연스럽게 반사되어 가까운 바닥과 벽을 드러내고, 먼 통로는 점차 어두워진다. 실제 저조도 촬영에서 가능한 명암과 자연스러운 피사계 심도를 유지하며 인위적인 색 보정을 하지 않는다. 공간은 정돈된 본래 상태로 유지되어 있다. 사람, 얼굴, 신체 형태의 형상은 전혀 없는 빈 배경이다. 삽화나 컴퓨터 생성 영상, 건축 시각화가 아닌 실사 사진이며, 위에서 내려다본 구도나 평면도, 건축 도해로 표현하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S26_Shot12",
            "guide_text": "약 1.5미터 눈높이의 광각 구도를 유지한다. 배출 방향 통로의 비어 있는 전경 바닥을 넉넉히 담아 화면 깊이 방향으로 이어지는 이동 여유를 확보하되, 통로 자체의 좁은 폭은 유지한다. 중경의 갈림길 윤곽과 서쪽 분기 입구, 그 너머 진입 통로가 서로 겹쳐 하나의 통로처럼 보이지 않게 한다. 야간의 낮은 주변 밝기 속에서도 통행 바닥과 벽의 경계는 식별 가능하게 유지한다. 인물이나 동작 표현 없이 빈 공간만 촬영한다."
          }
        ],
        "shot_ids": [
          "S26_Shot12"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Inside number 7 (outlet branch), just northeast of number 5 (two-way fork), facing southwest through number 5 toward number 4 (approach passage), with number 6 (west branch) visible at the junction.",
          "camera_height": "eye-level standing, approximately 1.5 m",
          "lens_hint": "28mm wide angle",
          "framing_notes": "Keep number 7 clear in the foreground for an adult carrying a child and a bulky follower behind. Preserve the fork silhouette and the separate west branch. Show the original passable, intact pre-inflow sewer: no incoming seawater, flooding, collapse, or action trails. The outlet remains behind the camera, and the reception inset must not appear."
        },
        "reference_decision": {
          "bg_id": "L32B03",
          "fp_id": "fp_sewer_and_crosscut_inset",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L32B03 is a ready, clean anchor candidate and establishes the connected structure identified by base markers 4, 5, 6, and 7. For S26_Shot12, a wide view from unit 4 toward unit 7 supports the committed foreground departure and upper-right background destination. The permitted look-at cell targets opening marker 9 along that direction rather than substituting the unlisted unit-center coordinate.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/floor_plan/fp_sewer_and_crosscut_inset.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "This is the first node and the sole identity anchor; it is established from the base floor plan without background references.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 4,
            "camera_cell": [
              6,
              3
            ],
            "look_at_unit": 7,
            "look_at_cell": [
              1,
              4
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad coverage from unit 4 toward unit 7, with the permitted aim point at opening marker 9. Compose the visible route into upper-right depth for S26_Shot12. This is a fixed background framing, not an additional camera-motion plan."
          },
          "render_guidance": {
            "visible_space_directive": "Show unit 4 as the near structural context, unit 5 along the route, and the visible continuation into unit 7. Preserve the base-plan connection of unit 6 at unit 5, showing only the portion actually within the wide view; do not force its full extent into frame. The aim point is opening marker 9, not a requirement to expose unit 10 beyond it. Treat the geometry visibility lists as supersets rather than guaranteed sightlines.",
            "camera_framing_directive": "Use camera unit 4 at [6, 3], looking toward unit 7 at the listed look-at cell [1, 4], with a wide lens and 90-degree field of view. Provide broad structural coverage and readable foreground floor while composing the continuing route toward the upper-right background, as committed by S26_Shot12.",
            "subject_position_directive": "Reserve the lower-center foreground for the staged carrying pair, seen from behind and slightly beside: the carrier pitches forward with the driving foot and supporting arms readable, while the carried subject curls against the shoulder with gaze lowered. Their destination lies in upper-right depth. Keep the subject specified as behind the camera outside the frame; add no other subjects.",
            "state_cue_directive": "No committed state cue beyond \"clean residential space\" applies to the background: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional state cues. Use markers 4, 5, 6, and 7 as the structural basis; the departure and cough remain staged subject actions rather than structural changes. Follow the supplied ambient-illumination requirement without adding an unsupported source, color, or atmospheric effect.",
            "negative_continuity_directive": "Exclude ignored markers 11 and 12. Do not turn candidate visibility into guaranteed visibility, expose geometry outside the chosen cone, or invent openings through occluding structure. Preserve the connections among markers 4, 5, 6, and 7 rather than relocating them to satisfy framing. No state-overlay markers are specified."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [6, 3]\n  - look_at_unit: 7\n  - look_at_cell: [1, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad coverage from unit 4 toward unit 7, with the permitted aim point at opening marker 9. Compose the visible route into upper-right depth for S26_Shot12. This is a fixed background framing, not an additional camera-motion plan.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 4 as the near structural context, unit 5 along the route, and the visible continuation into unit 7. Preserve the base-plan connection of unit 6 at unit 5, showing only the portion actually within the wide view; do not force its full extent into frame. The aim point is opening marker 9, not a requirement to expose unit 10 beyond it. Treat the geometry visibility lists as supersets rather than guaranteed sightlines.\n  - camera_framing_directive: Use camera unit 4 at [6, 3], looking toward unit 7 at the listed look-at cell [1, 4], with a wide lens and 90-degree field of view. Provide broad structural coverage and readable foreground floor while composing the continuing route toward the upper-right background, as committed by S26_Shot12.\n  - subject_position_directive: Reserve the lower-center foreground for the staged carrying pair, seen from behind and slightly beside: the carrier pitches forward with the driving foot and supporting arms readable, while the carried subject curls against the shoulder with gaze lowered. Their destination lies in upper-right depth. Keep the subject specified as behind the camera outside the frame; add no other subjects.\n  - state_cue_directive: No committed state cue beyond \"clean residential space\" applies to the background: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional state cues. Use markers 4, 5, 6, and 7 as the structural basis; the departure and cough remain staged subject actions rather than structural changes. Follow the supplied ambient-illumination requirement without adding an unsupported source, color, or atmospheric effect.\n  - negative_continuity_directive: Exclude ignored markers 11 and 12. Do not turn candidate visibility into guaranteed visibility, expose geometry outside the chosen cone, or invent openings through occluding structure. Preserve the connections among markers 4, 5, 6, and 7 rather than relocating them to satisfy framing. No state-overlay markers are specified.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [6, 3]\n  - look_at_unit: 7\n  - look_at_cell: [1, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad coverage from unit 4 toward unit 7, with the permitted aim point at opening marker 9. Compose the visible route into upper-right depth for S26_Shot12. This is a fixed background framing, not an additional camera-motion plan.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 4 as the near structural context, unit 5 along the route, and the visible continuation into unit 7. Preserve the base-plan connection of unit 6 at unit 5, showing only the portion actually within the wide view; do not force its full extent into frame. The aim point is opening marker 9, not a requirement to expose unit 10 beyond it. Treat the geometry visibility lists as supersets rather than guaranteed sightlines.\n  - camera_framing_directive: Use camera unit 4 at [6, 3], looking toward unit 7 at the listed look-at cell [1, 4], with a wide lens and 90-degree field of view. Provide broad structural coverage and readable foreground floor while composing the continuing route toward the upper-right background, as committed by S26_Shot12.\n  - subject_position_directive: Reserve the lower-center foreground for the staged carrying pair, seen from behind and slightly beside: the carrier pitches forward with the driving foot and supporting arms readable, while the carried subject curls against the shoulder with gaze lowered. Their destination lies in upper-right depth. Keep the subject specified as behind the camera outside the frame; add no other subjects.\n  - state_cue_directive: No committed state cue beyond \"clean residential space\" applies to the background: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional state cues. Use markers 4, 5, 6, and 7 as the structural basis; the departure and cough remain staged subject actions rather than structural changes. Follow the supplied ambient-illumination requirement without adding an unsupported source, color, or atmospheric effect.\n  - negative_continuity_directive: Exclude ignored markers 11 and 12. Do not turn candidate visibility into guaranteed visibility, expose geometry outside the chosen cone, or invent openings through occluding structure. Preserve the connections among markers 4, 5, 6, and 7 rather than relocating them to satisfy framing. No state-overlay markers are specified.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [6, 3]\n  - look_at_unit: 7\n  - look_at_cell: [1, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad coverage from unit 4 toward unit 7, with the permitted aim point at opening marker 9. Compose the visible route into upper-right depth for S26_Shot12. This is a fixed background framing, not an additional camera-motion plan.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 4 as the near structural context, unit 5 along the route, and the visible continuation into unit 7. Preserve the base-plan connection of unit 6 at unit 5, showing only the portion actually within the wide view; do not force its full extent into frame. The aim point is opening marker 9, not a requirement to expose unit 10 beyond it. Treat the geometry visibility lists as supersets rather than guaranteed sightlines.\n  - camera_framing_directive: Use camera unit 4 at [6, 3], looking toward unit 7 at the listed look-at cell [1, 4], with a wide lens and 90-degree field of view. Provide broad structural coverage and readable foreground floor while composing the continuing route toward the upper-right background, as committed by S26_Shot12.\n  - subject_position_directive: Reserve the lower-center foreground for the staged carrying pair, seen from behind and slightly beside: the carrier pitches forward with the driving foot and supporting arms readable, while the carried subject curls against the shoulder with gaze lowered. Their destination lies in upper-right depth. Keep the subject specified as behind the camera outside the frame; add no other subjects.\n  - state_cue_directive: No committed state cue beyond \"clean residential space\" applies to the background: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional state cues. Use markers 4, 5, 6, and 7 as the structural basis; the departure and cough remain staged subject actions rather than structural changes. Follow the supplied ambient-illumination requirement without adding an unsupported source, color, or atmospheric effect.\n  - negative_continuity_directive: Exclude ignored markers 11 and 12. Do not turn candidate visibility into guaranteed visibility, expose geometry outside the chosen cone, or invent openings through occluding structure. Preserve the connections among markers 4, 5, 6, and 7 rather than relocating them to satisfy framing. No state-overlay markers are specified.\n\n2069년 대한민국의 지하 하수도에 남아 있는 오래된 토목 구조물을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 미래에도 계속 사용되는 실용적인 콘크리트 하수도이며, 좁은 통로의 벽과 바닥, 천장에는 실제 콘크리트의 골재감과 거푸집 이음, 오랜 사용에 따른 자연스러운 표면 질감이 보인다. 과도하게 매끈한 홍보용 사진이 아니라 실제 장소를 담담하게 기록한 현장 참고 사진으로 표현한다.\n\n평면도는 통로의 연결 관계를 파악하는 배치 자료로만 사용한다. 갈림길에서 북동쪽으로 조금 들어간 배출 방향 통로 안에 카메라를 두고, 남서쪽을 향해 갈림길 너머의 진입 통로를 바라본다. 진입 통로는 남쪽에서 북쪽으로 이어져 갈림길에 닿으며, 서쪽으로 뻗는 별도의 분기 통로가 접합부에서 분명히 구별된다. 카메라가 있는 통로는 갈림길에서 북동쪽으로 이어진 뒤 카메라 뒤쪽에서 북쪽으로 꺾이는 연결 구조다. 화면 앞쪽에는 좁지만 연속적으로 통행할 수 있는 바닥 면적을 충분히 확보하고, 전경에서 갈림길까지 이어지는 통행 공간과 그 뒤의 여유 공간이 자연스럽게 읽히게 한다. 통로를 거대한 지하 홀처럼 넓히지 않는다.\n\n카메라 높이는 서 있는 사람의 눈높이인 약 1.5미터, 35밀리미터 규격 감지기를 쓰는 실제 미러리스 카메라의 28밀리미터 광각 렌즈 시야로 설정한다. 수평에 가까운 시선과 과장되지 않은 원근으로 갈림길의 윤곽 및 서쪽 분기의 깊이를 함께 담는다. 야간 지하 공간의 약한 주변광이 콘크리트 표면에서 자연스럽게 반사되어 가까운 바닥과 벽을 드러내고, 먼 통로는 점차 어두워진다. 실제 저조도 촬영에서 가능한 명암과 자연스러운 피사계 심도를 유지하며 인위적인 색 보정을 하지 않는다. 공간은 정돈된 본래 상태로 유지되어 있다. 사람, 얼굴, 신체 형태의 형상은 전혀 없는 빈 배경이다. 삽화나 컴퓨터 생성 영상, 건축 시각화가 아닌 실사 사진이며, 위에서 내려다본 구도나 평면도, 건축 도해로 표현하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 4,
          "camera_cell": [
            6,
            3
          ],
          "look_at_unit": 7,
          "look_at_cell": [
            1,
            4
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad coverage from unit 4 toward unit 7, with the permitted aim point at opening marker 9. Compose the visible route into upper-right depth for S26_Shot12. This is a fixed background framing, not an additional camera-motion plan."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Show unit 4 as the near structural context, unit 5 along the route, and the visible continuation into unit 7. Preserve the base-plan connection of unit 6 at unit 5, showing only the portion actually within the wide view; do not force its full extent into frame. The aim point is opening marker 9, not a requirement to expose unit 10 beyond it. Treat the geometry visibility lists as supersets rather than guaranteed sightlines.",
          "camera_framing_directive": "Use camera unit 4 at [6, 3], looking toward unit 7 at the listed look-at cell [1, 4], with a wide lens and 90-degree field of view. Provide broad structural coverage and readable foreground floor while composing the continuing route toward the upper-right background, as committed by S26_Shot12.",
          "subject_position_directive": "Reserve the lower-center foreground for the staged carrying pair, seen from behind and slightly beside: the carrier pitches forward with the driving foot and supporting arms readable, while the carried subject curls against the shoulder with gaze lowered. Their destination lies in upper-right depth. Keep the subject specified as behind the camera outside the frame; add no other subjects.",
          "state_cue_directive": "No committed state cue beyond \"clean residential space\" applies to the background: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional state cues. Use markers 4, 5, 6, and 7 as the structural basis; the departure and cough remain staged subject actions rather than structural changes. Follow the supplied ambient-illumination requirement without adding an unsupported source, color, or atmospheric effect.",
          "negative_continuity_directive": "Exclude ignored markers 11 and 12. Do not turn candidate visibility into guaranteed visibility, expose geometry outside the chosen cone, or invent openings through occluding structure. Preserve the connections among markers 4, 5, 6, and 7 rather than relocating them to satisfy framing. No state-overlay markers are specified."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_sewer_and_crosscut_inset",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_sewer_and_crosscut_inset"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L32B01": {
        "status": "ok",
        "location_id": "L32",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L32B01.png",
        "t2i_prompt": "2069년 대한민국 해안의 노후 하수도 방류구 바깥, 급류가 바다로 쏟아진 직후의 검은 해수면을 담은 실제 카메라로 촬영한 다큐멘터리 풍 사진. 인물 없이 외부 수면과 포말만이 중심이 되는 배경 사진이다. 실제 디지털 일안 반사식 또는 미러리스 카메라와 35밀리미터급 렌즈를 사용하고, 서 있는 사람의 눈높이 약 1.6미터를 기준으로 수면과 거의 나란한 수평 방향을 바라본다. 높은 곳에서 내려다보거나 터널 안에서 출구를 바라보는 구도가 아니다. 가까이 솟구치는 물결이 화면 하단과 양옆을 채워 수면 바로 곁에 있는 듯한 거리감을 만든다.\n\n화면 대부분은 먹빛에 가까운 짙은 회흑색 바닷물이다. 방류 급류가 바깥 바다의 파도와 부딪치며 짧고 가파른 물마루, 뒤엉킨 소용돌이, 끊어지는 회백색 포말 띠와 작은 물보라를 만든다. 물은 불투명한 검은 바닥색처럼 평평하지 않고, 파면마다 미세한 반사와 투과의 차이가 있으며 젖은 물마루에만 약한 하늘빛이 걸린다. 중앙에는 비교적 어두운 물결 면을 유지하고, 그 주변과 하단에 포말이 불규칙하게 흩어지도록 한다. 거대한 해일이나 폭발 같은 물기둥은 없다. 한쪽 화면 가장자리에만 오래된 콘크리트 방류구 외벽의 작은 일부가 보인다. 실제 콘크리트의 거친 골재, 염분에 패인 표면, 반복해서 젖은 수위 자국이 드러나되 출구의 아치나 터널 내부가 화면을 둘러싸지 않는다. 미래의 해안 기반시설이지만 오래 사용된 현실적인 토목 구조물이며, 임의의 첨단 장치나 발광 장식은 없다.\n\n약한 자연 산란광 아래 검은 물결의 굴곡과 회백색 거품을 구분할 수 있는 사실적인 노출. 긴박함은 급류의 방향과 거칠게 부서지는 물결에서만 드러낸다. 실제 촬영에서 생기는 자연스러운 피사계 심도로 가까운 포말의 기포와 물결 질감은 읽히고 먼 수면은 점차 부드러워진다. 과장된 색 보정이나 인공적인 광택 없이 실제 장소 기록 사진과 구별되지 않는 재질과 명암. 정돈된 홍보 사진이 아니라 거친 현장을 있는 그대로 기록한 사진이다. 사람, 얼굴, 손, 신체 일부, 시신, 혈흔, 배, 구조 장비는 전혀 그리지 않는다. 삽화나 컴퓨터 생성 이미지, 건축 시각화, 평면도, 조감도가 아니다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S36_Shot5",
            "guide_text": "외부 수면을 배경으로 하는 얼굴 근접 구도용 배경이다. 얼굴이 합성될 중앙 부근에는 어두운 물결 면을 확보하되 빈 구멍처럼 만들지 않고 수면 질감을 연속시킨다. 양옆과 아래쪽에 거친 물마루와 끊어진 포말을 남겨 급류에서 막 벗어난 상태를 유지한다. 얼굴이나 신체는 배경에 그리지 않으며 터널 천장과 내부 벽은 보이지 않는다."
          },
          {
            "shot_id": "S36_Shot6",
            "guide_text": "맞잡은 손의 근접 구도용으로 같은 외부 해수면을 유지한다. 손이 합성될 영역 뒤에는 먹빛 물결을 두고, 주변으로 가는 포말 띠와 작은 소용돌이가 이어지게 한다. 손이나 팔은 생성하지 않는다. 이전 샷과 물의 색, 빛의 방향, 포말의 크기 및 급류 방향을 맞추며, 수중 시점이나 터널 내부 시점으로 바꾸지 않는다."
          }
        ],
        "shot_ids": [
          "S36_Shot5",
          "S36_Shot6"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {},
        "reference_decision": {
          "mode": "surface_role_direct_plate",
          "surface_role": "exterior_plate",
          "fp_id": "",
          "source_bg_ids": []
        },
        "effective_render_prompt": "2069년 대한민국 해안의 노후 하수도 방류구 바깥, 급류가 바다로 쏟아진 직후의 검은 해수면을 담은 실제 카메라로 촬영한 다큐멘터리 풍 사진. 인물 없이 외부 수면과 포말만이 중심이 되는 배경 사진이다. 실제 디지털 일안 반사식 또는 미러리스 카메라와 35밀리미터급 렌즈를 사용하고, 서 있는 사람의 눈높이 약 1.6미터를 기준으로 수면과 거의 나란한 수평 방향을 바라본다. 높은 곳에서 내려다보거나 터널 안에서 출구를 바라보는 구도가 아니다. 가까이 솟구치는 물결이 화면 하단과 양옆을 채워 수면 바로 곁에 있는 듯한 거리감을 만든다.\n\n화면 대부분은 먹빛에 가까운 짙은 회흑색 바닷물이다. 방류 급류가 바깥 바다의 파도와 부딪치며 짧고 가파른 물마루, 뒤엉킨 소용돌이, 끊어지는 회백색 포말 띠와 작은 물보라를 만든다. 물은 불투명한 검은 바닥색처럼 평평하지 않고, 파면마다 미세한 반사와 투과의 차이가 있으며 젖은 물마루에만 약한 하늘빛이 걸린다. 중앙에는 비교적 어두운 물결 면을 유지하고, 그 주변과 하단에 포말이 불규칙하게 흩어지도록 한다. 거대한 해일이나 폭발 같은 물기둥은 없다. 한쪽 화면 가장자리에만 오래된 콘크리트 방류구 외벽의 작은 일부가 보인다. 실제 콘크리트의 거친 골재, 염분에 패인 표면, 반복해서 젖은 수위 자국이 드러나되 출구의 아치나 터널 내부가 화면을 둘러싸지 않는다. 미래의 해안 기반시설이지만 오래 사용된 현실적인 토목 구조물이며, 임의의 첨단 장치나 발광 장식은 없다.\n\n약한 자연 산란광 아래 검은 물결의 굴곡과 회백색 거품을 구분할 수 있는 사실적인 노출. 긴박함은 급류의 방향과 거칠게 부서지는 물결에서만 드러낸다. 실제 촬영에서 생기는 자연스러운 피사계 심도로 가까운 포말의 기포와 물결 질감은 읽히고 먼 수면은 점차 부드러워진다. 과장된 색 보정이나 인공적인 광택 없이 실제 장소 기록 사진과 구별되지 않는 재질과 명암. 정돈된 홍보 사진이 아니라 거친 현장을 있는 그대로 기록한 사진이다. 사람, 얼굴, 손, 신체 일부, 시신, 혈흔, 배, 구조 장비는 전혀 그리지 않는다. 삽화나 컴퓨터 생성 이미지, 건축 시각화, 평면도, 조감도가 아니다. 16:9 가로 비율, 실제 카메라 촬영본\n\nOne attached image is a PHOTOREAL RENDER of the SAME building/site this scene belongs to — it may show the outside while this scene is inside, or another part of the same place. Treat it as the BUILDING IDENTITY reference. Keep this render consistent with it: the same era, age and state of repair, the same palette and material quality, the same window and door frame styles, and anything visible through openings (windows, doorways, passages) must belong to that same building and its surroundings. Lettering visible in the reference is reproduced EXACTLY — same characters, same mark, same position; never invent different wording from render to render. Lighting and time of day follow THIS prompt. Do NOT copy the reference's composition, framing or camera angle; only the building's physical identity carries over.",
        "shot_aware_plan_mode": "surface_role_direct_plate",
        "attached_reference_lineage": {
          "fp_id": "",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "building_anchor:L11B01"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        },
        "building_anchor_ref": {
          "anchor_bg_id": "L11B01",
          "group_id": "bg_junkyard_sewer_access"
        }
      },
      "L16B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L16",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L16B01.png",
        "t2i_prompt": "2069년 대한민국의 자원 부족 환경에서 오래된 공공건물을 계속 사용하는 허름한 재판소 내부. 실제 미러리스 카메라와 35밀리미터 렌즈로 촬영한 다큐멘터리 풍 사진으로, 실제 현장 답사 사진과 구별되지 않는 사실성을 갖춘다. 남쪽 벽의 서쪽 출입문을 막 지난 문턱 안쪽 동편에 카메라를 두고, 약 1.6미터의 서 있는 사람 눈높이에서 북쪽 재판관 탁자를 바라본다. 문 안쪽 바닥을 전경에 넉넉하게 담고, 중앙의 비어 있는 공용 바닥 너머로 탁자와 그 뒤 의자, 탁자 위 서류 더미가 분명하게 보이게 한다. 출입문은 서쪽 벽 방향으로 안으로 열리는 구조이며, 문 가장자리 일부가 화면 왼쪽을 자연스럽게 감싼다.\n북쪽 업무 구역에는 동서로 긴 소박한 목재 탁자가 놓여 있고, 양 끝으로 지나다닐 공간이 확보되어 있다. 탁자 북쪽의 의자는 남쪽을 향하며, 의자 동쪽 바닥은 비어 있다. 탁자 상판 서쪽에는 계속 보관해 온 종이 서류가 여러 겹 쌓여 있다. 배치는 제공된 평면도의 구조와 고정 가구 관계를 참고하되, 표현은 오직 실내에 서서 보는 원근감 있는 사진으로 한다.\n한국의 낡은 소규모 관공서처럼 실용적인 마감과 검소한 가구를 보여준다. 회색 콘크리트 바닥의 잔잔한 표면 입자, 칠한 벽의 오래된 색바램, 탁자의 실제 나뭇결과 오랜 사용으로 닳은 모서리, 문 금속 부속의 무광 산화 질감, 서류 종이의 두께와 섬유 결을 과장 없이 담는다. 공간은 정돈되어 있고 평온하게 유지된 상태다. 낮이지만 실내 깊숙이 도달하는 자연광이 약하여 전체적으로 어두침침하다. 화면 밖에서 유입되는 부드러운 주광과 벽·바닥의 약한 반사광만으로 문턱과 탁자 면을 구분하고, 안쪽 그늘에도 실제 재료의 세부가 남게 노출한다. 자연스러운 심도로 전경 바닥부터 뒤쪽 서류 더미까지 공간 관계가 읽히게 한다. 사람, 얼굴, 인체 형태의 형상은 전혀 묘사하지 않는다. 인위적인 색 보정이나 과장된 조명 없이, 광고용으로 말끔하게 꾸민 사진이 아닌 담백한 현장 기록 사진으로 표현한다. 삽화나 컴퓨터 생성 이미지, 건축 시각화가 아니며 위에서 내려다본 시점이나 평면도 표현을 사용하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S8_Shot1",
            "guide_text": "출입문 안쪽 문턱의 동편에서 높이 약 1.6미터, 35밀리미터 렌즈로 북쪽을 바라본다. 문 안쪽 바닥을 전경에 충분히 확보하고, 왼쪽에는 문 가장자리를 조금만 걸친다. 중앙 바닥을 가로질러 뒤쪽 탁자와 의자, 상판 서쪽 서류 더미가 한눈에 읽히도록 구성한다. 낮인데도 어두침침한 실내 밝기를 유지하되 바닥과 탁자의 재질은 식별 가능하게 한다. 인물이나 인체 형태의 형상 없이 비어 있는 배경만 촬영한다."
          }
        ],
        "shot_ids": [
          "S8_Shot1"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Just inside number 4 (courtroom entrance), near the eastern edge of number 2 (entry threshold), facing north across number 1 toward number 5 (judge's table) and number 6 (judge's chair).",
          "camera_height": "standing eye level, approximately 1.5–1.6 m",
          "lens_hint": "28–35 mm wide angle",
          "framing_notes": "Keep the interior threshold floor in the foreground and the table, chair, and number 7 document stacks readable farther into the room. A side edge of the entrance may frame the shot. Preserve the subdued daytime interior in the downstream background, not in the schematic diagram."
        },
        "reference_decision": {
          "bg_id": "L16B01",
          "fp_id": "fp_refugee_court_interior",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L16B01 is an eligible clean anchor and establishes the shared layout for S8_Shot1. Camera unit 2 provides the supplied entry-side position, with wide coverage toward unit 3 through unit 1. The coordinate candidates do not fully encode the staged elevated oblique composition or guarantee opening 4 at the left margin; preserve the supplied geometry rather than relocating the opening to force that composition.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/floor_plan/fp_refugee_court_interior.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The first node establishes dwelling identity directly from the floor plan; no prior reference is selected.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 2,
            "camera_cell": [
              8,
              4
            ],
            "look_at_unit": 3,
            "look_at_cell": [
              2,
              5
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad inward coverage from unit 2 toward marker 5 in unit 3, with unit 1 intervening. This is a single background viewpoint, not a plan for the staged tracking movement. Opening 4 is a visibility-superset candidate, not a guaranteed left-margin element in this direction."
          },
          "render_guidance": {
            "visible_space_directive": "Establish unit 2 at the camera-side foreground, unit 1 along the inward view, and unit 3 around markers 5, 6, and 7. Anchor marker 5 at [2,5], marker 6 at [1,4], and marker 7 at [2,4]. Keep opening 4 at its supplied [8,2] position; its inclusion in the visibility superset does not establish visibility in this inward-facing cone. Do not force all referenced markers into the image.",
            "camera_framing_directive": "Use camera unit 2 at [8,4], looking toward unit 3 at [2,5], with a wide lens and exactly 90-degree FOV for broad coverage. Preserve the listed coordinates. The readback does not establish elevation or camera movement, so treat the shot's elevated and tracking language as staging context rather than additional geometric commitments.",
            "subject_position_directive": "S8_Shot1 commits a kneeling subject in the lower center, pitched toward screen right, with one supporting subject on each side. Reserve that foreground arrangement: the nearer support is braced and the farther support advances. Keep these as shot-layer placement cues for the clean background; do not bake subjects into the plate or invent additional subjects.",
            "state_cue_directive": "No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and there are no transient markers. Refrain from inventing additional state cues. Use the shot's dim ambient illumination with sufficient separation for the staged foreground action, without specifying an unsupported fixture. Traversal and kneeling remain shot-layer actions, not persistent alterations.",
            "negative_continuity_directive": "The ignore and ignored-overlay lists are empty. Avoid relocating markers 4, 5, 6, or 7 to satisfy framing, introducing unsupported openings or fixtures, treating visibility supersets as guaranteed co-visibility, or adding subjects and transient overlays to the clean plate."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [8, 4]\n  - look_at_unit: 3\n  - look_at_cell: [2, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad inward coverage from unit 2 toward marker 5 in unit 3, with unit 1 intervening. This is a single background viewpoint, not a plan for the staged tracking movement. Opening 4 is a visibility-superset candidate, not a guaranteed left-margin element in this direction.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 2 at the camera-side foreground, unit 1 along the inward view, and unit 3 around markers 5, 6, and 7. Anchor marker 5 at [2,5], marker 6 at [1,4], and marker 7 at [2,4]. Keep opening 4 at its supplied [8,2] position; its inclusion in the visibility superset does not establish visibility in this inward-facing cone. Do not force all referenced markers into the image.\n  - camera_framing_directive: Use camera unit 2 at [8,4], looking toward unit 3 at [2,5], with a wide lens and exactly 90-degree FOV for broad coverage. Preserve the listed coordinates. The readback does not establish elevation or camera movement, so treat the shot's elevated and tracking language as staging context rather than additional geometric commitments.\n  - subject_position_directive: S8_Shot1 commits a kneeling subject in the lower center, pitched toward screen right, with one supporting subject on each side. Reserve that foreground arrangement: the nearer support is braced and the farther support advances. Keep these as shot-layer placement cues for the clean background; do not bake subjects into the plate or invent additional subjects.\n  - state_cue_directive: No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and there are no transient markers. Refrain from inventing additional state cues. Use the shot's dim ambient illumination with sufficient separation for the staged foreground action, without specifying an unsupported fixture. Traversal and kneeling remain shot-layer actions, not persistent alterations.\n  - negative_continuity_directive: The ignore and ignored-overlay lists are empty. Avoid relocating markers 4, 5, 6, or 7 to satisfy framing, introducing unsupported openings or fixtures, treating visibility supersets as guaranteed co-visibility, or adding subjects and transient overlays to the clean plate.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [8, 4]\n  - look_at_unit: 3\n  - look_at_cell: [2, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad inward coverage from unit 2 toward marker 5 in unit 3, with unit 1 intervening. This is a single background viewpoint, not a plan for the staged tracking movement. Opening 4 is a visibility-superset candidate, not a guaranteed left-margin element in this direction.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 2 at the camera-side foreground, unit 1 along the inward view, and unit 3 around markers 5, 6, and 7. Anchor marker 5 at [2,5], marker 6 at [1,4], and marker 7 at [2,4]. Keep opening 4 at its supplied [8,2] position; its inclusion in the visibility superset does not establish visibility in this inward-facing cone. Do not force all referenced markers into the image.\n  - camera_framing_directive: Use camera unit 2 at [8,4], looking toward unit 3 at [2,5], with a wide lens and exactly 90-degree FOV for broad coverage. Preserve the listed coordinates. The readback does not establish elevation or camera movement, so treat the shot's elevated and tracking language as staging context rather than additional geometric commitments.\n  - subject_position_directive: S8_Shot1 commits a kneeling subject in the lower center, pitched toward screen right, with one supporting subject on each side. Reserve that foreground arrangement: the nearer support is braced and the farther support advances. Keep these as shot-layer placement cues for the clean background; do not bake subjects into the plate or invent additional subjects.\n  - state_cue_directive: No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and there are no transient markers. Refrain from inventing additional state cues. Use the shot's dim ambient illumination with sufficient separation for the staged foreground action, without specifying an unsupported fixture. Traversal and kneeling remain shot-layer actions, not persistent alterations.\n  - negative_continuity_directive: The ignore and ignored-overlay lists are empty. Avoid relocating markers 4, 5, 6, or 7 to satisfy framing, introducing unsupported openings or fixtures, treating visibility supersets as guaranteed co-visibility, or adding subjects and transient overlays to the clean plate.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [8, 4]\n  - look_at_unit: 3\n  - look_at_cell: [2, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad inward coverage from unit 2 toward marker 5 in unit 3, with unit 1 intervening. This is a single background viewpoint, not a plan for the staged tracking movement. Opening 4 is a visibility-superset candidate, not a guaranteed left-margin element in this direction.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 2 at the camera-side foreground, unit 1 along the inward view, and unit 3 around markers 5, 6, and 7. Anchor marker 5 at [2,5], marker 6 at [1,4], and marker 7 at [2,4]. Keep opening 4 at its supplied [8,2] position; its inclusion in the visibility superset does not establish visibility in this inward-facing cone. Do not force all referenced markers into the image.\n  - camera_framing_directive: Use camera unit 2 at [8,4], looking toward unit 3 at [2,5], with a wide lens and exactly 90-degree FOV for broad coverage. Preserve the listed coordinates. The readback does not establish elevation or camera movement, so treat the shot's elevated and tracking language as staging context rather than additional geometric commitments.\n  - subject_position_directive: S8_Shot1 commits a kneeling subject in the lower center, pitched toward screen right, with one supporting subject on each side. Reserve that foreground arrangement: the nearer support is braced and the farther support advances. Keep these as shot-layer placement cues for the clean background; do not bake subjects into the plate or invent additional subjects.\n  - state_cue_directive: No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and there are no transient markers. Refrain from inventing additional state cues. Use the shot's dim ambient illumination with sufficient separation for the staged foreground action, without specifying an unsupported fixture. Traversal and kneeling remain shot-layer actions, not persistent alterations.\n  - negative_continuity_directive: The ignore and ignored-overlay lists are empty. Avoid relocating markers 4, 5, 6, or 7 to satisfy framing, introducing unsupported openings or fixtures, treating visibility supersets as guaranteed co-visibility, or adding subjects and transient overlays to the clean plate.\n\n2069년 대한민국의 자원 부족 환경에서 오래된 공공건물을 계속 사용하는 허름한 재판소 내부. 실제 미러리스 카메라와 35밀리미터 렌즈로 촬영한 다큐멘터리 풍 사진으로, 실제 현장 답사 사진과 구별되지 않는 사실성을 갖춘다. 남쪽 벽의 서쪽 출입문을 막 지난 문턱 안쪽 동편에 카메라를 두고, 약 1.6미터의 서 있는 사람 눈높이에서 북쪽 재판관 탁자를 바라본다. 문 안쪽 바닥을 전경에 넉넉하게 담고, 중앙의 비어 있는 공용 바닥 너머로 탁자와 그 뒤 의자, 탁자 위 서류 더미가 분명하게 보이게 한다. 출입문은 서쪽 벽 방향으로 안으로 열리는 구조이며, 문 가장자리 일부가 화면 왼쪽을 자연스럽게 감싼다.\n북쪽 업무 구역에는 동서로 긴 소박한 목재 탁자가 놓여 있고, 양 끝으로 지나다닐 공간이 확보되어 있다. 탁자 북쪽의 의자는 남쪽을 향하며, 의자 동쪽 바닥은 비어 있다. 탁자 상판 서쪽에는 계속 보관해 온 종이 서류가 여러 겹 쌓여 있다. 배치는 제공된 평면도의 구조와 고정 가구 관계를 참고하되, 표현은 오직 실내에 서서 보는 원근감 있는 사진으로 한다.\n한국의 낡은 소규모 관공서처럼 실용적인 마감과 검소한 가구를 보여준다. 회색 콘크리트 바닥의 잔잔한 표면 입자, 칠한 벽의 오래된 색바램, 탁자의 실제 나뭇결과 오랜 사용으로 닳은 모서리, 문 금속 부속의 무광 산화 질감, 서류 종이의 두께와 섬유 결을 과장 없이 담는다. 공간은 정돈되어 있고 평온하게 유지된 상태다. 낮이지만 실내 깊숙이 도달하는 자연광이 약하여 전체적으로 어두침침하다. 화면 밖에서 유입되는 부드러운 주광과 벽·바닥의 약한 반사광만으로 문턱과 탁자 면을 구분하고, 안쪽 그늘에도 실제 재료의 세부가 남게 노출한다. 자연스러운 심도로 전경 바닥부터 뒤쪽 서류 더미까지 공간 관계가 읽히게 한다. 사람, 얼굴, 인체 형태의 형상은 전혀 묘사하지 않는다. 인위적인 색 보정이나 과장된 조명 없이, 광고용으로 말끔하게 꾸민 사진이 아닌 담백한 현장 기록 사진으로 표현한다. 삽화나 컴퓨터 생성 이미지, 건축 시각화가 아니며 위에서 내려다본 시점이나 평면도 표현을 사용하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 2,
          "camera_cell": [
            8,
            4
          ],
          "look_at_unit": 3,
          "look_at_cell": [
            2,
            5
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad inward coverage from unit 2 toward marker 5 in unit 3, with unit 1 intervening. This is a single background viewpoint, not a plan for the staged tracking movement. Opening 4 is a visibility-superset candidate, not a guaranteed left-margin element in this direction."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Establish unit 2 at the camera-side foreground, unit 1 along the inward view, and unit 3 around markers 5, 6, and 7. Anchor marker 5 at [2,5], marker 6 at [1,4], and marker 7 at [2,4]. Keep opening 4 at its supplied [8,2] position; its inclusion in the visibility superset does not establish visibility in this inward-facing cone. Do not force all referenced markers into the image.",
          "camera_framing_directive": "Use camera unit 2 at [8,4], looking toward unit 3 at [2,5], with a wide lens and exactly 90-degree FOV for broad coverage. Preserve the listed coordinates. The readback does not establish elevation or camera movement, so treat the shot's elevated and tracking language as staging context rather than additional geometric commitments.",
          "subject_position_directive": "S8_Shot1 commits a kneeling subject in the lower center, pitched toward screen right, with one supporting subject on each side. Reserve that foreground arrangement: the nearer support is braced and the farther support advances. Keep these as shot-layer placement cues for the clean background; do not bake subjects into the plate or invent additional subjects.",
          "state_cue_directive": "No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and there are no transient markers. Refrain from inventing additional state cues. Use the shot's dim ambient illumination with sufficient separation for the staged foreground action, without specifying an unsupported fixture. Traversal and kneeling remain shot-layer actions, not persistent alterations.",
          "negative_continuity_directive": "The ignore and ignored-overlay lists are empty. Avoid relocating markers 4, 5, 6, or 7 to satisfy framing, introducing unsupported openings or fixtures, treating visibility supersets as guaranteed co-visibility, or adding subjects and transient overlays to the clean plate."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_refugee_court_interior",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_refugee_court_interior"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L16B02": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L16",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L16B02.png",
        "t2i_prompt": "2069년 대한민국의 자원이 넉넉하지 않은 법정 내부, 북쪽 재판 업무 구역을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 미래의 공간이지만 오래 사용한 실용적인 행정 가구와 소박한 마감이 남아 있다. 동서 방향으로 놓인 재판관 탁자와 그 북쪽에서 남쪽을 향하는 의자, 의자 동쪽의 비어 있는 바닥을 평면도에 표시된 상대적 위치에 맞춰 담는다. 탁자 양 끝의 통행 공간을 유지한다.\n탁자 동쪽에서 북서쪽을 향해 바라보며, 실제 미러리스 카메라의 약 35밀리미터 렌즈를 지상 약 1.6미터의 선 사람 눈높이에 둔다. 카메라를 조금 아래로 향하여 의자 동쪽 바닥이 화면 중앙과 아래쪽에 넉넉히 보이도록 한다. 의자와 탁자의 동쪽 끝이 위치 관계를 알아볼 수 있는 기준으로 함께 들어온다. 수직으로 내려다보는 구도나 평면도, 건축 도해가 아닌 실제 실내 원근을 가진 사진이다.\n차분한 낮의 확산 자연광이 바닥과 가구에 부드럽게 닿고, 탁자 아래에는 실제적인 약한 그림자가 생긴다. 무광 바닥의 미세한 표면 질감, 탁자의 나뭇결과 오래 사용한 가장자리, 의자의 실제 재료 질감이 과장 없이 드러난다. 공간은 정돈되어 있고 평온한 상태다. 사람, 얼굴, 사람 몸 모양의 형상은 일절 담지 않는 빈 배경이다. 자연스러운 피사계 심도와 현실적인 노출을 유지하며, 인위적인 색 보정이나 과장된 조명 없이 실제 현장 기록 사진처럼 보이게 한다. 광고용으로 말끔하게 연출한 사진이나 컴퓨터 합성 이미지, 삽화, 건축 시각화가 아니다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S8_Shot14",
            "guide_text": "쇼트의 권장 구도는 탁자 동쪽에서 북서쪽을 바라보는 지상 약 0.3~0.5미터의 낮은 시점이며, 28~35밀리미터 광각의 공간감을 기준으로 한다. 이 구도가 필요하면 눈높이 배경 원본을 단순히 잘라 쓰지 말고 같은 배치와 재질을 유지한 별도 시점으로 맞춘다. 의자 동쪽의 바닥을 넓게 확보하고 의자와 탁자 동쪽 끝을 공간 기준으로 남긴다. 낮의 차분한 자연광과 정돈된 가구 상태를 유지한다. 인물 동작은 별도 합성 대상으로 두고 배경 자체에는 사람이나 사람 모양의 형상을 넣지 않는다."
          }
        ],
        "shot_ids": [
          "S8_Shot14"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "Low in number 3 (judge's working area), east of number 5 (judge's table), facing northwest toward the clear floor immediately east of number 6 (judge's chair).",
          "camera_height": "near floor level, approximately 0.3–0.5 m",
          "lens_hint": "28–35 mm wide angle",
          "framing_notes": "Reserve the clear floor beside the chair for the fallen judge and the detainee leaning over him, supplied separately as character action. Include the chair and the table's eastern end as spatial anchors; the tabletop document stacks may be occluded at this height. Retain the same subdued daytime room. Do not infer an overturned chair, scattered documents, blood, or looting damage."
        },
        "reference_decision": {
          "bg_id": "L16B02",
          "fp_id": "fp_refugee_court_interior",
          "node_index": 1,
          "mode": "same_physical_space_view",
          "is_dwelling_identity_anchor": false,
          "rationale": "S8_Shot14 targets unit 3 and markers 5 and 6 within the same continuous physical space established by L16B01. Reference that layout directly, but use camera unit 3 for the close view beside marker 5. Moving from unit 2 to unit 3 and narrowing the cone exposes a different local slice of the fixed structure, so this requires its own view rather than a low-delta reuse candidate.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L16B01.png"
          ],
          "source_bg_ids": [
            "L16B01"
          ],
          "fp_included": false,
          "reference_decision": {
            "selected_refs": [
              {
                "ref_bg_id": "L16B01",
                "physical_space_id": "fp_refugee_court_interior:space_1",
                "space_description": "The continuous physical space containing units 1, 2, and 3, with opening 4 and persistent markers 5, 6, and 7."
              }
            ],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "single_same_physical_space_reference",
            "why_single_ref_or_two_refs": "L16B01 already commits the physical layout containing unit 3. S8_Shot14 isolates that area's local structure; it does not require two distinct co-visible physical-space references.",
            "physical_space_id_per_ref": [
              "fp_refugee_court_interior:space_1"
            ],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 3,
            "camera_cell": [
              1,
              7
            ],
            "look_at_unit": 3,
            "look_at_cell": [
              2,
              5
            ],
            "lens_enum": "telephoto",
            "fov_deg": 25,
            "framing_notes": "Narrow local coverage from unit 3 toward marker 5 within unit 3 supports the close framing of S8_Shot14. The supplied cells establish the plan-view position only; floor-level height, exact edge placement, and handheld motion are not encoded by this readback."
          },
          "render_guidance": {
            "visible_space_directive": "Show a narrow portion of unit 3 around marker 5 and the immediately adjacent floor. Preserve L16B01's fixed placement of marker 5 at [2,5], marker 6 at [1,4], and marker 7 at [2,4], even when those elements fall outside the crop. Unit 3 remains part of the same continuous layout; do not imply that the reference's other units or opening 4 are visible in this narrow local view.",
            "camera_framing_directive": "Use camera unit 3 at [1,7], looking within unit 3 toward [2,5], with a telephoto lens and exactly 25-degree FOV for narrow, compressed coverage. Prioritize the local floor context and only the portion of marker 5 supported by that cone. The shot requests a partial end and underside at the far-left edge, but the supplied plan-view geometry does not guarantee that edge placement; preserve the fixed layout rather than shifting marker 5.",
            "subject_position_directive": "S8_Shot14 commits one subject hunched over the other, with the upper subject's face and neck in the upper central region and the supine subject's shoulder and upturned profile at the lower-right edge. Reserve space for the grip below and their opposed downward and upward eyelines. These are shot-layer cues only: keep the clean background free of baked-in or invented subjects.",
            "state_cue_directive": "No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Preserve the shot's subdued ambient exposure without adding a new light source. Keep markers 5 and 6 in their persistent positions; the staged floor action does not establish structural damage or a fixture rearrangement.",
            "negative_continuity_directive": "The ignore and ignored-overlay lists are empty. Avoid moving or resizing markers 5 and 6 relative to L16B01, importing L16B01's subject-layer arrangement, forcing marker 7 or opening 4 into the narrow cone, or substituting the earlier distant view for this local camera view. Do not add transient overlays or unsupported structural changes."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L16B01' physical_space_id='fp_refugee_court_interior:space_1'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [1, 7]\n  - look_at_unit: 3\n  - look_at_cell: [2, 5]\n  - lens_enum: 'telephoto'\n  - fov_deg: 25\n  - framing_notes: 'Narrow local coverage from unit 3 toward marker 5 within unit 3 supports the close framing of S8_Shot14. The supplied cells establish the plan-view position only; floor-level height, exact edge placement, and handheld motion are not encoded by this readback.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show a narrow portion of unit 3 around marker 5 and the immediately adjacent floor. Preserve L16B01's fixed placement of marker 5 at [2,5], marker 6 at [1,4], and marker 7 at [2,4], even when those elements fall outside the crop. Unit 3 remains part of the same continuous layout; do not imply that the reference's other units or opening 4 are visible in this narrow local view.\n  - camera_framing_directive: Use camera unit 3 at [1,7], looking within unit 3 toward [2,5], with a telephoto lens and exactly 25-degree FOV for narrow, compressed coverage. Prioritize the local floor context and only the portion of marker 5 supported by that cone. The shot requests a partial end and underside at the far-left edge, but the supplied plan-view geometry does not guarantee that edge placement; preserve the fixed layout rather than shifting marker 5.\n  - subject_position_directive: S8_Shot14 commits one subject hunched over the other, with the upper subject's face and neck in the upper central region and the supine subject's shoulder and upturned profile at the lower-right edge. Reserve space for the grip below and their opposed downward and upward eyelines. These are shot-layer cues only: keep the clean background free of baked-in or invented subjects.\n  - state_cue_directive: No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Preserve the shot's subdued ambient exposure without adding a new light source. Keep markers 5 and 6 in their persistent positions; the staged floor action does not establish structural damage or a fixture rearrangement.\n  - negative_continuity_directive: The ignore and ignored-overlay lists are empty. Avoid moving or resizing markers 5 and 6 relative to L16B01, importing L16B01's subject-layer arrangement, forcing marker 7 or opening 4 into the narrow cone, or substituting the earlier distant view for this local camera view. Do not add transient overlays or unsupported structural changes.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L16B01' physical_space_id='fp_refugee_court_interior:space_1'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [1, 7]\n  - look_at_unit: 3\n  - look_at_cell: [2, 5]\n  - lens_enum: 'telephoto'\n  - fov_deg: 25\n  - framing_notes: 'Narrow local coverage from unit 3 toward marker 5 within unit 3 supports the close framing of S8_Shot14. The supplied cells establish the plan-view position only; floor-level height, exact edge placement, and handheld motion are not encoded by this readback.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show a narrow portion of unit 3 around marker 5 and the immediately adjacent floor. Preserve L16B01's fixed placement of marker 5 at [2,5], marker 6 at [1,4], and marker 7 at [2,4], even when those elements fall outside the crop. Unit 3 remains part of the same continuous layout; do not imply that the reference's other units or opening 4 are visible in this narrow local view.\n  - camera_framing_directive: Use camera unit 3 at [1,7], looking within unit 3 toward [2,5], with a telephoto lens and exactly 25-degree FOV for narrow, compressed coverage. Prioritize the local floor context and only the portion of marker 5 supported by that cone. The shot requests a partial end and underside at the far-left edge, but the supplied plan-view geometry does not guarantee that edge placement; preserve the fixed layout rather than shifting marker 5.\n  - subject_position_directive: S8_Shot14 commits one subject hunched over the other, with the upper subject's face and neck in the upper central region and the supine subject's shoulder and upturned profile at the lower-right edge. Reserve space for the grip below and their opposed downward and upward eyelines. These are shot-layer cues only: keep the clean background free of baked-in or invented subjects.\n  - state_cue_directive: No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Preserve the shot's subdued ambient exposure without adding a new light source. Keep markers 5 and 6 in their persistent positions; the staged floor action does not establish structural damage or a fixture rearrangement.\n  - negative_continuity_directive: The ignore and ignored-overlay lists are empty. Avoid moving or resizing markers 5 and 6 relative to L16B01, importing L16B01's subject-layer arrangement, forcing marker 7 or opening 4 into the narrow cone, or substituting the earlier distant view for this local camera view. Do not add transient overlays or unsupported structural changes.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L16B01' physical_space_id='fp_refugee_court_interior:space_1'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [1, 7]\n  - look_at_unit: 3\n  - look_at_cell: [2, 5]\n  - lens_enum: 'telephoto'\n  - fov_deg: 25\n  - framing_notes: 'Narrow local coverage from unit 3 toward marker 5 within unit 3 supports the close framing of S8_Shot14. The supplied cells establish the plan-view position only; floor-level height, exact edge placement, and handheld motion are not encoded by this readback.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show a narrow portion of unit 3 around marker 5 and the immediately adjacent floor. Preserve L16B01's fixed placement of marker 5 at [2,5], marker 6 at [1,4], and marker 7 at [2,4], even when those elements fall outside the crop. Unit 3 remains part of the same continuous layout; do not imply that the reference's other units or opening 4 are visible in this narrow local view.\n  - camera_framing_directive: Use camera unit 3 at [1,7], looking within unit 3 toward [2,5], with a telephoto lens and exactly 25-degree FOV for narrow, compressed coverage. Prioritize the local floor context and only the portion of marker 5 supported by that cone. The shot requests a partial end and underside at the far-left edge, but the supplied plan-view geometry does not guarantee that edge placement; preserve the fixed layout rather than shifting marker 5.\n  - subject_position_directive: S8_Shot14 commits one subject hunched over the other, with the upper subject's face and neck in the upper central region and the supine subject's shoulder and upturned profile at the lower-right edge. Reserve space for the grip below and their opposed downward and upward eyelines. These are shot-layer cues only: keep the clean background free of baked-in or invented subjects.\n  - state_cue_directive: No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Preserve the shot's subdued ambient exposure without adding a new light source. Keep markers 5 and 6 in their persistent positions; the staged floor action does not establish structural damage or a fixture rearrangement.\n  - negative_continuity_directive: The ignore and ignored-overlay lists are empty. Avoid moving or resizing markers 5 and 6 relative to L16B01, importing L16B01's subject-layer arrangement, forcing marker 7 or opening 4 into the narrow cone, or substituting the earlier distant view for this local camera view. Do not add transient overlays or unsupported structural changes.\n\n2069년 대한민국의 자원이 넉넉하지 않은 법정 내부, 북쪽 재판 업무 구역을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 미래의 공간이지만 오래 사용한 실용적인 행정 가구와 소박한 마감이 남아 있다. 동서 방향으로 놓인 재판관 탁자와 그 북쪽에서 남쪽을 향하는 의자, 의자 동쪽의 비어 있는 바닥을 평면도에 표시된 상대적 위치에 맞춰 담는다. 탁자 양 끝의 통행 공간을 유지한다.\n탁자 동쪽에서 북서쪽을 향해 바라보며, 실제 미러리스 카메라의 약 35밀리미터 렌즈를 지상 약 1.6미터의 선 사람 눈높이에 둔다. 카메라를 조금 아래로 향하여 의자 동쪽 바닥이 화면 중앙과 아래쪽에 넉넉히 보이도록 한다. 의자와 탁자의 동쪽 끝이 위치 관계를 알아볼 수 있는 기준으로 함께 들어온다. 수직으로 내려다보는 구도나 평면도, 건축 도해가 아닌 실제 실내 원근을 가진 사진이다.\n차분한 낮의 확산 자연광이 바닥과 가구에 부드럽게 닿고, 탁자 아래에는 실제적인 약한 그림자가 생긴다. 무광 바닥의 미세한 표면 질감, 탁자의 나뭇결과 오래 사용한 가장자리, 의자의 실제 재료 질감이 과장 없이 드러난다. 공간은 정돈되어 있고 평온한 상태다. 사람, 얼굴, 사람 몸 모양의 형상은 일절 담지 않는 빈 배경이다. 자연스러운 피사계 심도와 현실적인 노출을 유지하며, 인위적인 색 보정이나 과장된 조명 없이 실제 현장 기록 사진처럼 보이게 한다. 광고용으로 말끔하게 연출한 사진이나 컴퓨터 합성 이미지, 삽화, 건축 시각화가 아니다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 3,
          "camera_cell": [
            1,
            7
          ],
          "look_at_unit": 3,
          "look_at_cell": [
            2,
            5
          ],
          "lens_enum": "telephoto",
          "fov_deg": 25,
          "framing_notes": "Narrow local coverage from unit 3 toward marker 5 within unit 3 supports the close framing of S8_Shot14. The supplied cells establish the plan-view position only; floor-level height, exact edge placement, and handheld motion are not encoded by this readback."
        },
        "shot_aware_plan_node_index": 1,
        "shot_aware_plan_mode": "same_physical_space_view",
        "render_guidance": {
          "visible_space_directive": "Show a narrow portion of unit 3 around marker 5 and the immediately adjacent floor. Preserve L16B01's fixed placement of marker 5 at [2,5], marker 6 at [1,4], and marker 7 at [2,4], even when those elements fall outside the crop. Unit 3 remains part of the same continuous layout; do not imply that the reference's other units or opening 4 are visible in this narrow local view.",
          "camera_framing_directive": "Use camera unit 3 at [1,7], looking within unit 3 toward [2,5], with a telephoto lens and exactly 25-degree FOV for narrow, compressed coverage. Prioritize the local floor context and only the portion of marker 5 supported by that cone. The shot requests a partial end and underside at the far-left edge, but the supplied plan-view geometry does not guarantee that edge placement; preserve the fixed layout rather than shifting marker 5.",
          "subject_position_directive": "S8_Shot14 commits one subject hunched over the other, with the upper subject's face and neck in the upper central region and the supine subject's shoulder and upturned profile at the lower-right edge. Reserve space for the grip below and their opposed downward and upward eyelines. These are shot-layer cues only: keep the clean background free of baked-in or invented subjects.",
          "state_cue_directive": "No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Preserve the shot's subdued ambient exposure without adding a new light source. Keep markers 5 and 6 in their persistent positions; the staged floor action does not establish structural damage or a fixture rearrangement.",
          "negative_continuity_directive": "The ignore and ignored-overlay lists are empty. Avoid moving or resizing markers 5 and 6 relative to L16B01, importing L16B01's subject-layer arrangement, forcing marker 7 or opening 4 into the narrow cone, or substituting the earlier distant view for this local camera view. Do not add transient overlays or unsupported structural changes."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_refugee_court_interior",
          "prior_bg_ids": [
            "L16B01"
          ],
          "attached_ref_labels": [
            "bg:L16B01"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L16B03": {
        "status": "ok",
        "location_id": "L16",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L16B03.png",
        "t2i_prompt": "수십 년 전 미국 도시의 밤거리를 담은, 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 흑백 사진. 법정이나 실내가 아닌 과거의 야외 거리이며, 사람이 전혀 없는 배경만 촬영한다. 특정 도시의 명소 없이 오래된 벽돌 상가 외벽, 금속 틀의 어두운 상점 창문과 출입문, 콘크리트 보도와 턱, 그 옆의 아스팔트 차도가 이어지는 일상적인 미국 도시 가로다. 가로등과 보도 가장자리의 소화전, 차도 측 배수구가 공간의 규모를 보여준다. 미래형 장치나 공중 정보창은 없다.\n카메라는 보도와 차도의 경계 가까이, 서 있는 사람의 눈높이 약 1.6미터에 두고 35밀리미터급 렌즈로 거리의 안쪽을 바라본다. 시선을 완만하게 아래로 기울여 화면 중앙부터 하단에 비어 있는 거리 바닥을 넓게 확보한다. 중심 바닥에는 큰 물체를 두지 않고, 가장자리의 보도 턱과 뒤쪽 상가가 깊이를 만든다. 수직으로 내려다보는 시점이 아니라 건물 외벽과 거리의 원근이 함께 보이는 지상 촬영이다.\n악몽 회상의 끊기는 순간 중 하나를 포착한다. 약한 가로등의 실제 야간 환경광 속에서, 화면 밖 총격에 의한 짧은 백색 섬광이 보도와 아스팔트 일부를 순간적으로 밝히고 보도 턱 뒤에 날카로운 그림자를 만든다. 광원이 꺼진 주변의 어둠과 순간적으로 드러난 바닥의 밝기 차이로 불연속적인 조명을 표현하되, 여러 순간을 한 장에 겹치거나 화면을 분할하지 않는다. 총기나 사수는 보이지 않는다. 색조를 입히지 않은 순수 흑백이며 밝은 부분에도 포장재의 거친 입자가 남는다.\n실제 콘크리트의 잔균열과 이음매, 아스팔트의 골재와 오래된 보수 자국, 벽돌 줄눈, 금속의 산화 흔적, 창유리에 쌓인 먼지와 생활 얼룩을 사실적으로 기록한다. 실제 렌즈의 자연스러운 피사계 심도로 중앙 바닥의 질감은 선명하고 먼 거리의 세부는 조금 부드러워진다. 인물, 얼굴, 사람 모양의 그림자나 반사상, 시신, 혈흔은 전혀 없다. 과장된 폐허나 임의의 폭발은 추가하지 않는다. 인공적인 보정이나 미화 없이 실제 장소에서 촬영한 기록 사진과 구별되지 않아야 하며, 삽화나 건축 시각화가 아니다. 평면도나 조감도가 아닌 16:9 가로 비율, 실제 카메라 촬영본.",
        "shot_guides": [
          {
            "shot_id": "S8_Shot19",
            "guide_text": "서 있는 눈높이의 35밀리미터급 지상 시점에서 약간 아래를 향해, 중앙과 하단의 빈 거리 바닥이 중심이 되도록 잡는다. 보도 턱과 뒤쪽 상가로 거리의 깊이와 미국 도시의 생활 환경을 드러낸다. 배경에는 성인이나 아이를 포함한 어떠한 인물도 그리지 않는다. 흑백 상태를 유지하고 화면 밖 총격 섬광이 바닥을 순간적으로 밝힌 한 시점만 포착한다. 끊기는 영상은 후속 편집에서 노출이 다른 순간을 교차하는 방식으로 연결할 수 있도록 하며, 배경 자체에 잔상이나 분할 화면을 새기지 않는다. 법정이나 현재 공간의 요소를 섞지 않는다."
          }
        ],
        "shot_ids": [
          "S8_Shot19"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {},
        "reference_decision": {
          "mode": "surface_role_direct_plate",
          "surface_role": "exterior_plate",
          "fp_id": "",
          "source_bg_ids": []
        },
        "effective_render_prompt": "수십 년 전 미국 도시의 밤거리를 담은, 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 흑백 사진. 법정이나 실내가 아닌 과거의 야외 거리이며, 사람이 전혀 없는 배경만 촬영한다. 특정 도시의 명소 없이 오래된 벽돌 상가 외벽, 금속 틀의 어두운 상점 창문과 출입문, 콘크리트 보도와 턱, 그 옆의 아스팔트 차도가 이어지는 일상적인 미국 도시 가로다. 가로등과 보도 가장자리의 소화전, 차도 측 배수구가 공간의 규모를 보여준다. 미래형 장치나 공중 정보창은 없다.\n카메라는 보도와 차도의 경계 가까이, 서 있는 사람의 눈높이 약 1.6미터에 두고 35밀리미터급 렌즈로 거리의 안쪽을 바라본다. 시선을 완만하게 아래로 기울여 화면 중앙부터 하단에 비어 있는 거리 바닥을 넓게 확보한다. 중심 바닥에는 큰 물체를 두지 않고, 가장자리의 보도 턱과 뒤쪽 상가가 깊이를 만든다. 수직으로 내려다보는 시점이 아니라 건물 외벽과 거리의 원근이 함께 보이는 지상 촬영이다.\n악몽 회상의 끊기는 순간 중 하나를 포착한다. 약한 가로등의 실제 야간 환경광 속에서, 화면 밖 총격에 의한 짧은 백색 섬광이 보도와 아스팔트 일부를 순간적으로 밝히고 보도 턱 뒤에 날카로운 그림자를 만든다. 광원이 꺼진 주변의 어둠과 순간적으로 드러난 바닥의 밝기 차이로 불연속적인 조명을 표현하되, 여러 순간을 한 장에 겹치거나 화면을 분할하지 않는다. 총기나 사수는 보이지 않는다. 색조를 입히지 않은 순수 흑백이며 밝은 부분에도 포장재의 거친 입자가 남는다.\n실제 콘크리트의 잔균열과 이음매, 아스팔트의 골재와 오래된 보수 자국, 벽돌 줄눈, 금속의 산화 흔적, 창유리에 쌓인 먼지와 생활 얼룩을 사실적으로 기록한다. 실제 렌즈의 자연스러운 피사계 심도로 중앙 바닥의 질감은 선명하고 먼 거리의 세부는 조금 부드러워진다. 인물, 얼굴, 사람 모양의 그림자나 반사상, 시신, 혈흔은 전혀 없다. 과장된 폐허나 임의의 폭발은 추가하지 않는다. 인공적인 보정이나 미화 없이 실제 장소에서 촬영한 기록 사진과 구별되지 않아야 하며, 삽화나 건축 시각화가 아니다. 평면도나 조감도가 아닌 16:9 가로 비율, 실제 카메라 촬영본.\n\nOne attached image is a PHOTOREAL RENDER of the SAME building/site this scene belongs to — it may show the outside while this scene is inside, or another part of the same place. Treat it as the BUILDING IDENTITY reference. Keep this render consistent with it: the same era, age and state of repair, the same palette and material quality, the same window and door frame styles, and anything visible through openings (windows, doorways, passages) must belong to that same building and its surroundings. Lettering visible in the reference is reproduced EXACTLY — same characters, same mark, same position; never invent different wording from render to render. Lighting and time of day follow THIS prompt. Do NOT copy the reference's composition, framing or camera angle; only the building's physical identity carries over.",
        "shot_aware_plan_mode": "surface_role_direct_plate",
        "attached_reference_lineage": {
          "fp_id": "",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "building_anchor:L18B01"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        },
        "building_anchor_ref": {
          "anchor_bg_id": "L18B01",
          "group_id": "bg_refugee_court"
        }
      },
      "L18B01": {
        "status": "ok",
        "location_id": "L18",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L18B01.png",
        "t2i_prompt": "2069년 대한민국의 자원이 부족한 지역에 있는 황폐한 야외 쓰레기 적치 공간을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 인물 없는 어두운 야간의 실제 장소 기록 사진으로, 미래라는 이유로 새로운 설비나 장식을 보태지 않는다. 참고 평면도는 공간의 배치 관계를 파악하는 데만 사용한다. 남쪽 열린 통행 공간의 남서쪽 가장자리에서 북동쪽을 바라본다. 실제 미러리스 카메라와 35밀리미터급인 32밀리미터 광각 렌즈를 사용하고, 약 1.6미터의 서 있는 사람 눈높이에서 시선을 조금 낮추어 가까운 바닥까지 담는다. 중앙의 빈 바닥이 화면 아래쪽 중앙에 넓게 드러나며 남쪽 통행 공간과 이어진다. 서쪽의 기존 쓰레기 더미는 화면 왼쪽 가장자리에, 북쪽 더미는 중앙 빈터 뒤에, 동쪽 더미는 오른쪽 뒤에 놓여 빈터를 둘러싼다. 동쪽 더미 바로 남쪽의 작은 맨땅 공간은 화면 오른쪽에 분명히 보이게 한다. 기존 더미의 덩어리감과 바닥의 거친 표면을 과장 없이 표현한다. 오랜 풍화와 일상적인 사용감은 재료 자체의 질감으로만 드러낸다. 공간은 기존 배치가 흐트러지지 않은 정돈된 상태다. 밤하늘의 약한 자연광이 더미의 윗면과 바닥을 희미하게 구분하며, 깊은 그늘에도 실제 야간 촬영에서 읽힐 정도의 표면 정보가 남는다. 과장된 푸른 조명 없이 낮은 조도의 자연스러운 색과 명암, 실제 렌즈의 원근감과 자연스러운 피사계 심도를 유지한다. 사람, 얼굴, 사람 몸을 닮은 형상은 포함하지 않는다. 후처리로 꾸미지 않은 현장 사진이며, 매끈한 광고 사진이나 컴퓨터 생성 이미지, 삽화, 건축 시각화가 아니다. 위에서 내려다보는 시점이나 평면도 구도가 아닌 지상 시점의 사진. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S9_Shot1",
            "guide_text": "공통 배경의 기준 구도를 사용한다. 중앙 빈터를 화면 아래쪽 중앙에 확보하고, 왼쪽 가장자리의 더미와 뒤쪽을 둘러싼 더미가 공간 관계를 설명하게 한다. 오른쪽 맨땅 공간과 남쪽으로 이어지는 통행 공간을 함께 남긴다. 인물이나 장면별 소품은 배경에 포함하지 않는다."
          },
          {
            "shot_id": "S9_Shot6",
            "guide_text": "남서쪽에서 북동쪽을 보는 방향과 동일한 야간 조명을 유지한다. 화면 범위를 조절하더라도 중앙 바닥과 오른쪽 맨땅 공간의 연결 관계, 뒤쪽 더미의 윤곽을 바꾸지 않는다. 전경 동작을 위한 여백은 유지하되 해당 소품을 배경에 그려 넣지 않는다."
          },
          {
            "shot_id": "S9_Shot8",
            "guide_text": "앞선 장면과 같은 더미 배치와 바닥 상태를 유지한다. 오른쪽 맨땅 공간이 동쪽 더미 바로 앞에 있다는 관계를 명확히 보이고 중앙 빈터를 가리지 않는다. 장면별 소품의 이동이나 결과를 공통 배경의 영구적인 상태로 반영하지 않는다."
          }
        ],
        "shot_ids": [
          "S9_Shot1",
          "S9_Shot6",
          "S9_Shot8"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "At the southwest edge of number 6 (open walking clearance), facing northeast across number 4 (central ground clearing) toward numbers 1 and 3 (heap footprints), with number 5 (bare-ground landing pocket) on the right.",
          "camera_height": "Low standing viewpoint, approximately 1.2 m",
          "lens_hint": "32mm wide angle",
          "framing_notes": "Maintain this shared background orientation across all referenced shots. Keep number 4 unobstructed in the lower middle, number 5 visible at right, number 2 along the left edge, and the heap footprints enclosing the background. Preserve the same heap and ground arrangement; wallet actions belong to shot-specific foreground content rather than a permanently discarded wallet in the background."
        },
        "reference_decision": {
          "mode": "camera_geometry_direct_plate",
          "surface_role": "exterior_plate",
          "fp_id": "",
          "source_bg_ids": []
        },
        "effective_render_prompt": "2069년 대한민국의 자원이 부족한 지역에 있는 황폐한 야외 쓰레기 적치 공간을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 인물 없는 어두운 야간의 실제 장소 기록 사진으로, 미래라는 이유로 새로운 설비나 장식을 보태지 않는다. 참고 평면도는 공간의 배치 관계를 파악하는 데만 사용한다. 남쪽 열린 통행 공간의 남서쪽 가장자리에서 북동쪽을 바라본다. 실제 미러리스 카메라와 35밀리미터급인 32밀리미터 광각 렌즈를 사용하고, 약 1.6미터의 서 있는 사람 눈높이에서 시선을 조금 낮추어 가까운 바닥까지 담는다. 중앙의 빈 바닥이 화면 아래쪽 중앙에 넓게 드러나며 남쪽 통행 공간과 이어진다. 서쪽의 기존 쓰레기 더미는 화면 왼쪽 가장자리에, 북쪽 더미는 중앙 빈터 뒤에, 동쪽 더미는 오른쪽 뒤에 놓여 빈터를 둘러싼다. 동쪽 더미 바로 남쪽의 작은 맨땅 공간은 화면 오른쪽에 분명히 보이게 한다. 기존 더미의 덩어리감과 바닥의 거친 표면을 과장 없이 표현한다. 오랜 풍화와 일상적인 사용감은 재료 자체의 질감으로만 드러낸다. 공간은 기존 배치가 흐트러지지 않은 정돈된 상태다. 밤하늘의 약한 자연광이 더미의 윗면과 바닥을 희미하게 구분하며, 깊은 그늘에도 실제 야간 촬영에서 읽힐 정도의 표면 정보가 남는다. 과장된 푸른 조명 없이 낮은 조도의 자연스러운 색과 명암, 실제 렌즈의 원근감과 자연스러운 피사계 심도를 유지한다. 사람, 얼굴, 사람 몸을 닮은 형상은 포함하지 않는다. 후처리로 꾸미지 않은 현장 사진이며, 매끈한 광고 사진이나 컴퓨터 생성 이미지, 삽화, 건축 시각화가 아니다. 위에서 내려다보는 시점이나 평면도 구도가 아닌 지상 시점의 사진. 16:9 가로 비율, 실제 카메라 촬영본\n\nThe LAST attached image is a TOP-DOWN INTERIOR FLOOR PLAN of the building at this location — a STRUCTURAL REFERENCE ONLY, never content to draw. It defines the building's real scale: its footprint, room count, and the placement of its doors and windows. Render the scene so the building's exterior size, number of storeys, and the scale and placement of its doors and windows stay consistent with that plan. Do NOT draw the floor plan itself, its lines, text or numbers anywhere in the image.",
        "shot_aware_plan_mode": "camera_geometry_direct_plate",
        "attached_reference_lineage": {
          "fp_id": "",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "building_fp:fp_refugee_court_interior"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        },
        "building_fp_ref": {
          "fp_id": "fp_refugee_court_interior",
          "indoor_loc_sid": "L16",
          "group_id": "bg_refugee_court",
          "fp_asset_id": "b3ef6b38-0406-4eef-a653-9a728c01d40e"
        },
        "render_degraded": true,
        "fallback_reason": "no_viable_camera_look_at_pair",
        "source_fp_id": "fp_refugee_court_dump"
      },
      "L19B02": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L19",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L19B02.png",
        "t2i_prompt": "2069년 대한민국의 생활 여건이 열악한 지역에 남아 있는 허름한 소규모 식당 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 미래에도 오래된 식당 집기와 건축 마감이 계속 사용되는 소박한 공간으로, 첨단 설비를 임의로 추가하지 않는다. 사람이 없는 조용한 밤의 실내이며, 외진 구석의 탁자가 중심이다.\n\n참조 평면도는 공간과 기존 집기의 상대적 위치를 파악하는 데만 사용한다. 중앙과 서쪽의 공용 식사 공간에서 북동쪽 구석을 비스듬히 바라본다. 높이 약 1.6미터의 서 있는 사람 눈높이에 놓인 실제 미러리스 카메라, 환산 35밀리미터 렌즈로 촬영한다. 왼쪽에는 서쪽 중앙의 공용 탁자와 그 북쪽·남쪽 의자가 보이고, 중앙 접근 통로 너머로 같은 열린 실내의 북동쪽 끝에 있는 외진 탁자가 보인다. 외진 탁자의 긴 변은 동서 방향이며 남쪽과 서쪽 접근 공간을 확보한다. 탁자 북쪽 의자는 남쪽을, 남쪽 의자는 북쪽을 향한다. 북쪽 의자 뒤와 북쪽 벽 사이에는 여유 공간이 보인다. 북쪽 벽 높은 곳, 외진 탁자 중심선보다 약간 서쪽에 기존의 붉은 경고등 기구가 달려 있다. 경고등은 꺼져 있으며 붉은 덮개에는 주변의 약한 실내광만 은은하게 반사된다.\n\n외진 탁자 위에는 돈 봉투 하나가 놓여 있다. 봉투는 이번 순간에 잠시 놓인 물건으로 표현하며, 탁자 위 특정 좌표에 붙박이처럼 고정된 것으로 취급하지 않는다. 봉투를 잡은 손이나 거래 당사자는 표현하지 않는다.\n\n낡은 한국 동네 식당에서 볼 법한 도장된 미장 벽, 오래 사용한 나무 탁자의 결 및 닳은 가장자리, 의자 금속 부분의 생활 마모를 실제 재료 그대로 담는다. 벽과 집기에는 오랜 사용에 따른 옅은 얼룩과 마감의 불균일함이 있으나 과장된 폐허로 만들지 않는다. 밤의 약한 주변 실내광이 벽과 탁자에 자연스럽게 번지며, 구석은 공용 공간보다 조금 어둡지만 봉투와 의자 배치를 알아볼 수 있다. 실제 현장의 광량 차이와 자연스러운 그림자, 무리 없는 노출과 자연스러운 피사계 심도를 유지한다. 재료를 매끈하게 미화하거나 색을 과도하게 보정하지 않은 실제 장소 기록 사진이어야 한다. 사람, 얼굴, 사람 형태의 형상은 반사상까지 포함해 전혀 없다. 위에서 내려다보는 구도나 평면도, 건축 도식이 아니라 현장에서 수평에 가깝게 바라본 사진이며, 삽화나 컴퓨터 합성 이미지, 건축 시각화가 아니다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S10_Shot1",
            "guide_text": "공용 공간에서 북동쪽 외진 탁자를 보는 눈높이 구도를 기준으로 사용한다. 왼쪽 공용 탁자, 중앙 통로, 외진 탁자와 마주 보는 두 의자, 북쪽 벽의 꺼진 경고등이 같은 공간으로 읽히게 한다. 외진 탁자 위 봉투는 하나만 두고 인물이나 손은 배경에 포함하지 않는다."
          },
          {
            "shot_id": "S10_Shot5",
            "guide_text": "같은 밤의 조도와 낡은 벽·탁자 재질, 의자 배치 및 경고등의 소등 상태를 유지한다. 구도를 잘라 사용할 때에도 외진 탁자와 북쪽 벽의 위치 관계를 바꾸지 않는다. 별도의 세부 동작 정보가 없으므로 봉투는 탁자 위에 놓인 상태를 기준으로 하며, 배경에 손이나 인물을 추가하거나 봉투를 중복 생성하지 않는다."
          }
        ],
        "shot_ids": [
          "S10_Shot1",
          "S10_Shot5"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Inside number 1, just northeast of number 2, facing diagonally northeast toward number 5 and number 8, with number 9 along the left side.",
          "camera_height": "Standing eye level, approximately 1.5–1.6 m",
          "lens_hint": "32–35mm equivalent wide-normal lens",
          "framing_notes": "Use one stable establishing composition for both assigned shots. Show the secluded table, opposing chairs, adjacent wall, unlit warning fixture, and part of the shared dining arrangement. Keep the entrance behind the camera. Number 12 belongs to the transaction overlay and must follow shot-specific handling, not appear as a permanently attached tabletop object. Number 8 remains physically present but inactive; no red spill."
        },
        "reference_decision": {
          "bg_id": "L19B02",
          "fp_id": "fp_alley_restaurant",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L19B02 is in the supplied fallback anchor candidate set and provides the broader structural coverage for establishing identity. Its clean_background_expected flag is false, so marker 12 remains a shot-specific overlay rather than fixed identity. The unit 1 camera looking toward marker 5 in unit 3 supports the aisle establishment in S10_Shot1. S10_Shot5 supplies a closer, lower shot-specific treatment of that same arrangement; the single planned camera represents the establishment rather than claiming to encode both shot framings.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/floor_plan/fp_alley_restaurant.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "Seed the fixed identity directly from the floor plan; the same-fp reference catalog is empty.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 1,
            "camera_cell": [
              5,
              4
            ],
            "look_at_unit": 3,
            "look_at_cell": [
              1,
              6
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad diagonal coverage from unit 1 toward marker 5 in unit 3, retaining foreground approach space and the opposing seating arrangement. This is the establishment plate; the close tabletop framing in S10_Shot5 is a separate consuming-shot requirement."
          },
          "render_guidance": {
            "visible_space_directive": "Show the forward portion of unit 1 leading into unit 3, centered on marker 5 with markers 6, 7 and 8 in their floor-plan positions where included by the view. Retain the committed arrangement of markers 9, 10 and 11 in unit 1 without forcing off-cone elements into frame. The visibility supersets do not require unit 2 or opening 4 to appear.",
            "camera_framing_directive": "Use camera unit 1 at [5, 4], looking toward unit 3 at [1, 6], with a wide 90-degree field of view. Provide broad, diagonal establishment coverage consistent with S10_Shot1 and its slightly high three-quarter staging. Preserve the spatial arrangement for the closer S10_Shot5 treatment without combining its low tabletop crop with the establishment in one image.",
            "subject_position_directive": "For S10_Shot1, preserve space for the committed seated subject in the right middle ground, chin in palm and gaze lowered, with the opposite position empty on the left. For S10_Shot5, preserve the opposing forearm positions across marker 5, with the pulling action toward screen right and the reaching fingers on the left; faces remain above that shot's crop. These are shot-specific placements, not simultaneous additional occupants.",
            "state_cue_directive": "Maintain the supplied subdued ambient treatment. Marker 12 is a transient overlay for the S10_Shot5 exchange: its oblique broad face moves toward middle-right, occupies less than a quarter of that shot, and requires no readable markings. Do not treat this action or subject occupancy as permanent structural identity. Marker 13 is excluded.",
            "negative_continuity_directive": "Exclude marker 13 and its state overlay. Avoid fixing marker 12 into the permanent layout, merging the two consuming-shot subject states, moving markers 5 through 11 to satisfy a crop, or adding unit 2 and opening 4 solely because they appear in visibility supersets."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [5, 4]\n  - look_at_unit: 3\n  - look_at_cell: [1, 6]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad diagonal coverage from unit 1 toward marker 5 in unit 3, retaining foreground approach space and the opposing seating arrangement. This is the establishment plate; the close tabletop framing in S10_Shot5 is a separate consuming-shot requirement.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward portion of unit 1 leading into unit 3, centered on marker 5 with markers 6, 7 and 8 in their floor-plan positions where included by the view. Retain the committed arrangement of markers 9, 10 and 11 in unit 1 without forcing off-cone elements into frame. The visibility supersets do not require unit 2 or opening 4 to appear.\n  - camera_framing_directive: Use camera unit 1 at [5, 4], looking toward unit 3 at [1, 6], with a wide 90-degree field of view. Provide broad, diagonal establishment coverage consistent with S10_Shot1 and its slightly high three-quarter staging. Preserve the spatial arrangement for the closer S10_Shot5 treatment without combining its low tabletop crop with the establishment in one image.\n  - subject_position_directive: For S10_Shot1, preserve space for the committed seated subject in the right middle ground, chin in palm and gaze lowered, with the opposite position empty on the left. For S10_Shot5, preserve the opposing forearm positions across marker 5, with the pulling action toward screen right and the reaching fingers on the left; faces remain above that shot's crop. These are shot-specific placements, not simultaneous additional occupants.\n  - state_cue_directive: Maintain the supplied subdued ambient treatment. Marker 12 is a transient overlay for the S10_Shot5 exchange: its oblique broad face moves toward middle-right, occupies less than a quarter of that shot, and requires no readable markings. Do not treat this action or subject occupancy as permanent structural identity. Marker 13 is excluded.\n  - negative_continuity_directive: Exclude marker 13 and its state overlay. Avoid fixing marker 12 into the permanent layout, merging the two consuming-shot subject states, moving markers 5 through 11 to satisfy a crop, or adding unit 2 and opening 4 solely because they appear in visibility supersets.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [5, 4]\n  - look_at_unit: 3\n  - look_at_cell: [1, 6]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad diagonal coverage from unit 1 toward marker 5 in unit 3, retaining foreground approach space and the opposing seating arrangement. This is the establishment plate; the close tabletop framing in S10_Shot5 is a separate consuming-shot requirement.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward portion of unit 1 leading into unit 3, centered on marker 5 with markers 6, 7 and 8 in their floor-plan positions where included by the view. Retain the committed arrangement of markers 9, 10 and 11 in unit 1 without forcing off-cone elements into frame. The visibility supersets do not require unit 2 or opening 4 to appear.\n  - camera_framing_directive: Use camera unit 1 at [5, 4], looking toward unit 3 at [1, 6], with a wide 90-degree field of view. Provide broad, diagonal establishment coverage consistent with S10_Shot1 and its slightly high three-quarter staging. Preserve the spatial arrangement for the closer S10_Shot5 treatment without combining its low tabletop crop with the establishment in one image.\n  - subject_position_directive: For S10_Shot1, preserve space for the committed seated subject in the right middle ground, chin in palm and gaze lowered, with the opposite position empty on the left. For S10_Shot5, preserve the opposing forearm positions across marker 5, with the pulling action toward screen right and the reaching fingers on the left; faces remain above that shot's crop. These are shot-specific placements, not simultaneous additional occupants.\n  - state_cue_directive: Maintain the supplied subdued ambient treatment. Marker 12 is a transient overlay for the S10_Shot5 exchange: its oblique broad face moves toward middle-right, occupies less than a quarter of that shot, and requires no readable markings. Do not treat this action or subject occupancy as permanent structural identity. Marker 13 is excluded.\n  - negative_continuity_directive: Exclude marker 13 and its state overlay. Avoid fixing marker 12 into the permanent layout, merging the two consuming-shot subject states, moving markers 5 through 11 to satisfy a crop, or adding unit 2 and opening 4 solely because they appear in visibility supersets.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [5, 4]\n  - look_at_unit: 3\n  - look_at_cell: [1, 6]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad diagonal coverage from unit 1 toward marker 5 in unit 3, retaining foreground approach space and the opposing seating arrangement. This is the establishment plate; the close tabletop framing in S10_Shot5 is a separate consuming-shot requirement.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward portion of unit 1 leading into unit 3, centered on marker 5 with markers 6, 7 and 8 in their floor-plan positions where included by the view. Retain the committed arrangement of markers 9, 10 and 11 in unit 1 without forcing off-cone elements into frame. The visibility supersets do not require unit 2 or opening 4 to appear.\n  - camera_framing_directive: Use camera unit 1 at [5, 4], looking toward unit 3 at [1, 6], with a wide 90-degree field of view. Provide broad, diagonal establishment coverage consistent with S10_Shot1 and its slightly high three-quarter staging. Preserve the spatial arrangement for the closer S10_Shot5 treatment without combining its low tabletop crop with the establishment in one image.\n  - subject_position_directive: For S10_Shot1, preserve space for the committed seated subject in the right middle ground, chin in palm and gaze lowered, with the opposite position empty on the left. For S10_Shot5, preserve the opposing forearm positions across marker 5, with the pulling action toward screen right and the reaching fingers on the left; faces remain above that shot's crop. These are shot-specific placements, not simultaneous additional occupants.\n  - state_cue_directive: Maintain the supplied subdued ambient treatment. Marker 12 is a transient overlay for the S10_Shot5 exchange: its oblique broad face moves toward middle-right, occupies less than a quarter of that shot, and requires no readable markings. Do not treat this action or subject occupancy as permanent structural identity. Marker 13 is excluded.\n  - negative_continuity_directive: Exclude marker 13 and its state overlay. Avoid fixing marker 12 into the permanent layout, merging the two consuming-shot subject states, moving markers 5 through 11 to satisfy a crop, or adding unit 2 and opening 4 solely because they appear in visibility supersets.\n\n2069년 대한민국의 생활 여건이 열악한 지역에 남아 있는 허름한 소규모 식당 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 미래에도 오래된 식당 집기와 건축 마감이 계속 사용되는 소박한 공간으로, 첨단 설비를 임의로 추가하지 않는다. 사람이 없는 조용한 밤의 실내이며, 외진 구석의 탁자가 중심이다.\n\n참조 평면도는 공간과 기존 집기의 상대적 위치를 파악하는 데만 사용한다. 중앙과 서쪽의 공용 식사 공간에서 북동쪽 구석을 비스듬히 바라본다. 높이 약 1.6미터의 서 있는 사람 눈높이에 놓인 실제 미러리스 카메라, 환산 35밀리미터 렌즈로 촬영한다. 왼쪽에는 서쪽 중앙의 공용 탁자와 그 북쪽·남쪽 의자가 보이고, 중앙 접근 통로 너머로 같은 열린 실내의 북동쪽 끝에 있는 외진 탁자가 보인다. 외진 탁자의 긴 변은 동서 방향이며 남쪽과 서쪽 접근 공간을 확보한다. 탁자 북쪽 의자는 남쪽을, 남쪽 의자는 북쪽을 향한다. 북쪽 의자 뒤와 북쪽 벽 사이에는 여유 공간이 보인다. 북쪽 벽 높은 곳, 외진 탁자 중심선보다 약간 서쪽에 기존의 붉은 경고등 기구가 달려 있다. 경고등은 꺼져 있으며 붉은 덮개에는 주변의 약한 실내광만 은은하게 반사된다.\n\n외진 탁자 위에는 돈 봉투 하나가 놓여 있다. 봉투는 이번 순간에 잠시 놓인 물건으로 표현하며, 탁자 위 특정 좌표에 붙박이처럼 고정된 것으로 취급하지 않는다. 봉투를 잡은 손이나 거래 당사자는 표현하지 않는다.\n\n낡은 한국 동네 식당에서 볼 법한 도장된 미장 벽, 오래 사용한 나무 탁자의 결 및 닳은 가장자리, 의자 금속 부분의 생활 마모를 실제 재료 그대로 담는다. 벽과 집기에는 오랜 사용에 따른 옅은 얼룩과 마감의 불균일함이 있으나 과장된 폐허로 만들지 않는다. 밤의 약한 주변 실내광이 벽과 탁자에 자연스럽게 번지며, 구석은 공용 공간보다 조금 어둡지만 봉투와 의자 배치를 알아볼 수 있다. 실제 현장의 광량 차이와 자연스러운 그림자, 무리 없는 노출과 자연스러운 피사계 심도를 유지한다. 재료를 매끈하게 미화하거나 색을 과도하게 보정하지 않은 실제 장소 기록 사진이어야 한다. 사람, 얼굴, 사람 형태의 형상은 반사상까지 포함해 전혀 없다. 위에서 내려다보는 구도나 평면도, 건축 도식이 아니라 현장에서 수평에 가깝게 바라본 사진이며, 삽화나 컴퓨터 합성 이미지, 건축 시각화가 아니다. 16:9 가로 비율, 실제 카메라 촬영본",
        "camera_decision": {
          "camera_unit": 1,
          "camera_cell": [
            5,
            4
          ],
          "look_at_unit": 3,
          "look_at_cell": [
            1,
            6
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad diagonal coverage from unit 1 toward marker 5 in unit 3, retaining foreground approach space and the opposing seating arrangement. This is the establishment plate; the close tabletop framing in S10_Shot5 is a separate consuming-shot requirement."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Show the forward portion of unit 1 leading into unit 3, centered on marker 5 with markers 6, 7 and 8 in their floor-plan positions where included by the view. Retain the committed arrangement of markers 9, 10 and 11 in unit 1 without forcing off-cone elements into frame. The visibility supersets do not require unit 2 or opening 4 to appear.",
          "camera_framing_directive": "Use camera unit 1 at [5, 4], looking toward unit 3 at [1, 6], with a wide 90-degree field of view. Provide broad, diagonal establishment coverage consistent with S10_Shot1 and its slightly high three-quarter staging. Preserve the spatial arrangement for the closer S10_Shot5 treatment without combining its low tabletop crop with the establishment in one image.",
          "subject_position_directive": "For S10_Shot1, preserve space for the committed seated subject in the right middle ground, chin in palm and gaze lowered, with the opposite position empty on the left. For S10_Shot5, preserve the opposing forearm positions across marker 5, with the pulling action toward screen right and the reaching fingers on the left; faces remain above that shot's crop. These are shot-specific placements, not simultaneous additional occupants.",
          "state_cue_directive": "Maintain the supplied subdued ambient treatment. Marker 12 is a transient overlay for the S10_Shot5 exchange: its oblique broad face moves toward middle-right, occupies less than a quarter of that shot, and requires no readable markings. Do not treat this action or subject occupancy as permanent structural identity. Marker 13 is excluded.",
          "negative_continuity_directive": "Exclude marker 13 and its state overlay. Avoid fixing marker 12 into the permanent layout, merging the two consuming-shot subject states, moving markers 5 through 11 to satisfy a crop, or adding unit 2 and opening 4 solely because they appear in visibility supersets."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_alley_restaurant",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_alley_restaurant"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L19B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L19",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L19B01.png",
        "t2i_prompt": "2069년 대한민국의 오래된 소규모 식당 내부를 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 이전 시대부터 사용해 온 소박한 구조와 집기가 남아 있는 생활 공간으로, 실제 장소 기록 사진처럼 사실적으로 표현한다. 식당의 열린 실내 동북쪽 끝에 있는 외진 식사 구역과 북쪽 벽을 담는다. 테이블의 긴 축은 동서 방향이며 남쪽과 서쪽에는 접근할 여유가 있다. 테이블 북쪽에는 남쪽을 향하는 의자가 있고, 의자 뒤와 북쪽 벽 사이에는 간격이 남아 있다. 붉은 경광등은 테이블 중심선에서 약간 서쪽으로 치우친 북쪽 벽 상부에 고정되어 있다. 이 구조와 집기의 상대적 위치는 제공된 평면도를 배치 참고로 삼는다.\n카메라는 테이블 남서쪽의 실내 동쪽 구역에 놓고, 약 1.6미터의 서 있는 사람 눈높이에서 북동쪽을 바라본다. 풀프레임 미러리스와 45~50밀리미터 표준 렌즈로 촬영한 자연스러운 원근감. 벽 상부의 경광등과 그 아래 의자 뒤쪽 벽면이 화면의 중심이 되고, 테이블과 의자의 일부가 하단에 들어와 공간의 깊이를 드러낸다. 위에서 내려다보는 구도나 평면도 표현이 아닌 수평에 가까운 실제 실내 촬영 구도다.\n밤의 약한 실내 주변광 속에서 경광등이 강하게 켜진 순간을 포착한다. 광원에서 시작된 붉은 빛이 외진 테이블 주변의 북쪽 벽으로 퍼지며, 광원 가까이는 강하고 멀어질수록 자연스럽게 약해진다. 붉은 조명 아래에서도 오래된 벽의 도장층과 콘크리트 표면, 일상적인 얼룩과 마모가 읽히게 한다. 테이블의 목재 결, 의자와 경광등 고정부의 실제 금속 표면에 남은 사용감을 사실적인 질감으로 담는다. 공간 전체를 붉게 물들이지 않고, 약한 주변광과 국소적인 붉은 반사광의 실제 밝기 차이를 유지한다. 자연스러운 피사계 심도와 광학적 번짐만 사용하고 과장된 후처리는 하지 않는다. 사람, 얼굴, 인체 형태의 형상은 전혀 없는 빈 배경이다. 그림이나 가상 건축 시각화가 아니라 실제 장소에서 촬영한 사진으로 표현한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S10_Shot10",
            "guide_text": "약 1.6미터 눈높이의 표준 렌즈 구도로 북쪽 벽 상부 경광등과 붉게 밝아진 주변 벽면을 담는다. 테이블과 북쪽 의자의 일부를 화면 하단에 남겨 같은 식당 안의 외진 구역임을 보여준다. 강하게 점등한 순간의 붉은 빛은 벽 표면을 따라 자연스럽게 감쇠하며, 낡은 표면 질감이 보일 정도로 노출을 유지한다. 기존 집기 위치를 바꾸지 않고 사람이나 인체 형태의 형상 없이 촬영한다."
          }
        ],
        "shot_ids": [
          "S10_Shot10"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "In the eastern side of number 1, southwest of number 5, facing northeast toward number 8 and the north wall behind number 6.",
          "camera_height": "Standing eye level, approximately 1.6 m",
          "lens_hint": "45–50mm equivalent normal lens",
          "framing_notes": "Frame the warning fixture and surrounding wall prominently, retaining the upper back of chair 6 and a narrow far edge of table 5 to establish unchanged geography. Crop out the tabletop transaction surface and envelope position; ignoring number 12 is a framing exclusion, not an assertion that the envelope vanished. Depict number 13 as strong red activation and wall spill only in this background overlay. Preserve the intact room: no intrusion, breakage, displaced furniture, or crowd departure."
        },
        "reference_decision": {
          "bg_id": "L19B01",
          "fp_id": "fp_alley_restaurant",
          "node_index": 1,
          "mode": "same_physical_space_view",
          "is_dwelling_identity_anchor": false,
          "rationale": "S10_Shot10 targets marker 8 and its supporting wall within the same open physical space established by L19B02. L19B02 therefore commits the fixed arrangement, but the camera moves from unit 1 to unit 3 and targets the wall-mounted fixture rather than marker 5. This is a genuinely different structural framing, not merely the addition of transient marker 13, so it requires its own plate candidate. The supplied grid supports a settled wall-facing view but does not encode the exact oblique angle or vertical placement requested by staging.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L19B02.png"
          ],
          "source_bg_ids": [
            "L19B02"
          ],
          "fp_included": false,
          "reference_decision": {
            "selected_refs": [
              {
                "ref_bg_id": "L19B02",
                "physical_space_id": "fp_alley_restaurant_space_1",
                "space_description": "The continuous physical space containing units 1 and 3 and fixed markers 5 through 11."
              }
            ],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "single_same_physical_space_reference",
            "why_single_ref_or_two_refs": "L19B02 establishes the same unit 3 arrangement needed by S10_Shot10. One reference suffices; no second distinct co-visible physical space needs a reference.",
            "physical_space_id_per_ref": [
              "fp_alley_restaurant_space_1"
            ],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 3,
            "camera_cell": [
              1,
              7
            ],
            "look_at_unit": 3,
            "look_at_cell": [
              0,
              7
            ],
            "lens_enum": "normal",
            "fov_deg": 50,
            "framing_notes": "Settled medium wall-facing coverage from unit 3 toward marker 8. Preserve surrounding installation context rather than isolating the fixture. Exact vertical composition and obliquity are staging requirements not resolved by the supplied two-dimensional candidates."
          },
          "render_guidance": {
            "visible_space_directive": "Show the forward wall portion of unit 3 containing marker 8 and its surrounding installation context. Inherit from L19B02 the fixed wall placement and marker 8's position high on the north wall, slightly west of marker 5's centerline. Keep markers 5 and 6 in their established physical positions even when outside this wall-facing crop; unit 1, unit 2 and opening 4 need not appear.",
            "camera_framing_directive": "Use camera unit 3 at [1, 7], looking within unit 3 toward [0, 7], with a normal 50-degree field of view and neutral coverage. Represent the settled S10_Shot10 composition with surrounding wall context. Apply its slightly low framing and upper-right-third placement of marker 8, occupying less than a quarter of the frame, within the limits of these fixed grid coordinates; do not substitute unlisted coordinates to manufacture an oblique angle.",
            "subject_position_directive": "S10_Shot10 explicitly requires no visible people and provides no committed subject cue beyond that absence. Keep this background free of invented subjects.",
            "state_cue_directive": "Carry transient marker 13 as the strongly red, localized illumination from marker 8 against the otherwise subdued ambient treatment committed by S10_Shot10. Preserve marker 8 as a fixed installation while treating its illumination change as transient. Exclude marker 12.",
            "negative_continuity_directive": "Exclude marker 12 and its overlay from L19B02. Avoid relocating markers 5, 6 or 8, changing the supporting wall layout, importing L19B02's subject placements, or forcing units 1 and 2 or opening 4 into the wall-facing view. Do not enlarge marker 8 beyond the consuming shot's stated scale."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L19B02' physical_space_id='fp_alley_restaurant_space_1'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [1, 7]\n  - look_at_unit: 3\n  - look_at_cell: [0, 7]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Settled medium wall-facing coverage from unit 3 toward marker 8. Preserve surrounding installation context rather than isolating the fixture. Exact vertical composition and obliquity are staging requirements not resolved by the supplied two-dimensional candidates.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward wall portion of unit 3 containing marker 8 and its surrounding installation context. Inherit from L19B02 the fixed wall placement and marker 8's position high on the north wall, slightly west of marker 5's centerline. Keep markers 5 and 6 in their established physical positions even when outside this wall-facing crop; unit 1, unit 2 and opening 4 need not appear.\n  - camera_framing_directive: Use camera unit 3 at [1, 7], looking within unit 3 toward [0, 7], with a normal 50-degree field of view and neutral coverage. Represent the settled S10_Shot10 composition with surrounding wall context. Apply its slightly low framing and upper-right-third placement of marker 8, occupying less than a quarter of the frame, within the limits of these fixed grid coordinates; do not substitute unlisted coordinates to manufacture an oblique angle.\n  - subject_position_directive: S10_Shot10 explicitly requires no visible people and provides no committed subject cue beyond that absence. Keep this background free of invented subjects.\n  - state_cue_directive: Carry transient marker 13 as the strongly red, localized illumination from marker 8 against the otherwise subdued ambient treatment committed by S10_Shot10. Preserve marker 8 as a fixed installation while treating its illumination change as transient. Exclude marker 12.\n  - negative_continuity_directive: Exclude marker 12 and its overlay from L19B02. Avoid relocating markers 5, 6 or 8, changing the supporting wall layout, importing L19B02's subject placements, or forcing units 1 and 2 or opening 4 into the wall-facing view. Do not enlarge marker 8 beyond the consuming shot's stated scale.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L19B02' physical_space_id='fp_alley_restaurant_space_1'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [1, 7]\n  - look_at_unit: 3\n  - look_at_cell: [0, 7]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Settled medium wall-facing coverage from unit 3 toward marker 8. Preserve surrounding installation context rather than isolating the fixture. Exact vertical composition and obliquity are staging requirements not resolved by the supplied two-dimensional candidates.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward wall portion of unit 3 containing marker 8 and its surrounding installation context. Inherit from L19B02 the fixed wall placement and marker 8's position high on the north wall, slightly west of marker 5's centerline. Keep markers 5 and 6 in their established physical positions even when outside this wall-facing crop; unit 1, unit 2 and opening 4 need not appear.\n  - camera_framing_directive: Use camera unit 3 at [1, 7], looking within unit 3 toward [0, 7], with a normal 50-degree field of view and neutral coverage. Represent the settled S10_Shot10 composition with surrounding wall context. Apply its slightly low framing and upper-right-third placement of marker 8, occupying less than a quarter of the frame, within the limits of these fixed grid coordinates; do not substitute unlisted coordinates to manufacture an oblique angle.\n  - subject_position_directive: S10_Shot10 explicitly requires no visible people and provides no committed subject cue beyond that absence. Keep this background free of invented subjects.\n  - state_cue_directive: Carry transient marker 13 as the strongly red, localized illumination from marker 8 against the otherwise subdued ambient treatment committed by S10_Shot10. Preserve marker 8 as a fixed installation while treating its illumination change as transient. Exclude marker 12.\n  - negative_continuity_directive: Exclude marker 12 and its overlay from L19B02. Avoid relocating markers 5, 6 or 8, changing the supporting wall layout, importing L19B02's subject placements, or forcing units 1 and 2 or opening 4 into the wall-facing view. Do not enlarge marker 8 beyond the consuming shot's stated scale.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L19B02' physical_space_id='fp_alley_restaurant_space_1'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [1, 7]\n  - look_at_unit: 3\n  - look_at_cell: [0, 7]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Settled medium wall-facing coverage from unit 3 toward marker 8. Preserve surrounding installation context rather than isolating the fixture. Exact vertical composition and obliquity are staging requirements not resolved by the supplied two-dimensional candidates.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward wall portion of unit 3 containing marker 8 and its surrounding installation context. Inherit from L19B02 the fixed wall placement and marker 8's position high on the north wall, slightly west of marker 5's centerline. Keep markers 5 and 6 in their established physical positions even when outside this wall-facing crop; unit 1, unit 2 and opening 4 need not appear.\n  - camera_framing_directive: Use camera unit 3 at [1, 7], looking within unit 3 toward [0, 7], with a normal 50-degree field of view and neutral coverage. Represent the settled S10_Shot10 composition with surrounding wall context. Apply its slightly low framing and upper-right-third placement of marker 8, occupying less than a quarter of the frame, within the limits of these fixed grid coordinates; do not substitute unlisted coordinates to manufacture an oblique angle.\n  - subject_position_directive: S10_Shot10 explicitly requires no visible people and provides no committed subject cue beyond that absence. Keep this background free of invented subjects.\n  - state_cue_directive: Carry transient marker 13 as the strongly red, localized illumination from marker 8 against the otherwise subdued ambient treatment committed by S10_Shot10. Preserve marker 8 as a fixed installation while treating its illumination change as transient. Exclude marker 12.\n  - negative_continuity_directive: Exclude marker 12 and its overlay from L19B02. Avoid relocating markers 5, 6 or 8, changing the supporting wall layout, importing L19B02's subject placements, or forcing units 1 and 2 or opening 4 into the wall-facing view. Do not enlarge marker 8 beyond the consuming shot's stated scale.\n\n2069년 대한민국의 오래된 소규모 식당 내부를 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 이전 시대부터 사용해 온 소박한 구조와 집기가 남아 있는 생활 공간으로, 실제 장소 기록 사진처럼 사실적으로 표현한다. 식당의 열린 실내 동북쪽 끝에 있는 외진 식사 구역과 북쪽 벽을 담는다. 테이블의 긴 축은 동서 방향이며 남쪽과 서쪽에는 접근할 여유가 있다. 테이블 북쪽에는 남쪽을 향하는 의자가 있고, 의자 뒤와 북쪽 벽 사이에는 간격이 남아 있다. 붉은 경광등은 테이블 중심선에서 약간 서쪽으로 치우친 북쪽 벽 상부에 고정되어 있다. 이 구조와 집기의 상대적 위치는 제공된 평면도를 배치 참고로 삼는다.\n카메라는 테이블 남서쪽의 실내 동쪽 구역에 놓고, 약 1.6미터의 서 있는 사람 눈높이에서 북동쪽을 바라본다. 풀프레임 미러리스와 45~50밀리미터 표준 렌즈로 촬영한 자연스러운 원근감. 벽 상부의 경광등과 그 아래 의자 뒤쪽 벽면이 화면의 중심이 되고, 테이블과 의자의 일부가 하단에 들어와 공간의 깊이를 드러낸다. 위에서 내려다보는 구도나 평면도 표현이 아닌 수평에 가까운 실제 실내 촬영 구도다.\n밤의 약한 실내 주변광 속에서 경광등이 강하게 켜진 순간을 포착한다. 광원에서 시작된 붉은 빛이 외진 테이블 주변의 북쪽 벽으로 퍼지며, 광원 가까이는 강하고 멀어질수록 자연스럽게 약해진다. 붉은 조명 아래에서도 오래된 벽의 도장층과 콘크리트 표면, 일상적인 얼룩과 마모가 읽히게 한다. 테이블의 목재 결, 의자와 경광등 고정부의 실제 금속 표면에 남은 사용감을 사실적인 질감으로 담는다. 공간 전체를 붉게 물들이지 않고, 약한 주변광과 국소적인 붉은 반사광의 실제 밝기 차이를 유지한다. 자연스러운 피사계 심도와 광학적 번짐만 사용하고 과장된 후처리는 하지 않는다. 사람, 얼굴, 인체 형태의 형상은 전혀 없는 빈 배경이다. 그림이나 가상 건축 시각화가 아니라 실제 장소에서 촬영한 사진으로 표현한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "camera_decision": {
          "camera_unit": 3,
          "camera_cell": [
            1,
            7
          ],
          "look_at_unit": 3,
          "look_at_cell": [
            0,
            7
          ],
          "lens_enum": "normal",
          "fov_deg": 50,
          "framing_notes": "Settled medium wall-facing coverage from unit 3 toward marker 8. Preserve surrounding installation context rather than isolating the fixture. Exact vertical composition and obliquity are staging requirements not resolved by the supplied two-dimensional candidates."
        },
        "shot_aware_plan_node_index": 1,
        "shot_aware_plan_mode": "same_physical_space_view",
        "render_guidance": {
          "visible_space_directive": "Show the forward wall portion of unit 3 containing marker 8 and its surrounding installation context. Inherit from L19B02 the fixed wall placement and marker 8's position high on the north wall, slightly west of marker 5's centerline. Keep markers 5 and 6 in their established physical positions even when outside this wall-facing crop; unit 1, unit 2 and opening 4 need not appear.",
          "camera_framing_directive": "Use camera unit 3 at [1, 7], looking within unit 3 toward [0, 7], with a normal 50-degree field of view and neutral coverage. Represent the settled S10_Shot10 composition with surrounding wall context. Apply its slightly low framing and upper-right-third placement of marker 8, occupying less than a quarter of the frame, within the limits of these fixed grid coordinates; do not substitute unlisted coordinates to manufacture an oblique angle.",
          "subject_position_directive": "S10_Shot10 explicitly requires no visible people and provides no committed subject cue beyond that absence. Keep this background free of invented subjects.",
          "state_cue_directive": "Carry transient marker 13 as the strongly red, localized illumination from marker 8 against the otherwise subdued ambient treatment committed by S10_Shot10. Preserve marker 8 as a fixed installation while treating its illumination change as transient. Exclude marker 12.",
          "negative_continuity_directive": "Exclude marker 12 and its overlay from L19B02. Avoid relocating markers 5, 6 or 8, changing the supporting wall layout, importing L19B02's subject placements, or forcing units 1 and 2 or opening 4 into the wall-facing view. Do not enlarge marker 8 beyond the consuming shot's stated scale."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_alley_restaurant",
          "prior_bg_ids": [
            "L19B02"
          ],
          "attached_ref_labels": [
            "bg:L19B02"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L22B02": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L22",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L22B02.png",
        "t2i_prompt": "2069년 대한민국의 자원이 부족한 공동 거처 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 길쭉한 공용 식사·생활공간으로, 재사용한 생활 가구와 소박한 마감에서 오래 이어진 거주 흔적이 드러난다. 실제 미러리스 카메라의 35밀리미터급 렌즈로 바닥에서 약 1.6미터 높이의 눈높이에서 촬영한다. 남쪽 벽 가까이, 현관과 침실 통로 사이 중간 지점에서 북쪽 식탁을 바라보며 수직선을 곧게 유지한다. 식탁 윗면이 읽히면서 화면 왼쪽 가장자리에 서쪽 벽 남단의 안여닫이 현관문과 문 안쪽 바닥이, 오른쪽 가장자리에 동쪽 칸막이 남단의 헝겊 커튼 통로가 함께 보이게 한다. 내려다본 도면 구도가 아닌 실제 실내에서 바라본 수평 시선이다.\n북쪽 중앙에 식사와 바느질을 겸하는 식탁이 있고, 서쪽·남쪽·동쪽에 각각 등받이 없는 의자가 놓여 있다. 남쪽 의자는 주 통행로를 막지 않는다. 남쪽 통로는 현관에서 커튼 경계까지 이어지며, 커튼 너머는 얕은 경계 부분까지만 보이고 침실 내부는 드러내지 않는다. 북쪽 벽의 동쪽 끝 가까이 놓인 받침 선반 위에는 온전한 꽃병 하나가 있다.\n밤의 주 광원은 식탁 중앙 가까이 켜 놓은 촛불이다. 작은 불꽃의 따뜻한 빛이 상판과 가까운 물건을 비추고, 벽과 출입구 쪽으로 갈수록 밝기가 자연스럽게 줄어든다. 식탁 남쪽, 남쪽 의자 앞에는 한 사람 몫의 소박한 밥과 반찬, 식기와 수저가 놓여 있다. 식탁 서쪽에는 몸의 형태를 만들지 않도록 납작하게 접거나 펼쳐 둔 헌 옷과 작은 바느질 도구가 있고, 직물의 해진 가장자리와 수선 자국이 가까운 촛불에 드러난다. 식탁 동쪽에는 약통을 놓는다. 기본 사진에서는 약통을 닫아 두며, 이후 시간대에 해당하는 컷에서만 같은 위치에서 열린 상태로 바꾼다. 촛불, 한 끼 식사, 헌 옷과 바느질 도구의 자리는 그대로 이어진다.\n목재 상판의 실제 나뭇결과 닳은 모서리, 현관문 금속의 오래된 도장과 산화 흔적, 커튼과 헌 옷의 실제 섬유 결, 생활 마감의 잔잔한 마모와 묵은 얼룩을 과장 없이 담는다. 촛불의 실제 광량에 맞춘 저조도 노출과 자연스러운 피사계 심도로, 상판의 물건과 양끝 공간 경계를 알아볼 수 있게 한다. 인위적인 보조광이나 과도한 후처리 없이 실제 장소 기록 사진처럼 보이게 한다. 사람, 얼굴, 신체 형태의 형상은 전혀 없는 배경만 촬영한다. 삽화나 컴퓨터 생성 영상, 건축 시각화가 아닌 실제 사진의 질감. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S12_Shot5",
            "guide_text": "식탁 윗면과 왼쪽 현관, 오른쪽 헝겊 커튼 경계가 한 공간으로 읽히는 기본 구도를 사용한다. 중앙 촛불, 남쪽 한 사람 몫 식사, 서쪽 헌 옷과 바느질 물품, 동쪽 약통의 위치를 고정한다. 별도의 후반 개방 지시가 없으면 약통은 닫힌 상태로 유지하고, 북쪽 벽 선반의 꽃병은 온전하게 둔다. 인물 없이 배경만 제공한다."
          },
          {
            "shot_id": "S12_Shot20",
            "guide_text": "동일한 밤의 촛불 방향과 밝기 감소, 상판의 생활 흔적을 유지한다. 식탁 중심으로 구도를 좁히더라도 식사와 바느질 물품을 재배치하지 않으며, 가능한 범위에서 현관과 커튼 경계의 방향성을 남긴다. 약통은 해당 컷이 후반의 개방 시점으로 지정된 경우에만 동쪽의 같은 자리에서 연다. 꽃병과 주변 배경 상태는 유지한다."
          },
          {
            "shot_id": "S12_Shot23",
            "guide_text": "앞선 컷과 같은 식탁, 의자, 현관 및 커튼 경계의 공간 관계를 유지한다. 이후 약통을 펼치는 대목에 해당한다면 식탁 동쪽 약통만 열린 상태로 전환하고, 식사와 헌 옷, 바느질 물품 및 촛불은 기존 자리에 남긴다. 컷별 행동 정보가 없으면 개방 시점을 임의로 앞당기지 않는다. 꽃병은 선반 위에서 온전하게 유지하며 인물 요소를 바닥이나 가구에 옮겨 그리지 않는다."
          }
        ],
        "shot_ids": [
          "S12_Shot5",
          "S12_Shot20",
          "S12_Shot23"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "against the south wall of number 1, near the midpoint between number 2 and number 5, facing north toward number 6; number 4 lies at the left side and number 5 at the right side",
          "camera_height": "seated-to-standing intermediate height, approximately 1.4 m",
          "lens_hint": "20–24mm wide angle, keeping verticals straight",
          "framing_notes": "Keep the tabletop readable and retain the entrance and curtained boundary at opposite frame edges. Maintain tabletop continuity for the candle, meal and sewing items; the medicine container opens only at the appropriate later beat. Keep the vase intact on its support. Candle illumination belongs to the background, not the plan. Injuries and blood remain character elements, with no floor blood cue."
        },
        "reference_decision": {
          "bg_id": "L22B02",
          "fp_id": "fp_container_shared_interior",
          "node_index": 1,
          "mode": "same_physical_space_view",
          "is_dwelling_identity_anchor": false,
          "rationale": "L22B02 depicts the same physical space and strongly overlapping fixed markers as L22B01, so inherit its layout rather than compose a new room. The camera moves from unit 3 to unit 2 and faces east across unit 1, exposing opening 5 and marker 10 instead of the anchor's west-facing slice. This supports the marker 6 relationships in S12_Shot5 and S12_Shot20 and the common-space-side approach to opening 5 in S12_Shot23. Despite transient-only state differences, the genuinely reversed structural view requires a new-plate candidate.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L22B01.png"
          ],
          "source_bg_ids": [
            "L22B01"
          ],
          "fp_included": false,
          "reference_decision": {
            "selected_refs": [
              {
                "ref_bg_id": "L22B01",
                "physical_space_id": "fp_container_shared_interior_units_1_2_3",
                "space_description": "Shared fixed layout spanning unit 1, the unit 2 approach and the unit 3 boundary."
              }
            ],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "single_same_physical_space_reference",
            "why_single_ref_or_two_refs": "L22B01 alone commits the shared layout. Co-visibility of unit 1 and the opening toward unit 3 in S12_Shot23 does not require two references to this same physical space.",
            "physical_space_id_per_ref": [
              "fp_container_shared_interior_units_1_2_3"
            ],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 2,
            "camera_cell": [
              4,
              1
            ],
            "look_at_unit": 1,
            "look_at_cell": [
              4,
              4
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad east-facing representative coverage centered on marker 6, with opening 5 farther right and marker 10 farther left. The camera remains on the unit 1 approach side of opening 5. The shot-specific close approach in S12_Shot23 is not encoded as a second camera coordinate."
          },
          "render_guidance": {
            "visible_space_directive": "From unit 2, show the east-facing slice of unit 1 containing base markers 6, 7, 8, 9 and 10, and opening 5 at the unit 3 boundary where unobstructed. Inherit their exact fixed positions from L22B01 and the floor plan, including the positions of both openings and the east partition. Show only the committed boundary through opening 5, not an invented deeper interior. Opening 4 is behind this viewing direction.",
            "camera_framing_directive": "Use camera_unit 2 at [4, 1], looking toward unit 1 at [4, 4], with wide coverage at 90 degrees. Keep marker 6 central to the broad representative view and opening 5 within the east-facing coverage. Preserve the staged oblique marker 6 edge and corner relationships for S12_Shot5 and S12_Shot20. S12_Shot23's close face framing and narrow opening margins remain shot-specific requirements rather than the scale of this broad plate.",
            "subject_position_directive": "Keep the separate staged compositions available: S12_Shot5 places 앰버 left and center, with 이현우's cropped seated leg lower right beside marker 6; S12_Shot20 places 이현우's hunched back in the right foreground and 미연 seated left in the middle ground, separated by the marker 6 corner; S12_Shot23 places a partial three-quarter face of 앰버 within the opening 5 gap near upper center, looking off-screen rather than toward the lens. Do not combine these moments or invent additional subjects.",
            "state_cue_directive": "Use transient markers 11, 12, 13, 14 and 15 according to their supplied overlay identities: Intact vase, Table candle, Single meal setting, Old clothing and sewing items, and Medicine container. Retain the staged warm candlelit interior and dim opening 5 exposure without a separate light beyond that opening. The parted gap in S12_Shot23 and the subject-facing injury cue in S12_Shot5 are shot-layer states; preserve the fixed layout. clean_background_expected is false.",
            "negative_continuity_directive": "Exclude marker 16, including any residual depiction inherited from L22B01. Avoid moving base markers 6, 7, 8, 9 or 10, changing opening positions, or mirroring the reference layout when reversing the view. Do not bring opening 4 into this east-facing cone, extend the visible unit 3 boundary into uncommitted space, or treat the reference's transient state as fixed identity."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L22B01' physical_space_id='fp_container_shared_interior_units_1_2_3'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [4, 1]\n  - look_at_unit: 1\n  - look_at_cell: [4, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad east-facing representative coverage centered on marker 6, with opening 5 farther right and marker 10 farther left. The camera remains on the unit 1 approach side of opening 5. The shot-specific close approach in S12_Shot23 is not encoded as a second camera coordinate.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 2, show the east-facing slice of unit 1 containing base markers 6, 7, 8, 9 and 10, and opening 5 at the unit 3 boundary where unobstructed. Inherit their exact fixed positions from L22B01 and the floor plan, including the positions of both openings and the east partition. Show only the committed boundary through opening 5, not an invented deeper interior. Opening 4 is behind this viewing direction.\n  - camera_framing_directive: Use camera_unit 2 at [4, 1], looking toward unit 1 at [4, 4], with wide coverage at 90 degrees. Keep marker 6 central to the broad representative view and opening 5 within the east-facing coverage. Preserve the staged oblique marker 6 edge and corner relationships for S12_Shot5 and S12_Shot20. S12_Shot23's close face framing and narrow opening margins remain shot-specific requirements rather than the scale of this broad plate.\n  - subject_position_directive: Keep the separate staged compositions available: S12_Shot5 places 앰버 left and center, with 이현우's cropped seated leg lower right beside marker 6; S12_Shot20 places 이현우's hunched back in the right foreground and 미연 seated left in the middle ground, separated by the marker 6 corner; S12_Shot23 places a partial three-quarter face of 앰버 within the opening 5 gap near upper center, looking off-screen rather than toward the lens. Do not combine these moments or invent additional subjects.\n  - state_cue_directive: Use transient markers 11, 12, 13, 14 and 15 according to their supplied overlay identities: Intact vase, Table candle, Single meal setting, Old clothing and sewing items, and Medicine container. Retain the staged warm candlelit interior and dim opening 5 exposure without a separate light beyond that opening. The parted gap in S12_Shot23 and the subject-facing injury cue in S12_Shot5 are shot-layer states; preserve the fixed layout. clean_background_expected is false.\n  - negative_continuity_directive: Exclude marker 16, including any residual depiction inherited from L22B01. Avoid moving base markers 6, 7, 8, 9 or 10, changing opening positions, or mirroring the reference layout when reversing the view. Do not bring opening 4 into this east-facing cone, extend the visible unit 3 boundary into uncommitted space, or treat the reference's transient state as fixed identity.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L22B01' physical_space_id='fp_container_shared_interior_units_1_2_3'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [4, 1]\n  - look_at_unit: 1\n  - look_at_cell: [4, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad east-facing representative coverage centered on marker 6, with opening 5 farther right and marker 10 farther left. The camera remains on the unit 1 approach side of opening 5. The shot-specific close approach in S12_Shot23 is not encoded as a second camera coordinate.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 2, show the east-facing slice of unit 1 containing base markers 6, 7, 8, 9 and 10, and opening 5 at the unit 3 boundary where unobstructed. Inherit their exact fixed positions from L22B01 and the floor plan, including the positions of both openings and the east partition. Show only the committed boundary through opening 5, not an invented deeper interior. Opening 4 is behind this viewing direction.\n  - camera_framing_directive: Use camera_unit 2 at [4, 1], looking toward unit 1 at [4, 4], with wide coverage at 90 degrees. Keep marker 6 central to the broad representative view and opening 5 within the east-facing coverage. Preserve the staged oblique marker 6 edge and corner relationships for S12_Shot5 and S12_Shot20. S12_Shot23's close face framing and narrow opening margins remain shot-specific requirements rather than the scale of this broad plate.\n  - subject_position_directive: Keep the separate staged compositions available: S12_Shot5 places 앰버 left and center, with 이현우's cropped seated leg lower right beside marker 6; S12_Shot20 places 이현우's hunched back in the right foreground and 미연 seated left in the middle ground, separated by the marker 6 corner; S12_Shot23 places a partial three-quarter face of 앰버 within the opening 5 gap near upper center, looking off-screen rather than toward the lens. Do not combine these moments or invent additional subjects.\n  - state_cue_directive: Use transient markers 11, 12, 13, 14 and 15 according to their supplied overlay identities: Intact vase, Table candle, Single meal setting, Old clothing and sewing items, and Medicine container. Retain the staged warm candlelit interior and dim opening 5 exposure without a separate light beyond that opening. The parted gap in S12_Shot23 and the subject-facing injury cue in S12_Shot5 are shot-layer states; preserve the fixed layout. clean_background_expected is false.\n  - negative_continuity_directive: Exclude marker 16, including any residual depiction inherited from L22B01. Avoid moving base markers 6, 7, 8, 9 or 10, changing opening positions, or mirroring the reference layout when reversing the view. Do not bring opening 4 into this east-facing cone, extend the visible unit 3 boundary into uncommitted space, or treat the reference's transient state as fixed identity.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L22B01' physical_space_id='fp_container_shared_interior_units_1_2_3'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [4, 1]\n  - look_at_unit: 1\n  - look_at_cell: [4, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad east-facing representative coverage centered on marker 6, with opening 5 farther right and marker 10 farther left. The camera remains on the unit 1 approach side of opening 5. The shot-specific close approach in S12_Shot23 is not encoded as a second camera coordinate.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 2, show the east-facing slice of unit 1 containing base markers 6, 7, 8, 9 and 10, and opening 5 at the unit 3 boundary where unobstructed. Inherit their exact fixed positions from L22B01 and the floor plan, including the positions of both openings and the east partition. Show only the committed boundary through opening 5, not an invented deeper interior. Opening 4 is behind this viewing direction.\n  - camera_framing_directive: Use camera_unit 2 at [4, 1], looking toward unit 1 at [4, 4], with wide coverage at 90 degrees. Keep marker 6 central to the broad representative view and opening 5 within the east-facing coverage. Preserve the staged oblique marker 6 edge and corner relationships for S12_Shot5 and S12_Shot20. S12_Shot23's close face framing and narrow opening margins remain shot-specific requirements rather than the scale of this broad plate.\n  - subject_position_directive: Keep the separate staged compositions available: S12_Shot5 places 앰버 left and center, with 이현우's cropped seated leg lower right beside marker 6; S12_Shot20 places 이현우's hunched back in the right foreground and 미연 seated left in the middle ground, separated by the marker 6 corner; S12_Shot23 places a partial three-quarter face of 앰버 within the opening 5 gap near upper center, looking off-screen rather than toward the lens. Do not combine these moments or invent additional subjects.\n  - state_cue_directive: Use transient markers 11, 12, 13, 14 and 15 according to their supplied overlay identities: Intact vase, Table candle, Single meal setting, Old clothing and sewing items, and Medicine container. Retain the staged warm candlelit interior and dim opening 5 exposure without a separate light beyond that opening. The parted gap in S12_Shot23 and the subject-facing injury cue in S12_Shot5 are shot-layer states; preserve the fixed layout. clean_background_expected is false.\n  - negative_continuity_directive: Exclude marker 16, including any residual depiction inherited from L22B01. Avoid moving base markers 6, 7, 8, 9 or 10, changing opening positions, or mirroring the reference layout when reversing the view. Do not bring opening 4 into this east-facing cone, extend the visible unit 3 boundary into uncommitted space, or treat the reference's transient state as fixed identity.\n\n2069년 대한민국의 자원이 부족한 공동 거처 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 길쭉한 공용 식사·생활공간으로, 재사용한 생활 가구와 소박한 마감에서 오래 이어진 거주 흔적이 드러난다. 실제 미러리스 카메라의 35밀리미터급 렌즈로 바닥에서 약 1.6미터 높이의 눈높이에서 촬영한다. 남쪽 벽 가까이, 현관과 침실 통로 사이 중간 지점에서 북쪽 식탁을 바라보며 수직선을 곧게 유지한다. 식탁 윗면이 읽히면서 화면 왼쪽 가장자리에 서쪽 벽 남단의 안여닫이 현관문과 문 안쪽 바닥이, 오른쪽 가장자리에 동쪽 칸막이 남단의 헝겊 커튼 통로가 함께 보이게 한다. 내려다본 도면 구도가 아닌 실제 실내에서 바라본 수평 시선이다.\n북쪽 중앙에 식사와 바느질을 겸하는 식탁이 있고, 서쪽·남쪽·동쪽에 각각 등받이 없는 의자가 놓여 있다. 남쪽 의자는 주 통행로를 막지 않는다. 남쪽 통로는 현관에서 커튼 경계까지 이어지며, 커튼 너머는 얕은 경계 부분까지만 보이고 침실 내부는 드러내지 않는다. 북쪽 벽의 동쪽 끝 가까이 놓인 받침 선반 위에는 온전한 꽃병 하나가 있다.\n밤의 주 광원은 식탁 중앙 가까이 켜 놓은 촛불이다. 작은 불꽃의 따뜻한 빛이 상판과 가까운 물건을 비추고, 벽과 출입구 쪽으로 갈수록 밝기가 자연스럽게 줄어든다. 식탁 남쪽, 남쪽 의자 앞에는 한 사람 몫의 소박한 밥과 반찬, 식기와 수저가 놓여 있다. 식탁 서쪽에는 몸의 형태를 만들지 않도록 납작하게 접거나 펼쳐 둔 헌 옷과 작은 바느질 도구가 있고, 직물의 해진 가장자리와 수선 자국이 가까운 촛불에 드러난다. 식탁 동쪽에는 약통을 놓는다. 기본 사진에서는 약통을 닫아 두며, 이후 시간대에 해당하는 컷에서만 같은 위치에서 열린 상태로 바꾼다. 촛불, 한 끼 식사, 헌 옷과 바느질 도구의 자리는 그대로 이어진다.\n목재 상판의 실제 나뭇결과 닳은 모서리, 현관문 금속의 오래된 도장과 산화 흔적, 커튼과 헌 옷의 실제 섬유 결, 생활 마감의 잔잔한 마모와 묵은 얼룩을 과장 없이 담는다. 촛불의 실제 광량에 맞춘 저조도 노출과 자연스러운 피사계 심도로, 상판의 물건과 양끝 공간 경계를 알아볼 수 있게 한다. 인위적인 보조광이나 과도한 후처리 없이 실제 장소 기록 사진처럼 보이게 한다. 사람, 얼굴, 신체 형태의 형상은 전혀 없는 배경만 촬영한다. 삽화나 컴퓨터 생성 영상, 건축 시각화가 아닌 실제 사진의 질감. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 2,
          "camera_cell": [
            4,
            1
          ],
          "look_at_unit": 1,
          "look_at_cell": [
            4,
            4
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad east-facing representative coverage centered on marker 6, with opening 5 farther right and marker 10 farther left. The camera remains on the unit 1 approach side of opening 5. The shot-specific close approach in S12_Shot23 is not encoded as a second camera coordinate."
        },
        "shot_aware_plan_node_index": 1,
        "shot_aware_plan_mode": "same_physical_space_view",
        "render_guidance": {
          "visible_space_directive": "From unit 2, show the east-facing slice of unit 1 containing base markers 6, 7, 8, 9 and 10, and opening 5 at the unit 3 boundary where unobstructed. Inherit their exact fixed positions from L22B01 and the floor plan, including the positions of both openings and the east partition. Show only the committed boundary through opening 5, not an invented deeper interior. Opening 4 is behind this viewing direction.",
          "camera_framing_directive": "Use camera_unit 2 at [4, 1], looking toward unit 1 at [4, 4], with wide coverage at 90 degrees. Keep marker 6 central to the broad representative view and opening 5 within the east-facing coverage. Preserve the staged oblique marker 6 edge and corner relationships for S12_Shot5 and S12_Shot20. S12_Shot23's close face framing and narrow opening margins remain shot-specific requirements rather than the scale of this broad plate.",
          "subject_position_directive": "Keep the separate staged compositions available: S12_Shot5 places 앰버 left and center, with 이현우's cropped seated leg lower right beside marker 6; S12_Shot20 places 이현우's hunched back in the right foreground and 미연 seated left in the middle ground, separated by the marker 6 corner; S12_Shot23 places a partial three-quarter face of 앰버 within the opening 5 gap near upper center, looking off-screen rather than toward the lens. Do not combine these moments or invent additional subjects.",
          "state_cue_directive": "Use transient markers 11, 12, 13, 14 and 15 according to their supplied overlay identities: Intact vase, Table candle, Single meal setting, Old clothing and sewing items, and Medicine container. Retain the staged warm candlelit interior and dim opening 5 exposure without a separate light beyond that opening. The parted gap in S12_Shot23 and the subject-facing injury cue in S12_Shot5 are shot-layer states; preserve the fixed layout. clean_background_expected is false.",
          "negative_continuity_directive": "Exclude marker 16, including any residual depiction inherited from L22B01. Avoid moving base markers 6, 7, 8, 9 or 10, changing opening positions, or mirroring the reference layout when reversing the view. Do not bring opening 4 into this east-facing cone, extend the visible unit 3 boundary into uncommitted space, or treat the reference's transient state as fixed identity."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_container_shared_interior",
          "prior_bg_ids": [
            "L22B01"
          ],
          "attached_ref_labels": [
            "bg:L22B01"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L22B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L22",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L22B01.png",
        "t2i_prompt": "실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 2069년 대한민국의 소박한 공동 거주 생활공간을 실제 장소 기록 사진처럼 담는다. 첨단 설비로 꾸민 미래형 실내가 아니라, 기존 생활 가구를 오래 사용하며 유지하는 현실적인 주거 공간이다. 사람, 얼굴, 인체 형태의 형상 없이 빈 공간과 가구만 보여준다.\n\n참조 평면도는 공간의 연결 관계와 기존 가구 위치를 파악하는 자료로만 사용한다. 남서쪽 현관 문턱 바로 안쪽에서 북동쪽을 바라본다. 서쪽 진입부에서 동쪽 개인실 경계까지 길게 이어지는 공용 식사·생활공간이다. 북쪽 중앙에 식사와 바느질을 겸하는 탁자가 있으며, 탁자의 서쪽·남쪽·동쪽에 각각 등받이 없는 의자가 놓여 있다. 남쪽 의자는 주 통행로를 침범하지 않는다. 북쪽 벽의 동쪽 끝 가까이에 화병 받침 선반이 있고, 동쪽 칸막이 남단에는 천 커튼이 달린 침실 통로가 남쪽 이동 동선과 이어진다. 칸막이 너머는 얕은 경계 부분만 보이며 침실 내부까지 시야를 확장하지 않는다. 탁자 너머의 받침 선반과 커튼 통로, 그 앞 바닥을 함께 읽을 수 있도록 구도를 잡는다.\n\n받침 선반 바로 남쪽 바닥의 좁은 범위에 깨진 화병 조각들이 가라앉아 있다. 일부 조각은 선반 앞쪽 가장자리 아래로 밀려 들어가 있다. 파편은 바닥에 정지한 상태이며 이 국소적인 분포를 분명하게 보여준다. 주변 탁자와 의자, 통행로와 방의 나머지 부분은 평소의 배치를 유지한다.\n\n낮의 자연광이 실내에 부드럽게 퍼지고, 선반 아래와 가구 다리 주변에는 실제 깊이에 맞는 옅은 그림자가 생긴다. 목재 표면의 나뭇결과 손때, 금속 부속의 자연스러운 산화 흔적, 커튼의 실제 직물 조직, 바닥의 일상적인 마모와 오래된 옅은 얼룩을 절제해서 표현한다. 생활감은 있으나 폐허나 방 전체의 파괴로 확대하지 않는다. 표면을 새 제품처럼 균일하게 만들지 않고 낮의 실제 색과 밝기를 유지한다.\n\n카메라는 서 있는 사람의 눈높이인 약 1.5~1.6미터에 둔다. 35밀리미터 규격 전면형 촬상소자를 갖춘 카메라의 28밀리미터 광각 렌즈로 촬영한 듯한 시야이며, 가장자리 왜곡은 억제한다. 자연스러운 피사계 심도로 가까운 탁자부터 뒤쪽 선반과 바닥 파편까지 공간 관계가 식별된다. 위에서 내려다보는 시점이나 평면도, 건축 도해가 아닌 수평에 가까운 실내 관찰 시점이다. 실제 재질과 광학적 원근을 갖춘 사진으로, 삽화나 컴퓨터 합성 이미지, 건축 시각화 또는 지나치게 말끔한 광고 사진처럼 보이지 않게 한다. 인위적인 색 보정이나 효과 없이 촬영한 모습. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S14_Shot2",
            "guide_text": "남서쪽 현관 안쪽에서 탁자 너머 받침 선반과 동쪽 커튼 통로가 함께 보이는 낮의 빈 배경을 사용한다. 파편은 선반 바로 앞의 좁은 바닥 범위와 선반 앞 가장자리 아래에 정지한 상태로 유지한다. 인물이나 비산하는 파편 동작은 배경에 포함하지 않는다."
          },
          {
            "shot_id": "S14_Shot5",
            "guide_text": "동일한 공용실의 가구 배치와 낮 자연광을 유지한다. 받침 선반 앞 바닥의 파편 분포와 선반 아래로 들어간 조각 위치를 다른 적용 숏과 일치시키고, 사고의 흔적을 방 전체로 넓히지 않는다. 배경은 사람 없이 제공한다."
          },
          {
            "shot_id": "S14_Shot8",
            "guide_text": "현관에서 선반과 커튼 통로로 이어지는 공간 방향을 유지한다. 탁자와 의자 세 개의 위치, 비워진 남쪽 통행로, 국소적으로 가라앉은 화병 파편을 동일하게 보존한다. 침실 내부를 추가로 드러내거나 인물과 동작 요소를 배경에 그리지 않는다."
          }
        ],
        "shot_ids": [
          "S14_Shot2",
          "S14_Shot5",
          "S14_Shot8"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "near number 2 inside the southwest shared-room corner, facing northeast past number 6 toward number 10 and number 5",
          "camera_height": "eye-level standing, approximately 1.5 m",
          "lens_hint": "24–28mm wide angle",
          "framing_notes": "Include the floor directly below number 10 so the localized breakage and subsequently pushed fragments remain spatially legible. Retain the table and curtain as continuity anchors. Number 16 applies after impact; airborne shards are shot-level action, not fixed background dressing. Do not show an intact vase after breakage, nighttime tabletop dressing, generalized disorder or later raid damage."
        },
        "reference_decision": {
          "bg_id": "L22B01",
          "fp_id": "fp_container_shared_interior",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L22B01 is the sole supplied anchor candidate and is ready for all three surfaced shots. Use the explicitly supplied ramped fallback: this anchor is not clean and carries transient marker 16. A camera in unit 3 looking across unit 1 toward the west provides the fixed-space representative for the floor and wall coverage in S14_Shot2 and S14_Shot5 and the left-background opening required by S14_Shot8. The shot-specific heights and crops remain staging requirements rather than additional graph cameras.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/floor_plan/fp_container_shared_interior.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "Seed the dwelling identity directly from the floor plan; no earlier reference exists.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 3,
            "camera_cell": [
              4,
              8
            ],
            "look_at_unit": 1,
            "look_at_cell": [
              4,
              3
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad west-facing representative coverage across unit 1 from unit 3. Opening 4 lies to the left of the viewing axis toward unit 2, supporting S14_Shot8. This single plan does not encode the differing vertical framings of the three consuming shots."
          },
          "render_guidance": {
            "visible_space_directive": "From unit 3, show the west-facing slice of unit 1 containing base markers 6, 7, 8 and 9, with unit 2 and opening 4 toward the left background as required by S14_Shot8. Opening 4 is supplied by the base inventory and explicit staging even though absent from this BG's use list. Keep markers 5 and 10 at their committed floor-plan positions rather than forcing them into this view. Visibility candidate lists are supersets, not proof of visibility through partitions.",
            "camera_framing_directive": "Use camera_unit 3 at [4, 8], looking toward unit 1 at [4, 3], with wide coverage at 90 degrees. Preserve broad fixed-space coverage and the left-background placement of opening 4. The close floor framing of S14_Shot2 and medium framings of S14_Shot5 and S14_Shot8 are consuming-shot requirements; do not depict their differing heights as one simultaneous composition.",
            "subject_position_directive": "Treat the staged subjects as separate consuming-shot cues, not a combined group: S14_Shot2 places C01's cropped foot and lower leg in the right third with the impact near lower center; S14_Shot5 places C01's upper body slightly right of center with attention directed left outside the frame; S14_Shot8 places C03 center-right, pointing toward opening 4 on the left while C01 remains off-screen right. Keep these subject areas available without inventing additional subjects.",
            "state_cue_directive": "Carry transient marker 16, labeled Settled broken vase fragments, as the committed BG state. S14_Shot2 supplies its breaking-and-scattering action as a shot-specific delta, not permanent structural damage. Maintain the staged daytime interior ambience; the fading illumination described in S14_Shot5 belongs to the subject layer. clean_background_expected is false.",
            "negative_continuity_directive": "Exclude markers 11, 12, 13, 14 and 15. Avoid enlarging marker 16 or moving base markers 6, 7, 8 and 9 to accommodate it. Do not force markers 5 or 10 into the west-facing cone, extend unit 3 beyond its supplied scope, or infer partition transparency from visibility supersets."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [4, 8]\n  - look_at_unit: 1\n  - look_at_cell: [4, 3]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad west-facing representative coverage across unit 1 from unit 3. Opening 4 lies to the left of the viewing axis toward unit 2, supporting S14_Shot8. This single plan does not encode the differing vertical framings of the three consuming shots.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 3, show the west-facing slice of unit 1 containing base markers 6, 7, 8 and 9, with unit 2 and opening 4 toward the left background as required by S14_Shot8. Opening 4 is supplied by the base inventory and explicit staging even though absent from this BG's use list. Keep markers 5 and 10 at their committed floor-plan positions rather than forcing them into this view. Visibility candidate lists are supersets, not proof of visibility through partitions.\n  - camera_framing_directive: Use camera_unit 3 at [4, 8], looking toward unit 1 at [4, 3], with wide coverage at 90 degrees. Preserve broad fixed-space coverage and the left-background placement of opening 4. The close floor framing of S14_Shot2 and medium framings of S14_Shot5 and S14_Shot8 are consuming-shot requirements; do not depict their differing heights as one simultaneous composition.\n  - subject_position_directive: Treat the staged subjects as separate consuming-shot cues, not a combined group: S14_Shot2 places C01's cropped foot and lower leg in the right third with the impact near lower center; S14_Shot5 places C01's upper body slightly right of center with attention directed left outside the frame; S14_Shot8 places C03 center-right, pointing toward opening 4 on the left while C01 remains off-screen right. Keep these subject areas available without inventing additional subjects.\n  - state_cue_directive: Carry transient marker 16, labeled Settled broken vase fragments, as the committed BG state. S14_Shot2 supplies its breaking-and-scattering action as a shot-specific delta, not permanent structural damage. Maintain the staged daytime interior ambience; the fading illumination described in S14_Shot5 belongs to the subject layer. clean_background_expected is false.\n  - negative_continuity_directive: Exclude markers 11, 12, 13, 14 and 15. Avoid enlarging marker 16 or moving base markers 6, 7, 8 and 9 to accommodate it. Do not force markers 5 or 10 into the west-facing cone, extend unit 3 beyond its supplied scope, or infer partition transparency from visibility supersets.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [4, 8]\n  - look_at_unit: 1\n  - look_at_cell: [4, 3]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad west-facing representative coverage across unit 1 from unit 3. Opening 4 lies to the left of the viewing axis toward unit 2, supporting S14_Shot8. This single plan does not encode the differing vertical framings of the three consuming shots.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 3, show the west-facing slice of unit 1 containing base markers 6, 7, 8 and 9, with unit 2 and opening 4 toward the left background as required by S14_Shot8. Opening 4 is supplied by the base inventory and explicit staging even though absent from this BG's use list. Keep markers 5 and 10 at their committed floor-plan positions rather than forcing them into this view. Visibility candidate lists are supersets, not proof of visibility through partitions.\n  - camera_framing_directive: Use camera_unit 3 at [4, 8], looking toward unit 1 at [4, 3], with wide coverage at 90 degrees. Preserve broad fixed-space coverage and the left-background placement of opening 4. The close floor framing of S14_Shot2 and medium framings of S14_Shot5 and S14_Shot8 are consuming-shot requirements; do not depict their differing heights as one simultaneous composition.\n  - subject_position_directive: Treat the staged subjects as separate consuming-shot cues, not a combined group: S14_Shot2 places C01's cropped foot and lower leg in the right third with the impact near lower center; S14_Shot5 places C01's upper body slightly right of center with attention directed left outside the frame; S14_Shot8 places C03 center-right, pointing toward opening 4 on the left while C01 remains off-screen right. Keep these subject areas available without inventing additional subjects.\n  - state_cue_directive: Carry transient marker 16, labeled Settled broken vase fragments, as the committed BG state. S14_Shot2 supplies its breaking-and-scattering action as a shot-specific delta, not permanent structural damage. Maintain the staged daytime interior ambience; the fading illumination described in S14_Shot5 belongs to the subject layer. clean_background_expected is false.\n  - negative_continuity_directive: Exclude markers 11, 12, 13, 14 and 15. Avoid enlarging marker 16 or moving base markers 6, 7, 8 and 9 to accommodate it. Do not force markers 5 or 10 into the west-facing cone, extend unit 3 beyond its supplied scope, or infer partition transparency from visibility supersets.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [4, 8]\n  - look_at_unit: 1\n  - look_at_cell: [4, 3]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad west-facing representative coverage across unit 1 from unit 3. Opening 4 lies to the left of the viewing axis toward unit 2, supporting S14_Shot8. This single plan does not encode the differing vertical framings of the three consuming shots.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 3, show the west-facing slice of unit 1 containing base markers 6, 7, 8 and 9, with unit 2 and opening 4 toward the left background as required by S14_Shot8. Opening 4 is supplied by the base inventory and explicit staging even though absent from this BG's use list. Keep markers 5 and 10 at their committed floor-plan positions rather than forcing them into this view. Visibility candidate lists are supersets, not proof of visibility through partitions.\n  - camera_framing_directive: Use camera_unit 3 at [4, 8], looking toward unit 1 at [4, 3], with wide coverage at 90 degrees. Preserve broad fixed-space coverage and the left-background placement of opening 4. The close floor framing of S14_Shot2 and medium framings of S14_Shot5 and S14_Shot8 are consuming-shot requirements; do not depict their differing heights as one simultaneous composition.\n  - subject_position_directive: Treat the staged subjects as separate consuming-shot cues, not a combined group: S14_Shot2 places C01's cropped foot and lower leg in the right third with the impact near lower center; S14_Shot5 places C01's upper body slightly right of center with attention directed left outside the frame; S14_Shot8 places C03 center-right, pointing toward opening 4 on the left while C01 remains off-screen right. Keep these subject areas available without inventing additional subjects.\n  - state_cue_directive: Carry transient marker 16, labeled Settled broken vase fragments, as the committed BG state. S14_Shot2 supplies its breaking-and-scattering action as a shot-specific delta, not permanent structural damage. Maintain the staged daytime interior ambience; the fading illumination described in S14_Shot5 belongs to the subject layer. clean_background_expected is false.\n  - negative_continuity_directive: Exclude markers 11, 12, 13, 14 and 15. Avoid enlarging marker 16 or moving base markers 6, 7, 8 and 9 to accommodate it. Do not force markers 5 or 10 into the west-facing cone, extend unit 3 beyond its supplied scope, or infer partition transparency from visibility supersets.\n\n실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 2069년 대한민국의 소박한 공동 거주 생활공간을 실제 장소 기록 사진처럼 담는다. 첨단 설비로 꾸민 미래형 실내가 아니라, 기존 생활 가구를 오래 사용하며 유지하는 현실적인 주거 공간이다. 사람, 얼굴, 인체 형태의 형상 없이 빈 공간과 가구만 보여준다.\n\n참조 평면도는 공간의 연결 관계와 기존 가구 위치를 파악하는 자료로만 사용한다. 남서쪽 현관 문턱 바로 안쪽에서 북동쪽을 바라본다. 서쪽 진입부에서 동쪽 개인실 경계까지 길게 이어지는 공용 식사·생활공간이다. 북쪽 중앙에 식사와 바느질을 겸하는 탁자가 있으며, 탁자의 서쪽·남쪽·동쪽에 각각 등받이 없는 의자가 놓여 있다. 남쪽 의자는 주 통행로를 침범하지 않는다. 북쪽 벽의 동쪽 끝 가까이에 화병 받침 선반이 있고, 동쪽 칸막이 남단에는 천 커튼이 달린 침실 통로가 남쪽 이동 동선과 이어진다. 칸막이 너머는 얕은 경계 부분만 보이며 침실 내부까지 시야를 확장하지 않는다. 탁자 너머의 받침 선반과 커튼 통로, 그 앞 바닥을 함께 읽을 수 있도록 구도를 잡는다.\n\n받침 선반 바로 남쪽 바닥의 좁은 범위에 깨진 화병 조각들이 가라앉아 있다. 일부 조각은 선반 앞쪽 가장자리 아래로 밀려 들어가 있다. 파편은 바닥에 정지한 상태이며 이 국소적인 분포를 분명하게 보여준다. 주변 탁자와 의자, 통행로와 방의 나머지 부분은 평소의 배치를 유지한다.\n\n낮의 자연광이 실내에 부드럽게 퍼지고, 선반 아래와 가구 다리 주변에는 실제 깊이에 맞는 옅은 그림자가 생긴다. 목재 표면의 나뭇결과 손때, 금속 부속의 자연스러운 산화 흔적, 커튼의 실제 직물 조직, 바닥의 일상적인 마모와 오래된 옅은 얼룩을 절제해서 표현한다. 생활감은 있으나 폐허나 방 전체의 파괴로 확대하지 않는다. 표면을 새 제품처럼 균일하게 만들지 않고 낮의 실제 색과 밝기를 유지한다.\n\n카메라는 서 있는 사람의 눈높이인 약 1.5~1.6미터에 둔다. 35밀리미터 규격 전면형 촬상소자를 갖춘 카메라의 28밀리미터 광각 렌즈로 촬영한 듯한 시야이며, 가장자리 왜곡은 억제한다. 자연스러운 피사계 심도로 가까운 탁자부터 뒤쪽 선반과 바닥 파편까지 공간 관계가 식별된다. 위에서 내려다보는 시점이나 평면도, 건축 도해가 아닌 수평에 가까운 실내 관찰 시점이다. 실제 재질과 광학적 원근을 갖춘 사진으로, 삽화나 컴퓨터 합성 이미지, 건축 시각화 또는 지나치게 말끔한 광고 사진처럼 보이지 않게 한다. 인위적인 색 보정이나 효과 없이 촬영한 모습. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 3,
          "camera_cell": [
            4,
            8
          ],
          "look_at_unit": 1,
          "look_at_cell": [
            4,
            3
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad west-facing representative coverage across unit 1 from unit 3. Opening 4 lies to the left of the viewing axis toward unit 2, supporting S14_Shot8. This single plan does not encode the differing vertical framings of the three consuming shots."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "From unit 3, show the west-facing slice of unit 1 containing base markers 6, 7, 8 and 9, with unit 2 and opening 4 toward the left background as required by S14_Shot8. Opening 4 is supplied by the base inventory and explicit staging even though absent from this BG's use list. Keep markers 5 and 10 at their committed floor-plan positions rather than forcing them into this view. Visibility candidate lists are supersets, not proof of visibility through partitions.",
          "camera_framing_directive": "Use camera_unit 3 at [4, 8], looking toward unit 1 at [4, 3], with wide coverage at 90 degrees. Preserve broad fixed-space coverage and the left-background placement of opening 4. The close floor framing of S14_Shot2 and medium framings of S14_Shot5 and S14_Shot8 are consuming-shot requirements; do not depict their differing heights as one simultaneous composition.",
          "subject_position_directive": "Treat the staged subjects as separate consuming-shot cues, not a combined group: S14_Shot2 places C01's cropped foot and lower leg in the right third with the impact near lower center; S14_Shot5 places C01's upper body slightly right of center with attention directed left outside the frame; S14_Shot8 places C03 center-right, pointing toward opening 4 on the left while C01 remains off-screen right. Keep these subject areas available without inventing additional subjects.",
          "state_cue_directive": "Carry transient marker 16, labeled Settled broken vase fragments, as the committed BG state. S14_Shot2 supplies its breaking-and-scattering action as a shot-specific delta, not permanent structural damage. Maintain the staged daytime interior ambience; the fading illumination described in S14_Shot5 belongs to the subject layer. clean_background_expected is false.",
          "negative_continuity_directive": "Exclude markers 11, 12, 13, 14 and 15. Avoid enlarging marker 16 or moving base markers 6, 7, 8 and 9 to accommodate it. Do not force markers 5 or 10 into the west-facing cone, extend unit 3 beyond its supplied scope, or infer partition transparency from visibility supersets."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_container_shared_interior",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_container_shared_interior"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L23B02": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L23",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L23B02.png",
        "t2i_prompt": "2069년 대한민국의 자원이 넉넉하지 않은 생활 공간에 남아 있는 소박한 침실을 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 조용한 낮의 방으로, 직사각형 침실의 서쪽 벽에 낡은 일인용 침상이 붙어 있다. 침상의 긴 축은 남북 방향이고 머리 쪽은 북쪽이다. 동쪽에는 침상 곁까지 연속적으로 이어지는 비어 있는 통로가 보인다. 통로 남쪽 끝에서 북서쪽 침상을 바라보며, 약 1.3미터의 낮은 선 자세 눈높이와 35밀리미터 렌즈로 촬영한다. 침상과 그 주변의 아늑하고 조용한 공간을 중심에 두되, 화면 오른쪽에 통로의 폭과 바닥의 연결 관계가 충분히 드러나게 한다. 오래된 한국의 소규모 주거 공간에서 볼 법한 수수한 마감과 실용적인 침상 구조로, 미래라는 이유로 장식을 덧붙이지 않는다. 벽의 무광 미장 질감, 오래 사용해 모서리가 부드럽게 닳은 침상의 목재 결, 침상 표면 직물의 실제 짜임을 과장 없이 표현한다. 화면 밖에서 들어오는 부드러운 낮의 간접 자연광이 침상과 바닥을 은은하게 밝히고, 벽과 침상 아래에는 자연스러운 옅은 그림자가 생긴다. 공간은 깨끗하고 흐트러짐 없이 정돈된 상태다. 사람, 얼굴, 인체 형태의 형상은 전혀 표현하지 않는다. 실제 현장 기록 사진처럼 자연스러운 원근과 피사계 심도, 사실적인 재료의 색과 노출을 유지하며 과도한 보정이나 광고 사진 같은 인위적인 정갈함을 피한다. 컴퓨터 생성 이미지나 삽화, 건축 시각화가 아닌 실제 촬영 사진이며, 위에서 내려다보는 시점이나 평면도 구도를 사용하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S21_Shot1",
            "guide_text": "낡은 일인용 침상과 조용한 낮의 침실을 보여주는 빈 배경으로 구성한다. 통로 남쪽에서 북서쪽을 바라보는 눈높이 구도로 침상을 주된 대상으로 삼고, 오른쪽에는 침상 곁으로 이어지는 통로를 남겨 공간의 연결성을 확보한다. 부드러운 간접 자연광과 절제된 그림자를 유지하고, 인물이나 인체 형태의 형상 없이 정돈된 공간만 촬영한다."
          }
        ],
        "shot_ids": [
          "S21_Shot1"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "just inside number 3 (bedroom doorway), at the south end of number 4 (clear entrance passage), facing northwest toward number 2 (worn single bed)",
          "camera_height": "low standing eye level, approximately 1.3m",
          "lens_hint": "35mm moderate wide angle",
          "framing_notes": "Prioritize the bed and quiet sleeping compartment, retaining enough of the clear bedside passage to establish continuity. The doorway can remain behind the camera; do not impose the arrival-specific open-door state or depict damage reported elsewhere."
        },
        "reference_decision": {
          "bg_id": "L23B02",
          "fp_id": "fp_amber_room",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L23B02 is the sole eligible clean anchor and is staged for S21_Shot1. Camera unit 1 at [1,5], targeting marker 2 at [3,3] within unit 1, supports the close, diagonally downward observation. Telephoto coverage limits the background to the narrow structural context required by the shot.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/floor_plan/fp_amber_room.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The dwelling anchor is established directly from the floor plan; no prior reference is selected.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 1,
            "camera_cell": [
              1,
              5
            ],
            "look_at_unit": 1,
            "look_at_cell": [
              3,
              3
            ],
            "lens_enum": "telephoto",
            "fov_deg": 25,
            "framing_notes": "Narrow, compressed coverage toward marker 2 supports the staged close observation with only a cropped contextual border. Coordinates come from the explicit candidate arrays; the direction records do not supply an exact cone for this target."
          },
          "render_guidance": {
            "visible_space_directive": "Show a narrow portion of unit 1 centered on base marker 2. Establish marker 2 against the west wall, with its long axis north-south and head at the north end. Retain unit 4's east-side relationship in the floor-plan layout without forcing it into this close crop. Visibility supersets do not require inclusion of opening 3.",
            "camera_framing_directive": "Use camera unit 1 at [1,5], looking toward [3,3] in unit 1, with telephoto coverage at 25 degrees. Follow S21_Shot1's diagonally downward observation and close framing, allowing only a narrow portion of marker 2 beneath the staged head and shoulder.",
            "subject_position_directive": "S21_Shot1 commits a reclining subject with a three-quarter-left face in the central half, closed eyes, relaxed cheeks and a faint smile, with the reclining shoulder below. Preserve the background relationship to that placement; introduce no additional subjects.",
            "state_cue_directive": "No committed background state cue beyond clean residential space applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Maintain the staged daytime ambient illumination and gentle contrast; the reclining occupancy belongs to the consuming shot's subject layer.",
            "negative_continuity_directive": "Exclude marker 5 and its state overlay. Avoid relocating marker 2, expanding the narrow crop to force unit 4 or opening 3 into view, or treating the visibility supersets as committed visible contents."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [1, 5]\n  - look_at_unit: 1\n  - look_at_cell: [3, 3]\n  - lens_enum: 'telephoto'\n  - fov_deg: 25\n  - framing_notes: 'Narrow, compressed coverage toward marker 2 supports the staged close observation with only a cropped contextual border. Coordinates come from the explicit candidate arrays; the direction records do not supply an exact cone for this target.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show a narrow portion of unit 1 centered on base marker 2. Establish marker 2 against the west wall, with its long axis north-south and head at the north end. Retain unit 4's east-side relationship in the floor-plan layout without forcing it into this close crop. Visibility supersets do not require inclusion of opening 3.\n  - camera_framing_directive: Use camera unit 1 at [1,5], looking toward [3,3] in unit 1, with telephoto coverage at 25 degrees. Follow S21_Shot1's diagonally downward observation and close framing, allowing only a narrow portion of marker 2 beneath the staged head and shoulder.\n  - subject_position_directive: S21_Shot1 commits a reclining subject with a three-quarter-left face in the central half, closed eyes, relaxed cheeks and a faint smile, with the reclining shoulder below. Preserve the background relationship to that placement; introduce no additional subjects.\n  - state_cue_directive: No committed background state cue beyond clean residential space applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Maintain the staged daytime ambient illumination and gentle contrast; the reclining occupancy belongs to the consuming shot's subject layer.\n  - negative_continuity_directive: Exclude marker 5 and its state overlay. Avoid relocating marker 2, expanding the narrow crop to force unit 4 or opening 3 into view, or treating the visibility supersets as committed visible contents.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [1, 5]\n  - look_at_unit: 1\n  - look_at_cell: [3, 3]\n  - lens_enum: 'telephoto'\n  - fov_deg: 25\n  - framing_notes: 'Narrow, compressed coverage toward marker 2 supports the staged close observation with only a cropped contextual border. Coordinates come from the explicit candidate arrays; the direction records do not supply an exact cone for this target.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show a narrow portion of unit 1 centered on base marker 2. Establish marker 2 against the west wall, with its long axis north-south and head at the north end. Retain unit 4's east-side relationship in the floor-plan layout without forcing it into this close crop. Visibility supersets do not require inclusion of opening 3.\n  - camera_framing_directive: Use camera unit 1 at [1,5], looking toward [3,3] in unit 1, with telephoto coverage at 25 degrees. Follow S21_Shot1's diagonally downward observation and close framing, allowing only a narrow portion of marker 2 beneath the staged head and shoulder.\n  - subject_position_directive: S21_Shot1 commits a reclining subject with a three-quarter-left face in the central half, closed eyes, relaxed cheeks and a faint smile, with the reclining shoulder below. Preserve the background relationship to that placement; introduce no additional subjects.\n  - state_cue_directive: No committed background state cue beyond clean residential space applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Maintain the staged daytime ambient illumination and gentle contrast; the reclining occupancy belongs to the consuming shot's subject layer.\n  - negative_continuity_directive: Exclude marker 5 and its state overlay. Avoid relocating marker 2, expanding the narrow crop to force unit 4 or opening 3 into view, or treating the visibility supersets as committed visible contents.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [1, 5]\n  - look_at_unit: 1\n  - look_at_cell: [3, 3]\n  - lens_enum: 'telephoto'\n  - fov_deg: 25\n  - framing_notes: 'Narrow, compressed coverage toward marker 2 supports the staged close observation with only a cropped contextual border. Coordinates come from the explicit candidate arrays; the direction records do not supply an exact cone for this target.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show a narrow portion of unit 1 centered on base marker 2. Establish marker 2 against the west wall, with its long axis north-south and head at the north end. Retain unit 4's east-side relationship in the floor-plan layout without forcing it into this close crop. Visibility supersets do not require inclusion of opening 3.\n  - camera_framing_directive: Use camera unit 1 at [1,5], looking toward [3,3] in unit 1, with telephoto coverage at 25 degrees. Follow S21_Shot1's diagonally downward observation and close framing, allowing only a narrow portion of marker 2 beneath the staged head and shoulder.\n  - subject_position_directive: S21_Shot1 commits a reclining subject with a three-quarter-left face in the central half, closed eyes, relaxed cheeks and a faint smile, with the reclining shoulder below. Preserve the background relationship to that placement; introduce no additional subjects.\n  - state_cue_directive: No committed background state cue beyond clean residential space applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Maintain the staged daytime ambient illumination and gentle contrast; the reclining occupancy belongs to the consuming shot's subject layer.\n  - negative_continuity_directive: Exclude marker 5 and its state overlay. Avoid relocating marker 2, expanding the narrow crop to force unit 4 or opening 3 into view, or treating the visibility supersets as committed visible contents.\n\n2069년 대한민국의 자원이 넉넉하지 않은 생활 공간에 남아 있는 소박한 침실을 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 조용한 낮의 방으로, 직사각형 침실의 서쪽 벽에 낡은 일인용 침상이 붙어 있다. 침상의 긴 축은 남북 방향이고 머리 쪽은 북쪽이다. 동쪽에는 침상 곁까지 연속적으로 이어지는 비어 있는 통로가 보인다. 통로 남쪽 끝에서 북서쪽 침상을 바라보며, 약 1.3미터의 낮은 선 자세 눈높이와 35밀리미터 렌즈로 촬영한다. 침상과 그 주변의 아늑하고 조용한 공간을 중심에 두되, 화면 오른쪽에 통로의 폭과 바닥의 연결 관계가 충분히 드러나게 한다. 오래된 한국의 소규모 주거 공간에서 볼 법한 수수한 마감과 실용적인 침상 구조로, 미래라는 이유로 장식을 덧붙이지 않는다. 벽의 무광 미장 질감, 오래 사용해 모서리가 부드럽게 닳은 침상의 목재 결, 침상 표면 직물의 실제 짜임을 과장 없이 표현한다. 화면 밖에서 들어오는 부드러운 낮의 간접 자연광이 침상과 바닥을 은은하게 밝히고, 벽과 침상 아래에는 자연스러운 옅은 그림자가 생긴다. 공간은 깨끗하고 흐트러짐 없이 정돈된 상태다. 사람, 얼굴, 인체 형태의 형상은 전혀 표현하지 않는다. 실제 현장 기록 사진처럼 자연스러운 원근과 피사계 심도, 사실적인 재료의 색과 노출을 유지하며 과도한 보정이나 광고 사진 같은 인위적인 정갈함을 피한다. 컴퓨터 생성 이미지나 삽화, 건축 시각화가 아닌 실제 촬영 사진이며, 위에서 내려다보는 시점이나 평면도 구도를 사용하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 1,
          "camera_cell": [
            1,
            5
          ],
          "look_at_unit": 1,
          "look_at_cell": [
            3,
            3
          ],
          "lens_enum": "telephoto",
          "fov_deg": 25,
          "framing_notes": "Narrow, compressed coverage toward marker 2 supports the staged close observation with only a cropped contextual border. Coordinates come from the explicit candidate arrays; the direction records do not supply an exact cone for this target."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Show a narrow portion of unit 1 centered on base marker 2. Establish marker 2 against the west wall, with its long axis north-south and head at the north end. Retain unit 4's east-side relationship in the floor-plan layout without forcing it into this close crop. Visibility supersets do not require inclusion of opening 3.",
          "camera_framing_directive": "Use camera unit 1 at [1,5], looking toward [3,3] in unit 1, with telephoto coverage at 25 degrees. Follow S21_Shot1's diagonally downward observation and close framing, allowing only a narrow portion of marker 2 beneath the staged head and shoulder.",
          "subject_position_directive": "S21_Shot1 commits a reclining subject with a three-quarter-left face in the central half, closed eyes, relaxed cheeks and a faint smile, with the reclining shoulder below. Preserve the background relationship to that placement; introduce no additional subjects.",
          "state_cue_directive": "No committed background state cue beyond clean residential space applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Maintain the staged daytime ambient illumination and gentle contrast; the reclining occupancy belongs to the consuming shot's subject layer.",
          "negative_continuity_directive": "Exclude marker 5 and its state overlay. Avoid relocating marker 2, expanding the narrow crop to force unit 4 or opening 3 into view, or treating the visibility supersets as committed visible contents."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_amber_room",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_amber_room"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L23B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L23",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L23B01.png",
        "t2i_prompt": "2069년 대한민국의 생활 여건이 넉넉하지 않은 주거 공간에 남아 있는 작은 직사각형 침실을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 오래된 생활 공간을 계속 사용하는 현실적인 실내로, 미래라는 이유로 장식적인 첨단 설비를 추가하지 않는다. 낮의 부드러운 자연광이 실내에 간접적으로 퍼지고, 침상 아래와 문틀 안쪽에는 자연스러운 그늘이 남는다. 과도하게 어둡거나 인위적으로 색을 보정한 화면이 아닌 담담한 현장 기록 사진이다.\n참조 평면도는 벽과 출입구, 침상 및 통로의 배치 파악에만 사용한다. 서쪽 벽에 붙은 낡은 일인용 침상은 남북으로 길게 놓여 있고 머리맡은 북쪽이다. 남쪽 벽의 동남쪽 모서리 가까이에 출입구가 있으며, 방 동쪽에는 출입구에서 침상 옆까지 이어지는 비어 있는 통로가 있다. 기존 문짝은 동쪽 문설주에 달린 경첩을 축으로 방 안의 동쪽 벽을 향해 열린 상태다. 침상과 통로의 배치는 그대로 유지한다.\n카메라는 동쪽 통로의 북쪽 끝, 침상 머리맡 바로 동쪽에 두고 남쪽 출입구를 향한다. 높이 약 1.5미터의 서 있는 사람 눈높이에서, 35밀리미터 규격 센서의 실제 미러리스 카메라와 28밀리미터 광각 렌즈로 촬영한다. 화면 오른쪽 가까이에 침상 가장자리, 왼쪽에 빈 출입 동선, 정면 왼쪽에 열린 출입구와 동쪽으로 젖혀진 문짝이 자연스럽게 보인다. 수직선과 공간의 원근은 실제 광각 사진처럼 표현하고, 위에서 내려다보는 구도나 평면도 표현은 사용하지 않는다.\n낡은 콘크리트 벽의 도장 표면, 침상 금속 테두리의 오래된 마찰 자국, 침상 천의 실제 직조감, 문짝의 바랜 나뭇결과 금속 경첩의 사용감을 가까이서 확인할 수 있다. 생활에 따른 옅은 얼룩과 마모는 일상적인 수준이며 실내 구조와 물건은 온전하다. 자연스러운 피사계 심도로 침상부터 출입구까지 공간 관계가 읽힌다. 사람, 얼굴, 사람 모양의 형상 없이 빈 방만 촬영한다. 삽화나 컴퓨터 생성 이미지, 건축 시각화가 아니라 실제 장소에서 촬영한 사진이며, 새것처럼 정돈된 광고 사진의 질감을 피한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S21_Shot4",
            "guide_text": "침상 머리맡 바로 동쪽의 통로에서 남쪽 출입구를 바라본다. 약 1.5미터 눈높이와 광각 구도를 유지해 오른쪽의 침상, 왼쪽의 빈 통로, 정면 왼쪽의 열린 문을 함께 담는다. 문짝은 동쪽 벽 쪽으로 열린 상태이며 출입 동선을 가리지 않는다. 낮의 자연광과 온전한 실내 상태를 유지하고, 다른 장소에서 일어난 파괴를 이 방의 손상으로 표현하지 않는다. 인물이나 사람 모양의 형상은 배경에 넣지 않는다."
          }
        ],
        "shot_ids": [
          "S21_Shot4"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "near the north end of number 4 (clear entrance passage), immediately east of the head of number 2 (worn single bed), facing south toward number 3 (bedroom doorway)",
          "camera_height": "standing eye level, approximately 1.5m",
          "lens_hint": "28mm wide angle",
          "framing_notes": "Keep the bed along the right foreground and the open doorway in the far left of the composition, with the uninterrupted passage visible between them. Apply number 5 only to the existing door. Leave space for the arriving character without adding people to the background itself; maintain intact walls and flooring."
        },
        "reference_decision": {
          "bg_id": "L23B01",
          "fp_id": "fp_amber_room",
          "node_index": 1,
          "mode": "same_physical_space_view",
          "is_dwelling_identity_anchor": false,
          "rationale": "S21_Shot4 occupies the same connected physical space as L23B02, but its staged over-shoulder composition targets opening 3 rather than marker 2. Camera unit 1 is retained while the look-at changes to [8,6] in unit 4 and coverage broadens to normal. This reveals a different slice of fixed structure, so it requires its own view rather than a low-delta reuse candidate.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L23B02.png"
          ],
          "source_bg_ids": [
            "L23B02"
          ],
          "fp_included": false,
          "reference_decision": {
            "selected_refs": [
              {
                "ref_bg_id": "L23B02",
                "physical_space_id": "fp_amber_room_space_1_4",
                "space_description": "Connected physical space comprising units 1 and 4, with persistent marker 2 and opening 3 positioned by the base floor plan."
              }
            ],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "single_reference_same_physical_space",
            "why_single_ref_or_two_refs": "L23B02 establishes the same physical space. Units 1 and 4 are connected portions of that space, not two separately referenced spaces; one reference supplies identity continuity while the floor plan supplies the newly exposed opening geometry.",
            "physical_space_id_per_ref": [
              "fp_amber_room_space_1_4"
            ],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 1,
            "camera_cell": [
              1,
              5
            ],
            "look_at_unit": 4,
            "look_at_cell": [
              8,
              6
            ],
            "lens_enum": "normal",
            "fov_deg": 50,
            "framing_notes": "Neutral coverage toward opening 3 supports the medium over-shoulder staging, with the foreground shoulder at lower left and opening at upper right. This changes the target and visible structural slice from L23B02. The discrete candidates do not encode an additional camera-distance adjustment."
          },
          "render_guidance": {
            "visible_space_directive": "From unit 1, show the view toward unit 4 and base opening 3 at [8,6], retaining the foreground relationship to marker 2. Keep marker 2 in L23B02's established west-wall position. Keep unit 4 on the east side and opening 3 on the south wall near the southeast corner, with its east-jamb hinge and inward swing toward the east wall. The staging commits opening 3 to the upper-right background; do not infer additional spaces beyond it from visibility supersets.",
            "camera_framing_directive": "Use camera unit 1 at [1,5], looking toward [8,6] in unit 4, with normal coverage at 50 degrees. Follow S21_Shot4's medium, shoulder-height over-shoulder composition and slightly upward attention: foreground shoulder at lower left, waist-up subject center-right, and opening 3 at upper right.",
            "subject_position_directive": "S21_Shot4 commits the rising subject's shoulder to the lower-left edge with the face outside the crop. Place the other staged subject waist-up at center-right, leaning forward with mouth open and arm extended toward opening 3 at upper right, addressing the off-frame face rather than the lens. Preserve these subject-relative background alignments without adding subjects.",
            "state_cue_directive": "Apply transient marker 5, Door open after arrival, to opening 3. Preserve consistent daytime ambient illumination from L23B02, with the staged restrained contrast. Treat this opening state as transient while retaining the fixed jamb, hinge and surrounding structure.",
            "negative_continuity_directive": "No numbered elements or state overlays are listed for exclusion. Avoid moving marker 2 relative to L23B02, relocating opening 3 or unit 4, copying L23B02's narrow target crop into this view, or inventing contents beyond opening 3. Marker 5 changes the transient state, not the fixed layout."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L23B02' physical_space_id='fp_amber_room_space_1_4'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [1, 5]\n  - look_at_unit: 4\n  - look_at_cell: [8, 6]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral coverage toward opening 3 supports the medium over-shoulder staging, with the foreground shoulder at lower left and opening at upper right. This changes the target and visible structural slice from L23B02. The discrete candidates do not encode an additional camera-distance adjustment.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 1, show the view toward unit 4 and base opening 3 at [8,6], retaining the foreground relationship to marker 2. Keep marker 2 in L23B02's established west-wall position. Keep unit 4 on the east side and opening 3 on the south wall near the southeast corner, with its east-jamb hinge and inward swing toward the east wall. The staging commits opening 3 to the upper-right background; do not infer additional spaces beyond it from visibility supersets.\n  - camera_framing_directive: Use camera unit 1 at [1,5], looking toward [8,6] in unit 4, with normal coverage at 50 degrees. Follow S21_Shot4's medium, shoulder-height over-shoulder composition and slightly upward attention: foreground shoulder at lower left, waist-up subject center-right, and opening 3 at upper right.\n  - subject_position_directive: S21_Shot4 commits the rising subject's shoulder to the lower-left edge with the face outside the crop. Place the other staged subject waist-up at center-right, leaning forward with mouth open and arm extended toward opening 3 at upper right, addressing the off-frame face rather than the lens. Preserve these subject-relative background alignments without adding subjects.\n  - state_cue_directive: Apply transient marker 5, Door open after arrival, to opening 3. Preserve consistent daytime ambient illumination from L23B02, with the staged restrained contrast. Treat this opening state as transient while retaining the fixed jamb, hinge and surrounding structure.\n  - negative_continuity_directive: No numbered elements or state overlays are listed for exclusion. Avoid moving marker 2 relative to L23B02, relocating opening 3 or unit 4, copying L23B02's narrow target crop into this view, or inventing contents beyond opening 3. Marker 5 changes the transient state, not the fixed layout.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L23B02' physical_space_id='fp_amber_room_space_1_4'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [1, 5]\n  - look_at_unit: 4\n  - look_at_cell: [8, 6]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral coverage toward opening 3 supports the medium over-shoulder staging, with the foreground shoulder at lower left and opening at upper right. This changes the target and visible structural slice from L23B02. The discrete candidates do not encode an additional camera-distance adjustment.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 1, show the view toward unit 4 and base opening 3 at [8,6], retaining the foreground relationship to marker 2. Keep marker 2 in L23B02's established west-wall position. Keep unit 4 on the east side and opening 3 on the south wall near the southeast corner, with its east-jamb hinge and inward swing toward the east wall. The staging commits opening 3 to the upper-right background; do not infer additional spaces beyond it from visibility supersets.\n  - camera_framing_directive: Use camera unit 1 at [1,5], looking toward [8,6] in unit 4, with normal coverage at 50 degrees. Follow S21_Shot4's medium, shoulder-height over-shoulder composition and slightly upward attention: foreground shoulder at lower left, waist-up subject center-right, and opening 3 at upper right.\n  - subject_position_directive: S21_Shot4 commits the rising subject's shoulder to the lower-left edge with the face outside the crop. Place the other staged subject waist-up at center-right, leaning forward with mouth open and arm extended toward opening 3 at upper right, addressing the off-frame face rather than the lens. Preserve these subject-relative background alignments without adding subjects.\n  - state_cue_directive: Apply transient marker 5, Door open after arrival, to opening 3. Preserve consistent daytime ambient illumination from L23B02, with the staged restrained contrast. Treat this opening state as transient while retaining the fixed jamb, hinge and surrounding structure.\n  - negative_continuity_directive: No numbered elements or state overlays are listed for exclusion. Avoid moving marker 2 relative to L23B02, relocating opening 3 or unit 4, copying L23B02's narrow target crop into this view, or inventing contents beyond opening 3. Marker 5 changes the transient state, not the fixed layout.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L23B02' physical_space_id='fp_amber_room_space_1_4'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [1, 5]\n  - look_at_unit: 4\n  - look_at_cell: [8, 6]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral coverage toward opening 3 supports the medium over-shoulder staging, with the foreground shoulder at lower left and opening at upper right. This changes the target and visible structural slice from L23B02. The discrete candidates do not encode an additional camera-distance adjustment.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 1, show the view toward unit 4 and base opening 3 at [8,6], retaining the foreground relationship to marker 2. Keep marker 2 in L23B02's established west-wall position. Keep unit 4 on the east side and opening 3 on the south wall near the southeast corner, with its east-jamb hinge and inward swing toward the east wall. The staging commits opening 3 to the upper-right background; do not infer additional spaces beyond it from visibility supersets.\n  - camera_framing_directive: Use camera unit 1 at [1,5], looking toward [8,6] in unit 4, with normal coverage at 50 degrees. Follow S21_Shot4's medium, shoulder-height over-shoulder composition and slightly upward attention: foreground shoulder at lower left, waist-up subject center-right, and opening 3 at upper right.\n  - subject_position_directive: S21_Shot4 commits the rising subject's shoulder to the lower-left edge with the face outside the crop. Place the other staged subject waist-up at center-right, leaning forward with mouth open and arm extended toward opening 3 at upper right, addressing the off-frame face rather than the lens. Preserve these subject-relative background alignments without adding subjects.\n  - state_cue_directive: Apply transient marker 5, Door open after arrival, to opening 3. Preserve consistent daytime ambient illumination from L23B02, with the staged restrained contrast. Treat this opening state as transient while retaining the fixed jamb, hinge and surrounding structure.\n  - negative_continuity_directive: No numbered elements or state overlays are listed for exclusion. Avoid moving marker 2 relative to L23B02, relocating opening 3 or unit 4, copying L23B02's narrow target crop into this view, or inventing contents beyond opening 3. Marker 5 changes the transient state, not the fixed layout.\n\n2069년 대한민국의 생활 여건이 넉넉하지 않은 주거 공간에 남아 있는 작은 직사각형 침실을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 오래된 생활 공간을 계속 사용하는 현실적인 실내로, 미래라는 이유로 장식적인 첨단 설비를 추가하지 않는다. 낮의 부드러운 자연광이 실내에 간접적으로 퍼지고, 침상 아래와 문틀 안쪽에는 자연스러운 그늘이 남는다. 과도하게 어둡거나 인위적으로 색을 보정한 화면이 아닌 담담한 현장 기록 사진이다.\n참조 평면도는 벽과 출입구, 침상 및 통로의 배치 파악에만 사용한다. 서쪽 벽에 붙은 낡은 일인용 침상은 남북으로 길게 놓여 있고 머리맡은 북쪽이다. 남쪽 벽의 동남쪽 모서리 가까이에 출입구가 있으며, 방 동쪽에는 출입구에서 침상 옆까지 이어지는 비어 있는 통로가 있다. 기존 문짝은 동쪽 문설주에 달린 경첩을 축으로 방 안의 동쪽 벽을 향해 열린 상태다. 침상과 통로의 배치는 그대로 유지한다.\n카메라는 동쪽 통로의 북쪽 끝, 침상 머리맡 바로 동쪽에 두고 남쪽 출입구를 향한다. 높이 약 1.5미터의 서 있는 사람 눈높이에서, 35밀리미터 규격 센서의 실제 미러리스 카메라와 28밀리미터 광각 렌즈로 촬영한다. 화면 오른쪽 가까이에 침상 가장자리, 왼쪽에 빈 출입 동선, 정면 왼쪽에 열린 출입구와 동쪽으로 젖혀진 문짝이 자연스럽게 보인다. 수직선과 공간의 원근은 실제 광각 사진처럼 표현하고, 위에서 내려다보는 구도나 평면도 표현은 사용하지 않는다.\n낡은 콘크리트 벽의 도장 표면, 침상 금속 테두리의 오래된 마찰 자국, 침상 천의 실제 직조감, 문짝의 바랜 나뭇결과 금속 경첩의 사용감을 가까이서 확인할 수 있다. 생활에 따른 옅은 얼룩과 마모는 일상적인 수준이며 실내 구조와 물건은 온전하다. 자연스러운 피사계 심도로 침상부터 출입구까지 공간 관계가 읽힌다. 사람, 얼굴, 사람 모양의 형상 없이 빈 방만 촬영한다. 삽화나 컴퓨터 생성 이미지, 건축 시각화가 아니라 실제 장소에서 촬영한 사진이며, 새것처럼 정돈된 광고 사진의 질감을 피한다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 1,
          "camera_cell": [
            1,
            5
          ],
          "look_at_unit": 4,
          "look_at_cell": [
            8,
            6
          ],
          "lens_enum": "normal",
          "fov_deg": 50,
          "framing_notes": "Neutral coverage toward opening 3 supports the medium over-shoulder staging, with the foreground shoulder at lower left and opening at upper right. This changes the target and visible structural slice from L23B02. The discrete candidates do not encode an additional camera-distance adjustment."
        },
        "shot_aware_plan_node_index": 1,
        "shot_aware_plan_mode": "same_physical_space_view",
        "render_guidance": {
          "visible_space_directive": "From unit 1, show the view toward unit 4 and base opening 3 at [8,6], retaining the foreground relationship to marker 2. Keep marker 2 in L23B02's established west-wall position. Keep unit 4 on the east side and opening 3 on the south wall near the southeast corner, with its east-jamb hinge and inward swing toward the east wall. The staging commits opening 3 to the upper-right background; do not infer additional spaces beyond it from visibility supersets.",
          "camera_framing_directive": "Use camera unit 1 at [1,5], looking toward [8,6] in unit 4, with normal coverage at 50 degrees. Follow S21_Shot4's medium, shoulder-height over-shoulder composition and slightly upward attention: foreground shoulder at lower left, waist-up subject center-right, and opening 3 at upper right.",
          "subject_position_directive": "S21_Shot4 commits the rising subject's shoulder to the lower-left edge with the face outside the crop. Place the other staged subject waist-up at center-right, leaning forward with mouth open and arm extended toward opening 3 at upper right, addressing the off-frame face rather than the lens. Preserve these subject-relative background alignments without adding subjects.",
          "state_cue_directive": "Apply transient marker 5, Door open after arrival, to opening 3. Preserve consistent daytime ambient illumination from L23B02, with the staged restrained contrast. Treat this opening state as transient while retaining the fixed jamb, hinge and surrounding structure.",
          "negative_continuity_directive": "No numbered elements or state overlays are listed for exclusion. Avoid moving marker 2 relative to L23B02, relocating opening 3 or unit 4, copying L23B02's narrow target crop into this view, or inventing contents beyond opening 3. Marker 5 changes the transient state, not the fixed layout."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_amber_room",
          "prior_bg_ids": [
            "L23B02"
          ],
          "attached_ref_labels": [
            "bg:L23B02"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L21B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L21",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L21B01.png",
        "t2i_prompt": "2069년 대한민국의 자원 부족 주거 환경에 남아 있는 재사용 컨테이너 주택의 현관 외부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 미러리스 카메라와 35밀리미터급 렌즈를 사용해 지상 약 1.6미터의 서 있는 사람 눈높이에서 촬영한다. 외부 진입 공간의 오른쪽에 서서 현관 앞 바닥과 정면 벽의 출입문, 그 오른편의 주거 번호판을 비스듬히 바라보는 구도다. 참고 평면도는 구조와 배치 확인에만 사용하며 위에서 내려다보는 시점이나 도면 구도로 옮기지 않는다.\n컨테이너의 골이 진 강판 외벽과 중앙 부근의 철제 출입문이 보이고, 현관 앞 바닥에서 외부 접근 공간이 좌우와 전경으로 이어진다. 출입문은 밖에서 보아 왼쪽 문설주에 경첩이 달려 있으며 안으로 밀어 여는 구조다. 문은 조금만 안쪽으로 열려 내부 입구의 좁은 부분만 보인다. 문 바로 오른쪽 외벽에 부착된 번호판에는 '7-31'이 정확하고 선명하게 읽힌다. 한국의 생활형 컨테이너 주거에서 볼 수 있는 실용적인 금속 접합부, 덧칠한 강판의 표면 결, 오래된 금속의 산화와 빗물 얼룩, 현관 바닥의 거친 콘크리트 질감을 사실적으로 보여준다.\n수색 후의 제한적인 파손은 출입문 둘레에만 집중한다. 문틀 주변의 국소적인 긁힘과 얕은 찌그러짐, 벗겨진 도장, 바로 인접한 현관 바닥에 소량 떨어진 도장 조각으로 표현한다. 번호판의 글자는 훼손되지 않으며, 경첩과 문짝은 제자리에 있어 문을 정상적으로 밀어 열 수 있다. 문이 움직이는 바닥 범위는 막히지 않는다. 이 제한된 흔적을 건물 전체의 붕괴나 넓은 잔해 더미로 확대하지 않는다.\n낮의 자연광이 외벽과 현관 앞을 밝히고, 문 안쪽은 외부보다 자연스럽게 어둡다. 강판 요철과 문틀 아래의 그림자는 실제 햇빛과 주변 반사광에 맞게 형성된다. 재료 본래의 색, 일상적인 마모와 오염, 과장 없는 노출과 자연스러운 피사계 심도를 유지한다. 인물, 얼굴, 사람 형태의 형상, 사람 그림자 없이 비어 있는 배경만 촬영한다. 실제 장소 기록 사진과 구별되지 않는 질감이며, 광고용으로 말끔하게 정돈된 사진이나 컴퓨터 합성 영상, 삽화, 건축 시각화가 아니다. 인위적인 색 보정이나 극적인 조명 효과 없이 촬영한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S24_Shot3",
            "guide_text": "외부 진입 공간 오른쪽에서 현관을 비스듬히 바라보는 눈높이 구도를 기준으로 삼는다. 전경의 접근 공간과 현관 앞 바닥, 출입문, 오른쪽의 '7-31' 번호판을 함께 확보한다. 문 주변의 제한적인 파손과 낮의 자연광을 유지하고 배경은 비워 둔다."
          },
          {
            "shot_id": "S24_Shot7",
            "guide_text": "동일한 현관 외부 상태를 사용한다. 구도를 좁히더라도 출입문과 번호판의 좌우 관계, 문틀의 긁힘과 얕은 찌그러짐 위치를 바꾸지 않는다. 현관 앞 공간을 확보하고 새로운 파손이나 물체를 추가하지 않는다."
          },
          {
            "shot_id": "S24_Shot9",
            "guide_text": "앞선 장면과 같은 낮의 노출과 그림자 방향, 문 주변의 국소적인 파손을 유지한다. 출입문은 왼쪽 경첩을 축으로 안쪽으로 열리는 구조이며 번호판의 '7-31'은 계속 읽혀야 한다. 장면의 반응을 표현하기 위해 배경에 추가 손상이나 광학 효과를 넣지 않는다."
          }
        ],
        "shot_ids": [
          "S24_Shot3",
          "S24_Shot7",
          "S24_Shot9"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_2",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "On the right-hand side of number 3 (exterior approach), facing diagonally toward number 2 (front landing), number 4 (entrance door), and number 5 (dwelling identifier fixture), with only a narrow glimpse of number 1 through the doorway.",
          "camera_height": "Standing eye level, approximately 1.6 m",
          "lens_hint": "35mm moderate wide angle",
          "framing_notes": "Use the same exterior camera and post-search daytime state across all listed shots. Keep the doorway, landing, and identifier prominently visible, with clear foreground space for arrival, confrontation, and reaction staging. The downstream identifier must retain the inscription 7-31, although the floor plan shows only its blank fixture glyph. Apply number 6 as restrained localized damage, not structural collapse; preserve the push-in door and unobstructed passage. Do not import interior vase fragments or unrelated event debris."
        },
        "reference_decision": {
          "bg_id": "L21B01",
          "fp_id": "fp_container_front",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L21B01 is the only ready BG and the sole authorized anchor candidate. Select it under the supplied fallback despite clean_background_expected=false, retaining committed overlay marker 6. With no prior references, establish identity from base markers 1–5. The wide camera in unit 3 aimed toward unit 1 through marker 4 supplies a representative entrance view for S24_Shot3. S24_Shot7 and S24_Shot9 commit closer interior compositions; this single camera plan does not claim to reproduce those distinct shot cameras.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/floor_plan/fp_container_front.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The catalog is empty and this is the first node; seed the authorized anchor directly from the floor plan.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 3,
            "camera_cell": [
              7,
              4
            ],
            "look_at_unit": 1,
            "look_at_cell": [
              2,
              4
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad entrance coverage from unit 3, directed toward unit 1 with the exact permitted aim cell at opening marker 4. Include unit 2 ahead and the exterior-facing fixed structure around markers 4 and 5. This is the representative background framing, not an assertion that the later interior shot cameras share these coordinates."
          },
          "render_guidance": {
            "visible_space_directive": "From unit 3, show the forward portion of unit 3, unit 2 ahead, opening marker 4, and only the portion of unit 1 actually exposed through that opening. Keep base marker 5 attached to the exterior front wall immediately right of marker 4. Preserve the front-wall and side-wall relationships of base marker 1. Visibility candidates are supersets, so do not treat them as proof of unobstructed interior coverage.",
            "camera_framing_directive": "Use camera_unit 3 at [7, 4], looking toward unit 1 at [2, 4], with wide lens and 90-degree field of view. Provide broad coverage with marker 4 ahead near upper center, supporting the entrance destination in S24_Shot3. Keep the framing grounded in this listed camera rather than inventing an oblique offset, tracking path, or interior camera coordinate.",
            "subject_position_directive": "S24_Shot3 commits a rear-facing subject in the central third, pushing marker 4 inward while the leading foot crosses the threshold, with the opening ahead at upper center. Reserve that action space in the representative view. S24_Shot7 separately commits a center-left mid-torso subject and a narrow right-foreground shoulder/head overlap; S24_Shot9 commits a left-center face, fingers at the lower boundary, and the other subject beyond the right edge. Treat these as shot-specific interior staging, not simultaneous subject placements in this exterior plate; add no invented subjects.",
            "state_cue_directive": "Retain overlay marker 6, labeled \"Limited post-search entry damage\", without inventing its material, extent, or specific damage pattern. clean_background_expected is false; this fallback anchor is not a pristine-state plate. Preserve use markers 1–6. S24_Shot3 commits marker 4 being pushed inward; its movement is a shot-specific state while its left-jamb hinge and inward swing remain fixed. Use the staged daytime ambient illumination with restrained contrast, and introduce no additional state cues.",
            "negative_continuity_directive": "The ignore_numbered_elements and ignored_state_overlay_marker_numbers lists are empty. Avoid relocating marker 5, changing marker 4's hinge side or swing relationship, or expanding marker 6 beyond its committed scope. Avoid unsupported contents in unit 1 and visibility beyond the actual opening and chosen cone. Do not merge the subject arrangements of S24_Shot3, S24_Shot7, and S24_Shot9 into one plate or portray their distinct cameras as this same view."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [7, 4]\n  - look_at_unit: 1\n  - look_at_cell: [2, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad entrance coverage from unit 3, directed toward unit 1 with the exact permitted aim cell at opening marker 4. Include unit 2 ahead and the exterior-facing fixed structure around markers 4 and 5. This is the representative background framing, not an assertion that the later interior shot cameras share these coordinates.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 3, show the forward portion of unit 3, unit 2 ahead, opening marker 4, and only the portion of unit 1 actually exposed through that opening. Keep base marker 5 attached to the exterior front wall immediately right of marker 4. Preserve the front-wall and side-wall relationships of base marker 1. Visibility candidates are supersets, so do not treat them as proof of unobstructed interior coverage.\n  - camera_framing_directive: Use camera_unit 3 at [7, 4], looking toward unit 1 at [2, 4], with wide lens and 90-degree field of view. Provide broad coverage with marker 4 ahead near upper center, supporting the entrance destination in S24_Shot3. Keep the framing grounded in this listed camera rather than inventing an oblique offset, tracking path, or interior camera coordinate.\n  - subject_position_directive: S24_Shot3 commits a rear-facing subject in the central third, pushing marker 4 inward while the leading foot crosses the threshold, with the opening ahead at upper center. Reserve that action space in the representative view. S24_Shot7 separately commits a center-left mid-torso subject and a narrow right-foreground shoulder/head overlap; S24_Shot9 commits a left-center face, fingers at the lower boundary, and the other subject beyond the right edge. Treat these as shot-specific interior staging, not simultaneous subject placements in this exterior plate; add no invented subjects.\n  - state_cue_directive: Retain overlay marker 6, labeled \"Limited post-search entry damage\", without inventing its material, extent, or specific damage pattern. clean_background_expected is false; this fallback anchor is not a pristine-state plate. Preserve use markers 1–6. S24_Shot3 commits marker 4 being pushed inward; its movement is a shot-specific state while its left-jamb hinge and inward swing remain fixed. Use the staged daytime ambient illumination with restrained contrast, and introduce no additional state cues.\n  - negative_continuity_directive: The ignore_numbered_elements and ignored_state_overlay_marker_numbers lists are empty. Avoid relocating marker 5, changing marker 4's hinge side or swing relationship, or expanding marker 6 beyond its committed scope. Avoid unsupported contents in unit 1 and visibility beyond the actual opening and chosen cone. Do not merge the subject arrangements of S24_Shot3, S24_Shot7, and S24_Shot9 into one plate or portray their distinct cameras as this same view.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [7, 4]\n  - look_at_unit: 1\n  - look_at_cell: [2, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad entrance coverage from unit 3, directed toward unit 1 with the exact permitted aim cell at opening marker 4. Include unit 2 ahead and the exterior-facing fixed structure around markers 4 and 5. This is the representative background framing, not an assertion that the later interior shot cameras share these coordinates.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 3, show the forward portion of unit 3, unit 2 ahead, opening marker 4, and only the portion of unit 1 actually exposed through that opening. Keep base marker 5 attached to the exterior front wall immediately right of marker 4. Preserve the front-wall and side-wall relationships of base marker 1. Visibility candidates are supersets, so do not treat them as proof of unobstructed interior coverage.\n  - camera_framing_directive: Use camera_unit 3 at [7, 4], looking toward unit 1 at [2, 4], with wide lens and 90-degree field of view. Provide broad coverage with marker 4 ahead near upper center, supporting the entrance destination in S24_Shot3. Keep the framing grounded in this listed camera rather than inventing an oblique offset, tracking path, or interior camera coordinate.\n  - subject_position_directive: S24_Shot3 commits a rear-facing subject in the central third, pushing marker 4 inward while the leading foot crosses the threshold, with the opening ahead at upper center. Reserve that action space in the representative view. S24_Shot7 separately commits a center-left mid-torso subject and a narrow right-foreground shoulder/head overlap; S24_Shot9 commits a left-center face, fingers at the lower boundary, and the other subject beyond the right edge. Treat these as shot-specific interior staging, not simultaneous subject placements in this exterior plate; add no invented subjects.\n  - state_cue_directive: Retain overlay marker 6, labeled \"Limited post-search entry damage\", without inventing its material, extent, or specific damage pattern. clean_background_expected is false; this fallback anchor is not a pristine-state plate. Preserve use markers 1–6. S24_Shot3 commits marker 4 being pushed inward; its movement is a shot-specific state while its left-jamb hinge and inward swing remain fixed. Use the staged daytime ambient illumination with restrained contrast, and introduce no additional state cues.\n  - negative_continuity_directive: The ignore_numbered_elements and ignored_state_overlay_marker_numbers lists are empty. Avoid relocating marker 5, changing marker 4's hinge side or swing relationship, or expanding marker 6 beyond its committed scope. Avoid unsupported contents in unit 1 and visibility beyond the actual opening and chosen cone. Do not merge the subject arrangements of S24_Shot3, S24_Shot7, and S24_Shot9 into one plate or portray their distinct cameras as this same view.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [7, 4]\n  - look_at_unit: 1\n  - look_at_cell: [2, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad entrance coverage from unit 3, directed toward unit 1 with the exact permitted aim cell at opening marker 4. Include unit 2 ahead and the exterior-facing fixed structure around markers 4 and 5. This is the representative background framing, not an assertion that the later interior shot cameras share these coordinates.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 3, show the forward portion of unit 3, unit 2 ahead, opening marker 4, and only the portion of unit 1 actually exposed through that opening. Keep base marker 5 attached to the exterior front wall immediately right of marker 4. Preserve the front-wall and side-wall relationships of base marker 1. Visibility candidates are supersets, so do not treat them as proof of unobstructed interior coverage.\n  - camera_framing_directive: Use camera_unit 3 at [7, 4], looking toward unit 1 at [2, 4], with wide lens and 90-degree field of view. Provide broad coverage with marker 4 ahead near upper center, supporting the entrance destination in S24_Shot3. Keep the framing grounded in this listed camera rather than inventing an oblique offset, tracking path, or interior camera coordinate.\n  - subject_position_directive: S24_Shot3 commits a rear-facing subject in the central third, pushing marker 4 inward while the leading foot crosses the threshold, with the opening ahead at upper center. Reserve that action space in the representative view. S24_Shot7 separately commits a center-left mid-torso subject and a narrow right-foreground shoulder/head overlap; S24_Shot9 commits a left-center face, fingers at the lower boundary, and the other subject beyond the right edge. Treat these as shot-specific interior staging, not simultaneous subject placements in this exterior plate; add no invented subjects.\n  - state_cue_directive: Retain overlay marker 6, labeled \"Limited post-search entry damage\", without inventing its material, extent, or specific damage pattern. clean_background_expected is false; this fallback anchor is not a pristine-state plate. Preserve use markers 1–6. S24_Shot3 commits marker 4 being pushed inward; its movement is a shot-specific state while its left-jamb hinge and inward swing remain fixed. Use the staged daytime ambient illumination with restrained contrast, and introduce no additional state cues.\n  - negative_continuity_directive: The ignore_numbered_elements and ignored_state_overlay_marker_numbers lists are empty. Avoid relocating marker 5, changing marker 4's hinge side or swing relationship, or expanding marker 6 beyond its committed scope. Avoid unsupported contents in unit 1 and visibility beyond the actual opening and chosen cone. Do not merge the subject arrangements of S24_Shot3, S24_Shot7, and S24_Shot9 into one plate or portray their distinct cameras as this same view.\n\n2069년 대한민국의 자원 부족 주거 환경에 남아 있는 재사용 컨테이너 주택의 현관 외부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 미러리스 카메라와 35밀리미터급 렌즈를 사용해 지상 약 1.6미터의 서 있는 사람 눈높이에서 촬영한다. 외부 진입 공간의 오른쪽에 서서 현관 앞 바닥과 정면 벽의 출입문, 그 오른편의 주거 번호판을 비스듬히 바라보는 구도다. 참고 평면도는 구조와 배치 확인에만 사용하며 위에서 내려다보는 시점이나 도면 구도로 옮기지 않는다.\n컨테이너의 골이 진 강판 외벽과 중앙 부근의 철제 출입문이 보이고, 현관 앞 바닥에서 외부 접근 공간이 좌우와 전경으로 이어진다. 출입문은 밖에서 보아 왼쪽 문설주에 경첩이 달려 있으며 안으로 밀어 여는 구조다. 문은 조금만 안쪽으로 열려 내부 입구의 좁은 부분만 보인다. 문 바로 오른쪽 외벽에 부착된 번호판에는 '7-31'이 정확하고 선명하게 읽힌다. 한국의 생활형 컨테이너 주거에서 볼 수 있는 실용적인 금속 접합부, 덧칠한 강판의 표면 결, 오래된 금속의 산화와 빗물 얼룩, 현관 바닥의 거친 콘크리트 질감을 사실적으로 보여준다.\n수색 후의 제한적인 파손은 출입문 둘레에만 집중한다. 문틀 주변의 국소적인 긁힘과 얕은 찌그러짐, 벗겨진 도장, 바로 인접한 현관 바닥에 소량 떨어진 도장 조각으로 표현한다. 번호판의 글자는 훼손되지 않으며, 경첩과 문짝은 제자리에 있어 문을 정상적으로 밀어 열 수 있다. 문이 움직이는 바닥 범위는 막히지 않는다. 이 제한된 흔적을 건물 전체의 붕괴나 넓은 잔해 더미로 확대하지 않는다.\n낮의 자연광이 외벽과 현관 앞을 밝히고, 문 안쪽은 외부보다 자연스럽게 어둡다. 강판 요철과 문틀 아래의 그림자는 실제 햇빛과 주변 반사광에 맞게 형성된다. 재료 본래의 색, 일상적인 마모와 오염, 과장 없는 노출과 자연스러운 피사계 심도를 유지한다. 인물, 얼굴, 사람 형태의 형상, 사람 그림자 없이 비어 있는 배경만 촬영한다. 실제 장소 기록 사진과 구별되지 않는 질감이며, 광고용으로 말끔하게 정돈된 사진이나 컴퓨터 합성 영상, 삽화, 건축 시각화가 아니다. 인위적인 색 보정이나 극적인 조명 효과 없이 촬영한다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThe LAST attached image is a TOP-DOWN INTERIOR FLOOR PLAN of the building at this location — a STRUCTURAL REFERENCE ONLY, never content to draw. It defines the building's real scale: its footprint, room count, and the placement of its doors and windows. Render the scene so the building's exterior size, number of storeys, and the scale and placement of its doors and windows stay consistent with that plan. Do NOT draw the floor plan itself, its lines, text or numbers anywhere in the image.",
        "camera_decision": {
          "camera_unit": 3,
          "camera_cell": [
            7,
            4
          ],
          "look_at_unit": 1,
          "look_at_cell": [
            2,
            4
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad entrance coverage from unit 3, directed toward unit 1 with the exact permitted aim cell at opening marker 4. Include unit 2 ahead and the exterior-facing fixed structure around markers 4 and 5. This is the representative background framing, not an assertion that the later interior shot cameras share these coordinates."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "From unit 3, show the forward portion of unit 3, unit 2 ahead, opening marker 4, and only the portion of unit 1 actually exposed through that opening. Keep base marker 5 attached to the exterior front wall immediately right of marker 4. Preserve the front-wall and side-wall relationships of base marker 1. Visibility candidates are supersets, so do not treat them as proof of unobstructed interior coverage.",
          "camera_framing_directive": "Use camera_unit 3 at [7, 4], looking toward unit 1 at [2, 4], with wide lens and 90-degree field of view. Provide broad coverage with marker 4 ahead near upper center, supporting the entrance destination in S24_Shot3. Keep the framing grounded in this listed camera rather than inventing an oblique offset, tracking path, or interior camera coordinate.",
          "subject_position_directive": "S24_Shot3 commits a rear-facing subject in the central third, pushing marker 4 inward while the leading foot crosses the threshold, with the opening ahead at upper center. Reserve that action space in the representative view. S24_Shot7 separately commits a center-left mid-torso subject and a narrow right-foreground shoulder/head overlap; S24_Shot9 commits a left-center face, fingers at the lower boundary, and the other subject beyond the right edge. Treat these as shot-specific interior staging, not simultaneous subject placements in this exterior plate; add no invented subjects.",
          "state_cue_directive": "Retain overlay marker 6, labeled \"Limited post-search entry damage\", without inventing its material, extent, or specific damage pattern. clean_background_expected is false; this fallback anchor is not a pristine-state plate. Preserve use markers 1–6. S24_Shot3 commits marker 4 being pushed inward; its movement is a shot-specific state while its left-jamb hinge and inward swing remain fixed. Use the staged daytime ambient illumination with restrained contrast, and introduce no additional state cues.",
          "negative_continuity_directive": "The ignore_numbered_elements and ignored_state_overlay_marker_numbers lists are empty. Avoid relocating marker 5, changing marker 4's hinge side or swing relationship, or expanding marker 6 beyond its committed scope. Avoid unsupported contents in unit 1 and visibility beyond the actual opening and chosen cone. Do not merge the subject arrangements of S24_Shot3, S24_Shot7, and S24_Shot9 into one plate or portray their distinct cameras as this same view."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_container_front",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_container_front",
            "building_fp:fp_container_shared_interior"
          ],
          "ref_used": "refs_2",
          "db_write_policy": "checkpoint_only"
        },
        "building_fp_ref": {
          "fp_id": "fp_container_shared_interior",
          "indoor_loc_sid": "L22",
          "group_id": "bg_primary_container_home",
          "fp_asset_id": "f2bd229d-03ab-4788-8c59-d4f49806d18c"
        }
      },
      "L25B02": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L25",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L25B02.png",
        "t2i_prompt": "2069년 대한민국의 자원 부족 지역에서 오래된 장비를 계속 사용하는 수리점 내부. 실제 미러리스 카메라와 35밀리미터급 렌즈로 촬영한 다큐멘터리 풍 사진으로, 실제 장소 기록 사진과 구별되지 않는 사실적인 배경이다. 후방 작업 구역에 동서 방향으로 놓인 수리대와 그 서쪽 끝의 데스크톱 컴퓨터를 기준으로 한다. 모니터는 북쪽 작업자 공간을 향한다. 카메라는 모니터 바로 북쪽, 서 있는 사람의 눈높이인 약 1.6미터에서 남쪽을 향해 화면을 살짝 내려다본다. 가까운 거리에서 모니터 화면과 낡은 테두리를 중심으로 담고, 아래쪽에는 수리대 상판 일부가 보이게 한다. 수리대 동쪽 끝의 접근 공간과 기존 배치는 바꾸지 않는다.\n오래된 모니터 화면 안에 한국어 뉴스가 밝게 표시되어 있고, 굵고 큼직한 붉은 글씨의 ‘5억 원 현상금’ 문구가 가장 먼저 읽힌다. 뉴스는 문자 중심의 평범한 화면 구성으로 표현하며, 표시 내용과 붉은빛은 모니터 표시 영역에만 한정한다. 화면 밖에 문구나 정보창을 겹쳐 넣지 않는다. 실내뿐 아니라 뉴스 화면과 반사면에도 사람, 얼굴, 신체 형태의 형상은 전혀 없다.\n낮의 부드러운 자연광이 수리대와 컴퓨터 외장을 비추고, 화면의 밝기와 붉은 글자는 또렷하되 하얗게 날아가지 않는다. 오래 사용한 컴퓨터의 누렇게 바랜 플라스틱, 테두리의 잔흠집, 수리대 금속의 실제 산화 질감과 일상적인 사용 얼룩을 과장 없이 보여준다. 미래라는 이유로 재사용 장비를 새 제품으로 바꾸지 않는다. 화면과 테두리에 정확하게 초점을 맞추고 주변 상판은 자연스러운 심도로 조금 부드럽게 보이게 한다. 인위적인 색 보정이나 과도한 광택 없이 실제 재질과 자연스러운 노출을 유지한다. 내려다보는 평면도나 건축 도해가 아닌 현장 사진이며, 컴퓨터 합성 이미지나 삽화, 건축 시각화, 지나치게 정돈된 광고 사진처럼 표현하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S15_Shot7",
            "guide_text": "낡은 모니터의 뉴스 화면을 중심으로 가까이 담는다. 붉은 ‘5억 원 현상금’ 문구가 명확히 읽히도록 초점과 노출을 맞추고, 모니터 테두리와 아래쪽 수리대 일부를 남겨 실제 장비 화면임을 보여준다. 모니터 북쪽에서 남쪽을 보는 방향과 낮의 자연광을 유지한다. 화면 내용은 표시 영역 안에만 두며 인물, 얼굴, 신체 형태의 형상은 화면과 반사면을 포함해 넣지 않는다."
          }
        ],
        "shot_ids": [
          "S15_Shot7"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "Inside number 5, just north of number 9, facing south toward the monitor screen with number 8 beneath it.",
          "camera_height": "approximately seated eye level, adjusted to the monitor",
          "lens_hint": "65mm close detail",
          "framing_notes": "Feature number 9 and overlay number 12 prominently, retaining a narrow repair-desk context. Keep all news imagery confined to the physical screen; do not introduce its subject as a physical presence in the shop."
        },
        "reference_decision": {
          "bg_id": "L25B02",
          "fp_id": "fp_junk_repair_shop",
          "node_index": 3,
          "mode": "same_physical_space_view",
          "is_dwelling_identity_anchor": false,
          "rationale": "S15_Shot7 requires a person-free, oblique view of marker 9's content-bearing face. Camera unit 5 at [0, 4] looking toward [1, 3] observes the north-facing fixture from its operator side, unlike the earlier visitor-facing views. L25B04 supplies the same fixed identity, but this genuinely different structural slice needs its own view plate; marker 12 alone does not account for the difference.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L25B04.png"
          ],
          "source_bg_ids": [
            "L25B04"
          ],
          "fp_included": false,
          "reference_decision": {
            "selected_refs": [
              {
                "ref_bg_id": "L25B04",
                "physical_space_id": "fp_junk_repair_shop_space_1",
                "space_description": "Unit 5 with persistent markers 8 and 9 in the same unit 1 enclosure."
              }
            ],
            "rejected_refs": [
              {
                "ref_bg_id": "L25B03",
                "reason": "Same physical-space identity as L25B04; deduplicated to the anchor as the single layout reference."
              },
              {
                "ref_bg_id": "L25B01",
                "reason": "Same physical-space identity as L25B04; no distinct visible space is added by a second reference."
              }
            ],
            "same_physical_space_dedup_decision": "single_same_physical_space_reference",
            "why_single_ref_or_two_refs": "Markers 8 and 9 belong to the already established enclosure. One reference commits their placement; no second distinct space is required by S15_Shot7.",
            "physical_space_id_per_ref": [
              "fp_junk_repair_shop_space_1"
            ],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 5,
            "camera_cell": [
              0,
              4
            ],
            "look_at_unit": 5,
            "look_at_cell": [
              1,
              3
            ],
            "lens_enum": "normal",
            "fov_deg": 50,
            "framing_notes": "Neutral 50-degree coverage within unit 5, aimed obliquely at marker 9 from its north-facing side. Retain its bezel and the staged central display composition; do not rotate the fixture to face an earlier camera."
          },
          "render_guidance": {
            "visible_space_directive": "Show marker 9's north-facing content surface obliquely from within unit 5, with the visible portion of marker 8 beneath it and only local cone-supported background context. Keep marker 9 at [1, 3], on marker 8's west end, and preserve L25B04's fixed east-west arrangement. This local view does not establish co-visibility of all candidate units or opening 3.",
            "camera_framing_directive": "Use camera unit 5 at [0, 4], looking within unit 5 toward [1, 3], with normal 50-degree neutral coverage. Keep the content-bearing surface centered, its bezel retained, and its orientation oblique. Follow S15_Shot7's target of just under two-fifths image occupancy and middle-center placement without moving the fixed fixture.",
            "subject_position_directive": "No committed visible subject cue is available beyond the listed facts: S15_Shot7 explicitly requires no person visible and supplies no character angles. Keep the BG free of invented subjects, including any shoulder silhouette.",
            "state_cue_directive": "Apply transient marker 12, \"Reward news screen state\", to marker 9's display, with the staged red text '5억 원 현상금' readable inside the bezel. Preserve the distinction between displayed content and physical space. Retain restrained daytime ambience and the bright display without coloring the surrounding space red; use base markers 8 and 9.",
            "negative_continuity_directive": "Exclude overlay markers 11 and 13. Avoid relocating or reversing marker 9 to imitate L25B04's camera, moving marker 8, extending marker 12 beyond its content surface, or importing out-of-cone units and opening 3 from the visibility supersets."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L25B04' physical_space_id='fp_junk_repair_shop_space_1'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 5\n  - camera_cell: [0, 4]\n  - look_at_unit: 5\n  - look_at_cell: [1, 3]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral 50-degree coverage within unit 5, aimed obliquely at marker 9 from its north-facing side. Retain its bezel and the staged central display composition; do not rotate the fixture to face an earlier camera.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show marker 9's north-facing content surface obliquely from within unit 5, with the visible portion of marker 8 beneath it and only local cone-supported background context. Keep marker 9 at [1, 3], on marker 8's west end, and preserve L25B04's fixed east-west arrangement. This local view does not establish co-visibility of all candidate units or opening 3.\n  - camera_framing_directive: Use camera unit 5 at [0, 4], looking within unit 5 toward [1, 3], with normal 50-degree neutral coverage. Keep the content-bearing surface centered, its bezel retained, and its orientation oblique. Follow S15_Shot7's target of just under two-fifths image occupancy and middle-center placement without moving the fixed fixture.\n  - subject_position_directive: No committed visible subject cue is available beyond the listed facts: S15_Shot7 explicitly requires no person visible and supplies no character angles. Keep the BG free of invented subjects, including any shoulder silhouette.\n  - state_cue_directive: Apply transient marker 12, \"Reward news screen state\", to marker 9's display, with the staged red text '5억 원 현상금' readable inside the bezel. Preserve the distinction between displayed content and physical space. Retain restrained daytime ambience and the bright display without coloring the surrounding space red; use base markers 8 and 9.\n  - negative_continuity_directive: Exclude overlay markers 11 and 13. Avoid relocating or reversing marker 9 to imitate L25B04's camera, moving marker 8, extending marker 12 beyond its content surface, or importing out-of-cone units and opening 3 from the visibility supersets.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L25B04' physical_space_id='fp_junk_repair_shop_space_1'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 5\n  - camera_cell: [0, 4]\n  - look_at_unit: 5\n  - look_at_cell: [1, 3]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral 50-degree coverage within unit 5, aimed obliquely at marker 9 from its north-facing side. Retain its bezel and the staged central display composition; do not rotate the fixture to face an earlier camera.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show marker 9's north-facing content surface obliquely from within unit 5, with the visible portion of marker 8 beneath it and only local cone-supported background context. Keep marker 9 at [1, 3], on marker 8's west end, and preserve L25B04's fixed east-west arrangement. This local view does not establish co-visibility of all candidate units or opening 3.\n  - camera_framing_directive: Use camera unit 5 at [0, 4], looking within unit 5 toward [1, 3], with normal 50-degree neutral coverage. Keep the content-bearing surface centered, its bezel retained, and its orientation oblique. Follow S15_Shot7's target of just under two-fifths image occupancy and middle-center placement without moving the fixed fixture.\n  - subject_position_directive: No committed visible subject cue is available beyond the listed facts: S15_Shot7 explicitly requires no person visible and supplies no character angles. Keep the BG free of invented subjects, including any shoulder silhouette.\n  - state_cue_directive: Apply transient marker 12, \"Reward news screen state\", to marker 9's display, with the staged red text '5억 원 현상금' readable inside the bezel. Preserve the distinction between displayed content and physical space. Retain restrained daytime ambience and the bright display without coloring the surrounding space red; use base markers 8 and 9.\n  - negative_continuity_directive: Exclude overlay markers 11 and 13. Avoid relocating or reversing marker 9 to imitate L25B04's camera, moving marker 8, extending marker 12 beyond its content surface, or importing out-of-cone units and opening 3 from the visibility supersets.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L25B04' physical_space_id='fp_junk_repair_shop_space_1'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 5\n  - camera_cell: [0, 4]\n  - look_at_unit: 5\n  - look_at_cell: [1, 3]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral 50-degree coverage within unit 5, aimed obliquely at marker 9 from its north-facing side. Retain its bezel and the staged central display composition; do not rotate the fixture to face an earlier camera.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show marker 9's north-facing content surface obliquely from within unit 5, with the visible portion of marker 8 beneath it and only local cone-supported background context. Keep marker 9 at [1, 3], on marker 8's west end, and preserve L25B04's fixed east-west arrangement. This local view does not establish co-visibility of all candidate units or opening 3.\n  - camera_framing_directive: Use camera unit 5 at [0, 4], looking within unit 5 toward [1, 3], with normal 50-degree neutral coverage. Keep the content-bearing surface centered, its bezel retained, and its orientation oblique. Follow S15_Shot7's target of just under two-fifths image occupancy and middle-center placement without moving the fixed fixture.\n  - subject_position_directive: No committed visible subject cue is available beyond the listed facts: S15_Shot7 explicitly requires no person visible and supplies no character angles. Keep the BG free of invented subjects, including any shoulder silhouette.\n  - state_cue_directive: Apply transient marker 12, \"Reward news screen state\", to marker 9's display, with the staged red text '5억 원 현상금' readable inside the bezel. Preserve the distinction between displayed content and physical space. Retain restrained daytime ambience and the bright display without coloring the surrounding space red; use base markers 8 and 9.\n  - negative_continuity_directive: Exclude overlay markers 11 and 13. Avoid relocating or reversing marker 9 to imitate L25B04's camera, moving marker 8, extending marker 12 beyond its content surface, or importing out-of-cone units and opening 3 from the visibility supersets.\n\n2069년 대한민국의 자원 부족 지역에서 오래된 장비를 계속 사용하는 수리점 내부. 실제 미러리스 카메라와 35밀리미터급 렌즈로 촬영한 다큐멘터리 풍 사진으로, 실제 장소 기록 사진과 구별되지 않는 사실적인 배경이다. 후방 작업 구역에 동서 방향으로 놓인 수리대와 그 서쪽 끝의 데스크톱 컴퓨터를 기준으로 한다. 모니터는 북쪽 작업자 공간을 향한다. 카메라는 모니터 바로 북쪽, 서 있는 사람의 눈높이인 약 1.6미터에서 남쪽을 향해 화면을 살짝 내려다본다. 가까운 거리에서 모니터 화면과 낡은 테두리를 중심으로 담고, 아래쪽에는 수리대 상판 일부가 보이게 한다. 수리대 동쪽 끝의 접근 공간과 기존 배치는 바꾸지 않는다.\n오래된 모니터 화면 안에 한국어 뉴스가 밝게 표시되어 있고, 굵고 큼직한 붉은 글씨의 ‘5억 원 현상금’ 문구가 가장 먼저 읽힌다. 뉴스는 문자 중심의 평범한 화면 구성으로 표현하며, 표시 내용과 붉은빛은 모니터 표시 영역에만 한정한다. 화면 밖에 문구나 정보창을 겹쳐 넣지 않는다. 실내뿐 아니라 뉴스 화면과 반사면에도 사람, 얼굴, 신체 형태의 형상은 전혀 없다.\n낮의 부드러운 자연광이 수리대와 컴퓨터 외장을 비추고, 화면의 밝기와 붉은 글자는 또렷하되 하얗게 날아가지 않는다. 오래 사용한 컴퓨터의 누렇게 바랜 플라스틱, 테두리의 잔흠집, 수리대 금속의 실제 산화 질감과 일상적인 사용 얼룩을 과장 없이 보여준다. 미래라는 이유로 재사용 장비를 새 제품으로 바꾸지 않는다. 화면과 테두리에 정확하게 초점을 맞추고 주변 상판은 자연스러운 심도로 조금 부드럽게 보이게 한다. 인위적인 색 보정이나 과도한 광택 없이 실제 재질과 자연스러운 노출을 유지한다. 내려다보는 평면도나 건축 도해가 아닌 현장 사진이며, 컴퓨터 합성 이미지나 삽화, 건축 시각화, 지나치게 정돈된 광고 사진처럼 표현하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "camera_decision": {
          "camera_unit": 5,
          "camera_cell": [
            0,
            4
          ],
          "look_at_unit": 5,
          "look_at_cell": [
            1,
            3
          ],
          "lens_enum": "normal",
          "fov_deg": 50,
          "framing_notes": "Neutral 50-degree coverage within unit 5, aimed obliquely at marker 9 from its north-facing side. Retain its bezel and the staged central display composition; do not rotate the fixture to face an earlier camera."
        },
        "shot_aware_plan_node_index": 3,
        "shot_aware_plan_mode": "same_physical_space_view",
        "render_guidance": {
          "visible_space_directive": "Show marker 9's north-facing content surface obliquely from within unit 5, with the visible portion of marker 8 beneath it and only local cone-supported background context. Keep marker 9 at [1, 3], on marker 8's west end, and preserve L25B04's fixed east-west arrangement. This local view does not establish co-visibility of all candidate units or opening 3.",
          "camera_framing_directive": "Use camera unit 5 at [0, 4], looking within unit 5 toward [1, 3], with normal 50-degree neutral coverage. Keep the content-bearing surface centered, its bezel retained, and its orientation oblique. Follow S15_Shot7's target of just under two-fifths image occupancy and middle-center placement without moving the fixed fixture.",
          "subject_position_directive": "No committed visible subject cue is available beyond the listed facts: S15_Shot7 explicitly requires no person visible and supplies no character angles. Keep the BG free of invented subjects, including any shoulder silhouette.",
          "state_cue_directive": "Apply transient marker 12, \"Reward news screen state\", to marker 9's display, with the staged red text '5억 원 현상금' readable inside the bezel. Preserve the distinction between displayed content and physical space. Retain restrained daytime ambience and the bright display without coloring the surrounding space red; use base markers 8 and 9.",
          "negative_continuity_directive": "Exclude overlay markers 11 and 13. Avoid relocating or reversing marker 9 to imitate L25B04's camera, moving marker 8, extending marker 12 beyond its content surface, or importing out-of-cone units and opening 3 from the visibility supersets."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_junk_repair_shop",
          "prior_bg_ids": [
            "L25B04"
          ],
          "attached_ref_labels": [
            "bg:L25B04"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L25B04": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L25",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L25B04.png",
        "t2i_prompt": "2069년 대한민국의 자원 재사용 중심 생활권에 있는 작은 고물상 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 오래된 생활 가전과 유선 기기를 계속 사용하는 현실적인 수리점이며, 사람 없이 공간과 물건만 보인다. 직사각형 점포의 양쪽 벽을 따라 중고 가전제품과 금속 고물이 빽빽하게 자리하고, 그 사이 중앙 통로가 남쪽 벽 중앙의 거리 출입구와 문턱으로 이어진다. 북쪽 안쪽에는 동서 방향으로 놓인 수리대와 작업자용 여유 공간이 있으며 수리대 동쪽 끝으로 돌아 통로에 접근할 수 있다. 수리대 서쪽 끝에는 작업자 공간인 북쪽을 향한 모니터를 포함한 데스크톱 컴퓨터가 있고, 동쪽 끝에는 낡은 유선 전화기가 놓여 있다.\n카메라는 안쪽 작업 공간의 북동쪽, 전화기 옆에 두고 수리대 너머 남서쪽을 비스듬히 바라본다. 서 있는 사람의 눈높이인 약 1.6미터에서 35밀리미터 풀프레임 미러리스 카메라와 28밀리미터 광각 렌즈로 촬영한다. 전화기는 가까운 전경에서 식별하기 쉽게 담되, 그 너머 수리대 동쪽 우회 공간과 중앙 통로, 출입구까지의 연결이 분명하게 읽히도록 한다. 양쪽의 고물 적치 구역은 통로의 깊이를 자연스럽게 감싸며, 컴퓨터는 원래 자리에 있어 화면 가장자리에 일부만 보일 수 있다.\n낮의 거리 출입구에서 들어오는 자연광이 문턱과 통로를 밝히고 안쪽 수리대까지 부드럽게 퍼진다. 실내 깊숙한 부분은 실제 노출에서 생기는 완만한 밝기 차이를 유지한다. 콘크리트 바닥의 입자, 수리대 목재의 결, 금속의 오래된 표면감, 가전 외장과 전화기 플라스틱의 생활 사용감을 사실적으로 담는다. 공간은 평상시의 정돈된 상태로 유지되어 있다. 전화기부터 출구까지 알아볼 수 있는 자연스러운 피사계 심도와 과장되지 않은 광각 원근감을 사용한다. 현장 기록 사진처럼 담백한 색과 밝기로 표현하고, 인위적인 색 보정이나 매끈한 광고 사진 느낌을 피한다. 사람, 얼굴, 사람 모양의 형상은 화면과 반사면을 포함해 어디에도 묘사하지 않는다. 삽화나 컴퓨터 합성 이미지, 건축 시각화가 아닌 실제 장소 촬영본이며, 위에서 내려다본 구도나 평면도 구도를 사용하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S15_Shot11",
            "guide_text": "전화기가 가까운 전경에 보이는 고정 구도를 사용한다. 수리대 동쪽 끝에서 중앙 통로와 거리 출입구로 이어지는 동선이 가려지지 않도록 하며, 양쪽 적치 구역으로 공간의 깊이를 보여준다. 퇴장 동작이나 인물은 배경에 그리지 않는다."
          },
          {
            "shot_id": "S15_Shot13",
            "guide_text": "앞 숏과 동일한 카메라 위치와 화각, 낮 자연광, 고물과 가전의 배치를 유지한다. 전경의 유선 전화기와 그 너머 출구 동선이 함께 읽히게 한다. 전화 사용 동작이나 물건의 상태 변화를 배경에 추가하지 않는다."
          }
        ],
        "shot_ids": [
          "S15_Shot11",
          "S15_Shot13"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Near the northeast side of number 5, beside number 10, facing diagonally southwest across number 8 and along number 4 toward numbers 2 and 3.",
          "camera_height": "eye-level standing, approximately 1.6m",
          "lens_hint": "28mm wide angle",
          "framing_notes": "Use one unchanged composition for the departure and subsequent telephone call. Keep number 10 prominent in the foreground and the exit route legible beyond the desk, with salvage banks framing the aisle. No blood or damage."
        },
        "reference_decision": {
          "bg_id": "L25B04",
          "fp_id": "fp_junk_repair_shop",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L25B04 is the sole eligible clean anchor. Establish the fixed identity fresh from the floor plan, using unit 2 looking toward unit 5 for broad entrance-side interior coverage supporting S15_Shot13. The two surfaced shots require different framing: this north-facing representative plate cannot also show opening 3 along the left edge as requested by S15_Shot11. Preserve that staging limitation rather than relocate the opening or claim that the visibility supersets guarantee it.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/floor_plan/fp_junk_repair_shop.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_reference_anchor",
            "why_single_ref_or_two_refs": "The clean identity anchor is rendered fresh; no prior reference is selected.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 2,
            "camera_cell": [
              8,
              4
            ],
            "look_at_unit": 5,
            "look_at_cell": [
              1,
              4
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad north-facing coverage from unit 2 toward marker 8 in unit 5. Opening 3 at [9, 4] is behind this camera, so its requested left-edge appearance in S15_Shot11 is not representable in this single plate."
          },
          "render_guidance": {
            "visible_space_directive": "Show the forward portion of unit 1, with unit 4 leading toward unit 5 and lateral portions of units 6 and 7 within the wide cone. Establish marker 8 east-west at [1, 4], marker 9 at its west end [1, 3] facing north, and marker 10 at its east end [1, 6]. Opening 3 remains at [9, 4], behind the camera; the candidate visibility superset does not make it visible here.",
            "camera_framing_directive": "Use camera unit 2 at [8, 4], looking toward unit 5 at [1, 4], with wide 90-degree broad coverage. This is a representative entrance-side interior framing, not simultaneous coverage of the wide departure composition and the close return composition. Keep opening 3 out of this forward cone rather than moving it to satisfy the requested left-edge route.",
            "subject_position_directive": "Keep the clean background plate free of baked-in subjects while preserving the committed shot-layer space: S15_Shot11 places its two subjects middle-left and middle-right with unobstructed hand-to-arm contact; S15_Shot13 places its subject in the right half with open space left and separation between the receiver and mouth-covering hand. These are separate consuming-shot compositions, not simultaneous subject placements.",
            "state_cue_directive": "No committed state cue beyond \"clean residential space\" applies to this clean background with no transient markers. Retain the staged daytime ambient illumination and persistent numbered elements; refrain from inventing additional cues. The staged subject actions belong to their consuming shots.",
            "negative_continuity_directive": "Exclude overlay markers 11, 12, and 13. Avoid moving markers 8, 9, or 10, reversing marker 9's fixed facing, or relocating opening 3. Do not turn visibility supersets into guaranteed co-visibility or insert behind-camera opening 3 into the forward cone."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [8, 4]\n  - look_at_unit: 5\n  - look_at_cell: [1, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad north-facing coverage from unit 2 toward marker 8 in unit 5. Opening 3 at [9, 4] is behind this camera, so its requested left-edge appearance in S15_Shot11 is not representable in this single plate.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward portion of unit 1, with unit 4 leading toward unit 5 and lateral portions of units 6 and 7 within the wide cone. Establish marker 8 east-west at [1, 4], marker 9 at its west end [1, 3] facing north, and marker 10 at its east end [1, 6]. Opening 3 remains at [9, 4], behind the camera; the candidate visibility superset does not make it visible here.\n  - camera_framing_directive: Use camera unit 2 at [8, 4], looking toward unit 5 at [1, 4], with wide 90-degree broad coverage. This is a representative entrance-side interior framing, not simultaneous coverage of the wide departure composition and the close return composition. Keep opening 3 out of this forward cone rather than moving it to satisfy the requested left-edge route.\n  - subject_position_directive: Keep the clean background plate free of baked-in subjects while preserving the committed shot-layer space: S15_Shot11 places its two subjects middle-left and middle-right with unobstructed hand-to-arm contact; S15_Shot13 places its subject in the right half with open space left and separation between the receiver and mouth-covering hand. These are separate consuming-shot compositions, not simultaneous subject placements.\n  - state_cue_directive: No committed state cue beyond \"clean residential space\" applies to this clean background with no transient markers. Retain the staged daytime ambient illumination and persistent numbered elements; refrain from inventing additional cues. The staged subject actions belong to their consuming shots.\n  - negative_continuity_directive: Exclude overlay markers 11, 12, and 13. Avoid moving markers 8, 9, or 10, reversing marker 9's fixed facing, or relocating opening 3. Do not turn visibility supersets into guaranteed co-visibility or insert behind-camera opening 3 into the forward cone.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [8, 4]\n  - look_at_unit: 5\n  - look_at_cell: [1, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad north-facing coverage from unit 2 toward marker 8 in unit 5. Opening 3 at [9, 4] is behind this camera, so its requested left-edge appearance in S15_Shot11 is not representable in this single plate.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward portion of unit 1, with unit 4 leading toward unit 5 and lateral portions of units 6 and 7 within the wide cone. Establish marker 8 east-west at [1, 4], marker 9 at its west end [1, 3] facing north, and marker 10 at its east end [1, 6]. Opening 3 remains at [9, 4], behind the camera; the candidate visibility superset does not make it visible here.\n  - camera_framing_directive: Use camera unit 2 at [8, 4], looking toward unit 5 at [1, 4], with wide 90-degree broad coverage. This is a representative entrance-side interior framing, not simultaneous coverage of the wide departure composition and the close return composition. Keep opening 3 out of this forward cone rather than moving it to satisfy the requested left-edge route.\n  - subject_position_directive: Keep the clean background plate free of baked-in subjects while preserving the committed shot-layer space: S15_Shot11 places its two subjects middle-left and middle-right with unobstructed hand-to-arm contact; S15_Shot13 places its subject in the right half with open space left and separation between the receiver and mouth-covering hand. These are separate consuming-shot compositions, not simultaneous subject placements.\n  - state_cue_directive: No committed state cue beyond \"clean residential space\" applies to this clean background with no transient markers. Retain the staged daytime ambient illumination and persistent numbered elements; refrain from inventing additional cues. The staged subject actions belong to their consuming shots.\n  - negative_continuity_directive: Exclude overlay markers 11, 12, and 13. Avoid moving markers 8, 9, or 10, reversing marker 9's fixed facing, or relocating opening 3. Do not turn visibility supersets into guaranteed co-visibility or insert behind-camera opening 3 into the forward cone.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [8, 4]\n  - look_at_unit: 5\n  - look_at_cell: [1, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad north-facing coverage from unit 2 toward marker 8 in unit 5. Opening 3 at [9, 4] is behind this camera, so its requested left-edge appearance in S15_Shot11 is not representable in this single plate.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward portion of unit 1, with unit 4 leading toward unit 5 and lateral portions of units 6 and 7 within the wide cone. Establish marker 8 east-west at [1, 4], marker 9 at its west end [1, 3] facing north, and marker 10 at its east end [1, 6]. Opening 3 remains at [9, 4], behind the camera; the candidate visibility superset does not make it visible here.\n  - camera_framing_directive: Use camera unit 2 at [8, 4], looking toward unit 5 at [1, 4], with wide 90-degree broad coverage. This is a representative entrance-side interior framing, not simultaneous coverage of the wide departure composition and the close return composition. Keep opening 3 out of this forward cone rather than moving it to satisfy the requested left-edge route.\n  - subject_position_directive: Keep the clean background plate free of baked-in subjects while preserving the committed shot-layer space: S15_Shot11 places its two subjects middle-left and middle-right with unobstructed hand-to-arm contact; S15_Shot13 places its subject in the right half with open space left and separation between the receiver and mouth-covering hand. These are separate consuming-shot compositions, not simultaneous subject placements.\n  - state_cue_directive: No committed state cue beyond \"clean residential space\" applies to this clean background with no transient markers. Retain the staged daytime ambient illumination and persistent numbered elements; refrain from inventing additional cues. The staged subject actions belong to their consuming shots.\n  - negative_continuity_directive: Exclude overlay markers 11, 12, and 13. Avoid moving markers 8, 9, or 10, reversing marker 9's fixed facing, or relocating opening 3. Do not turn visibility supersets into guaranteed co-visibility or insert behind-camera opening 3 into the forward cone.\n\n2069년 대한민국의 자원 재사용 중심 생활권에 있는 작은 고물상 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 오래된 생활 가전과 유선 기기를 계속 사용하는 현실적인 수리점이며, 사람 없이 공간과 물건만 보인다. 직사각형 점포의 양쪽 벽을 따라 중고 가전제품과 금속 고물이 빽빽하게 자리하고, 그 사이 중앙 통로가 남쪽 벽 중앙의 거리 출입구와 문턱으로 이어진다. 북쪽 안쪽에는 동서 방향으로 놓인 수리대와 작업자용 여유 공간이 있으며 수리대 동쪽 끝으로 돌아 통로에 접근할 수 있다. 수리대 서쪽 끝에는 작업자 공간인 북쪽을 향한 모니터를 포함한 데스크톱 컴퓨터가 있고, 동쪽 끝에는 낡은 유선 전화기가 놓여 있다.\n카메라는 안쪽 작업 공간의 북동쪽, 전화기 옆에 두고 수리대 너머 남서쪽을 비스듬히 바라본다. 서 있는 사람의 눈높이인 약 1.6미터에서 35밀리미터 풀프레임 미러리스 카메라와 28밀리미터 광각 렌즈로 촬영한다. 전화기는 가까운 전경에서 식별하기 쉽게 담되, 그 너머 수리대 동쪽 우회 공간과 중앙 통로, 출입구까지의 연결이 분명하게 읽히도록 한다. 양쪽의 고물 적치 구역은 통로의 깊이를 자연스럽게 감싸며, 컴퓨터는 원래 자리에 있어 화면 가장자리에 일부만 보일 수 있다.\n낮의 거리 출입구에서 들어오는 자연광이 문턱과 통로를 밝히고 안쪽 수리대까지 부드럽게 퍼진다. 실내 깊숙한 부분은 실제 노출에서 생기는 완만한 밝기 차이를 유지한다. 콘크리트 바닥의 입자, 수리대 목재의 결, 금속의 오래된 표면감, 가전 외장과 전화기 플라스틱의 생활 사용감을 사실적으로 담는다. 공간은 평상시의 정돈된 상태로 유지되어 있다. 전화기부터 출구까지 알아볼 수 있는 자연스러운 피사계 심도와 과장되지 않은 광각 원근감을 사용한다. 현장 기록 사진처럼 담백한 색과 밝기로 표현하고, 인위적인 색 보정이나 매끈한 광고 사진 느낌을 피한다. 사람, 얼굴, 사람 모양의 형상은 화면과 반사면을 포함해 어디에도 묘사하지 않는다. 삽화나 컴퓨터 합성 이미지, 건축 시각화가 아닌 실제 장소 촬영본이며, 위에서 내려다본 구도나 평면도 구도를 사용하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "camera_decision": {
          "camera_unit": 2,
          "camera_cell": [
            8,
            4
          ],
          "look_at_unit": 5,
          "look_at_cell": [
            1,
            4
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad north-facing coverage from unit 2 toward marker 8 in unit 5. Opening 3 at [9, 4] is behind this camera, so its requested left-edge appearance in S15_Shot11 is not representable in this single plate."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Show the forward portion of unit 1, with unit 4 leading toward unit 5 and lateral portions of units 6 and 7 within the wide cone. Establish marker 8 east-west at [1, 4], marker 9 at its west end [1, 3] facing north, and marker 10 at its east end [1, 6]. Opening 3 remains at [9, 4], behind the camera; the candidate visibility superset does not make it visible here.",
          "camera_framing_directive": "Use camera unit 2 at [8, 4], looking toward unit 5 at [1, 4], with wide 90-degree broad coverage. This is a representative entrance-side interior framing, not simultaneous coverage of the wide departure composition and the close return composition. Keep opening 3 out of this forward cone rather than moving it to satisfy the requested left-edge route.",
          "subject_position_directive": "Keep the clean background plate free of baked-in subjects while preserving the committed shot-layer space: S15_Shot11 places its two subjects middle-left and middle-right with unobstructed hand-to-arm contact; S15_Shot13 places its subject in the right half with open space left and separation between the receiver and mouth-covering hand. These are separate consuming-shot compositions, not simultaneous subject placements.",
          "state_cue_directive": "No committed state cue beyond \"clean residential space\" applies to this clean background with no transient markers. Retain the staged daytime ambient illumination and persistent numbered elements; refrain from inventing additional cues. The staged subject actions belong to their consuming shots.",
          "negative_continuity_directive": "Exclude overlay markers 11, 12, and 13. Avoid moving markers 8, 9, or 10, reversing marker 9's fixed facing, or relocating opening 3. Do not turn visibility supersets into guaranteed co-visibility or insert behind-camera opening 3 into the forward cone."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_junk_repair_shop",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_junk_repair_shop"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L25B03": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L25",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L25B03.png",
        "t2i_prompt": "2069년 대한민국의 자원이 부족한 생활권에 남아 있는 작은 고물 수리점 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 오래된 생활 전자제품을 계속 고쳐 쓰는 동네 수리점의 현실적인 공간이며, 미래라는 이유로 새 장비나 장식적인 첨단 설비를 덧붙이지 않는다. 직사각형 실내의 중앙 통로 남쪽 끝에서 북쪽 뒤편 수리대를 바라본다. 풀프레임 미러리스 카메라의 35밀리미터 렌즈, 바닥에서 약 1.6미터 높이의 서 있는 사람 눈높이로 촬영한다. 수평을 유지한 자연스러운 원근감으로 양옆의 고물 적치 구역과 통로 끝 수리대를 함께 담는다.\n\n중앙의 남북 방향 고객 통로 양쪽으로 서쪽 벽과 동쪽 벽을 따라 기존 고물 더미가 놓여 있다. 뒤편 수리 구역에는 수리대가 동서 방향으로 길게 놓이고, 수리대 동쪽 끝으로 돌아 들어가는 공간과 그 뒤 작업자가 머무는 공간이 확보되어 있다. 수리대 서쪽 끝에는 데스크톱 컴퓨터 일체가 있으며 모니터 화면은 북쪽 작업 공간을 향하므로 카메라에는 주로 모니터 뒷면이 보인다. 동쪽 끝에는 유선 전화기가 놓여 있다. 이 시점에는 컴퓨터와 전화기 사이인 수리대 중앙 작업면에 수리 중인 텔레비전 한 대가 놓여 있다. 텔레비전이 통로에서 자연스럽게 보이되 별도의 전시물처럼 과장하지 않는다. 중앙 통로와 수리대 앞의 빈 바닥 공간은 충분히 읽히도록 한다.\n\n낮의 부드러운 자연광이 카메라 뒤쪽에서 실내로 퍼져 들어오며, 깊숙한 수리 구역에는 실제 실내에서 생기는 완만한 밝기 차이와 부드러운 그림자가 남는다. 콘크리트 표면의 거친 입자, 오래 사용한 수리대 표면의 마모, 고물의 금속 산화와 생활 얼룩, 전자제품 외장의 세월에 따른 변색을 실제 재료처럼 표현한다. 기존 적치 상태는 차분히 유지하며 바닥 통로는 비워 둔다. 과도한 암부나 극적인 조명 없이 자연스러운 노출과 색을 유지하고, 수리대에 초점을 맞춘 자연스러운 피사계 심도로 주변 공간의 구조도 알아볼 수 있게 한다. 사람, 얼굴, 신체 모양의 형상은 화면과 반사면을 포함해 전혀 나타나지 않는 빈 배경이다. 실제 장소 답사 사진과 구별되지 않는 질감이며, 광고용으로 말끔하게 꾸민 사진이나 컴퓨터 생성 영상, 삽화, 건축 시각화가 아니다. 위에서 내려다본 구도나 평면도 표현을 사용하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S17_Shot3",
            "guide_text": "중앙 통로 남쪽에서 약 1.6미터 눈높이와 35밀리미터 렌즈로 뒤편 수리대를 바라보는 빈 공간 구도. 양쪽 고물 더미는 화면 가장자리에서 공간의 깊이를 드러내고, 중앙에는 수리대 앞의 여유 공간과 수리 중인 텔레비전이 보이게 한다. 컴퓨터는 수리대 왼쪽에서 뒷면 위주로, 유선 전화기는 오른쪽에서 보이며 동쪽 우회 동선도 읽히도록 한다. 낮의 자연광과 기존 물건 배치를 유지하고 인물이나 인체 형상은 넣지 않는다."
          }
        ],
        "shot_ids": [
          "S17_Shot3"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "Near the south end of number 4, just inside number 2, facing north toward numbers 8 and 5, between numbers 6 and 7.",
          "camera_height": "eye-level standing, approximately 1.6m",
          "lens_hint": "35mm medium-wide angle",
          "framing_notes": "Keep the customer approach and proprietor's rear working space readable. Show overlay number 11 on the desk without blocking the negotiation space. Maintain intact stockpiles and clean, undamaged surfaces."
        },
        "reference_decision": {
          "bg_id": "L25B03",
          "fp_id": "fp_junk_repair_shop",
          "node_index": 1,
          "mode": "same_physical_space_view",
          "is_dwelling_identity_anchor": false,
          "rationale": "S17_Shot3 observes marker 8 obliquely from its visitor-facing side. Reference L25B04 commits the same enclosure and fixed arrangement; camera unit 7 looking toward unit 5 gives an east-offset view rather than the anchor's central entrance-side view. This changes the visible faces and occlusion relationships of the fixed elements, so a separate view plate is appropriate despite overlapping base markers.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L25B04.png"
          ],
          "source_bg_ids": [
            "L25B04"
          ],
          "fp_included": false,
          "reference_decision": {
            "selected_refs": [
              {
                "ref_bg_id": "L25B04",
                "physical_space_id": "fp_junk_repair_shop_space_1",
                "space_description": "Unit 1 enclosure, including units 2, 4, 5, 6, and 7 and persistent markers 8, 9, and 10."
              }
            ],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "single_same_physical_space_reference",
            "why_single_ref_or_two_refs": "The target units are subareas of the same enclosure already established by L25B04; one layout reference suffices.",
            "physical_space_id_per_ref": [
              "fp_junk_repair_shop_space_1"
            ],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 7,
            "camera_cell": [
              5,
              6
            ],
            "look_at_unit": 5,
            "look_at_cell": [
              1,
              4
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad oblique coverage toward marker 8 from its visitor-facing east side. The offset from L25B04 changes structural perspective; the medium subject composition is staged within this representative coverage."
          },
          "render_guidance": {
            "visible_space_directive": "From unit 7, show the forward portion of unit 1 toward unit 5 and markers 8, 9, and 10, with only cone-supported portions of intervening units 4 and 6. Inherit L25B04's fixed placement: marker 8 remains east-west, marker 9 stays at its west end facing north, and marker 10 stays at its east end. Preserve access around marker 8's east end.",
            "camera_framing_directive": "Use camera unit 7 at [5, 6], looking toward unit 5 at [1, 4], with wide 90-degree coverage. Maintain the oblique visitor-facing relationship to marker 8. Reserve the lower framing region for its visitor-facing edge and the just-right-of-center region for the staged upper body; do not reinterpret the wide lens as a narrow lens.",
            "subject_position_directive": "For S17_Shot3, reserve the upper-body position just right of center, with three extended fingers beside the smiling face rather than covering it. Keep the gaze toward the visitor outside frame left and marker 8's visitor-facing edge beneath the subject. No additional subject position is committed.",
            "state_cue_directive": "Carry transient marker 11, \"Television under repair\", only as supported by its association with this BG; no exact placement is supplied. Use persistent markers 1, 4, 5, 6, 7, 8, 9, and 10 and retain the staged daytime interior ambience. The raised-finger action is a shot-layer cue, not a fixed-layout change.",
            "negative_continuity_directive": "Exclude overlay markers 12 and 13. Avoid rearranging fixed markers 8, 9, and 10 relative to L25B04 or treating units 4, 5, 6, and 7 as independent newly composed rooms. Do not bring opening 3 or other out-of-cone portions into this forward view."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L25B04' physical_space_id='fp_junk_repair_shop_space_1'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 7\n  - camera_cell: [5, 6]\n  - look_at_unit: 5\n  - look_at_cell: [1, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad oblique coverage toward marker 8 from its visitor-facing east side. The offset from L25B04 changes structural perspective; the medium subject composition is staged within this representative coverage.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 7, show the forward portion of unit 1 toward unit 5 and markers 8, 9, and 10, with only cone-supported portions of intervening units 4 and 6. Inherit L25B04's fixed placement: marker 8 remains east-west, marker 9 stays at its west end facing north, and marker 10 stays at its east end. Preserve access around marker 8's east end.\n  - camera_framing_directive: Use camera unit 7 at [5, 6], looking toward unit 5 at [1, 4], with wide 90-degree coverage. Maintain the oblique visitor-facing relationship to marker 8. Reserve the lower framing region for its visitor-facing edge and the just-right-of-center region for the staged upper body; do not reinterpret the wide lens as a narrow lens.\n  - subject_position_directive: For S17_Shot3, reserve the upper-body position just right of center, with three extended fingers beside the smiling face rather than covering it. Keep the gaze toward the visitor outside frame left and marker 8's visitor-facing edge beneath the subject. No additional subject position is committed.\n  - state_cue_directive: Carry transient marker 11, \"Television under repair\", only as supported by its association with this BG; no exact placement is supplied. Use persistent markers 1, 4, 5, 6, 7, 8, 9, and 10 and retain the staged daytime interior ambience. The raised-finger action is a shot-layer cue, not a fixed-layout change.\n  - negative_continuity_directive: Exclude overlay markers 12 and 13. Avoid rearranging fixed markers 8, 9, and 10 relative to L25B04 or treating units 4, 5, 6, and 7 as independent newly composed rooms. Do not bring opening 3 or other out-of-cone portions into this forward view.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L25B04' physical_space_id='fp_junk_repair_shop_space_1'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 7\n  - camera_cell: [5, 6]\n  - look_at_unit: 5\n  - look_at_cell: [1, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad oblique coverage toward marker 8 from its visitor-facing east side. The offset from L25B04 changes structural perspective; the medium subject composition is staged within this representative coverage.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 7, show the forward portion of unit 1 toward unit 5 and markers 8, 9, and 10, with only cone-supported portions of intervening units 4 and 6. Inherit L25B04's fixed placement: marker 8 remains east-west, marker 9 stays at its west end facing north, and marker 10 stays at its east end. Preserve access around marker 8's east end.\n  - camera_framing_directive: Use camera unit 7 at [5, 6], looking toward unit 5 at [1, 4], with wide 90-degree coverage. Maintain the oblique visitor-facing relationship to marker 8. Reserve the lower framing region for its visitor-facing edge and the just-right-of-center region for the staged upper body; do not reinterpret the wide lens as a narrow lens.\n  - subject_position_directive: For S17_Shot3, reserve the upper-body position just right of center, with three extended fingers beside the smiling face rather than covering it. Keep the gaze toward the visitor outside frame left and marker 8's visitor-facing edge beneath the subject. No additional subject position is committed.\n  - state_cue_directive: Carry transient marker 11, \"Television under repair\", only as supported by its association with this BG; no exact placement is supplied. Use persistent markers 1, 4, 5, 6, 7, 8, 9, and 10 and retain the staged daytime interior ambience. The raised-finger action is a shot-layer cue, not a fixed-layout change.\n  - negative_continuity_directive: Exclude overlay markers 12 and 13. Avoid rearranging fixed markers 8, 9, and 10 relative to L25B04 or treating units 4, 5, 6, and 7 as independent newly composed rooms. Do not bring opening 3 or other out-of-cone portions into this forward view.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L25B04' physical_space_id='fp_junk_repair_shop_space_1'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 7\n  - camera_cell: [5, 6]\n  - look_at_unit: 5\n  - look_at_cell: [1, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad oblique coverage toward marker 8 from its visitor-facing east side. The offset from L25B04 changes structural perspective; the medium subject composition is staged within this representative coverage.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 7, show the forward portion of unit 1 toward unit 5 and markers 8, 9, and 10, with only cone-supported portions of intervening units 4 and 6. Inherit L25B04's fixed placement: marker 8 remains east-west, marker 9 stays at its west end facing north, and marker 10 stays at its east end. Preserve access around marker 8's east end.\n  - camera_framing_directive: Use camera unit 7 at [5, 6], looking toward unit 5 at [1, 4], with wide 90-degree coverage. Maintain the oblique visitor-facing relationship to marker 8. Reserve the lower framing region for its visitor-facing edge and the just-right-of-center region for the staged upper body; do not reinterpret the wide lens as a narrow lens.\n  - subject_position_directive: For S17_Shot3, reserve the upper-body position just right of center, with three extended fingers beside the smiling face rather than covering it. Keep the gaze toward the visitor outside frame left and marker 8's visitor-facing edge beneath the subject. No additional subject position is committed.\n  - state_cue_directive: Carry transient marker 11, \"Television under repair\", only as supported by its association with this BG; no exact placement is supplied. Use persistent markers 1, 4, 5, 6, 7, 8, 9, and 10 and retain the staged daytime interior ambience. The raised-finger action is a shot-layer cue, not a fixed-layout change.\n  - negative_continuity_directive: Exclude overlay markers 12 and 13. Avoid rearranging fixed markers 8, 9, and 10 relative to L25B04 or treating units 4, 5, 6, and 7 as independent newly composed rooms. Do not bring opening 3 or other out-of-cone portions into this forward view.\n\n2069년 대한민국의 자원이 부족한 생활권에 남아 있는 작은 고물 수리점 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 오래된 생활 전자제품을 계속 고쳐 쓰는 동네 수리점의 현실적인 공간이며, 미래라는 이유로 새 장비나 장식적인 첨단 설비를 덧붙이지 않는다. 직사각형 실내의 중앙 통로 남쪽 끝에서 북쪽 뒤편 수리대를 바라본다. 풀프레임 미러리스 카메라의 35밀리미터 렌즈, 바닥에서 약 1.6미터 높이의 서 있는 사람 눈높이로 촬영한다. 수평을 유지한 자연스러운 원근감으로 양옆의 고물 적치 구역과 통로 끝 수리대를 함께 담는다.\n\n중앙의 남북 방향 고객 통로 양쪽으로 서쪽 벽과 동쪽 벽을 따라 기존 고물 더미가 놓여 있다. 뒤편 수리 구역에는 수리대가 동서 방향으로 길게 놓이고, 수리대 동쪽 끝으로 돌아 들어가는 공간과 그 뒤 작업자가 머무는 공간이 확보되어 있다. 수리대 서쪽 끝에는 데스크톱 컴퓨터 일체가 있으며 모니터 화면은 북쪽 작업 공간을 향하므로 카메라에는 주로 모니터 뒷면이 보인다. 동쪽 끝에는 유선 전화기가 놓여 있다. 이 시점에는 컴퓨터와 전화기 사이인 수리대 중앙 작업면에 수리 중인 텔레비전 한 대가 놓여 있다. 텔레비전이 통로에서 자연스럽게 보이되 별도의 전시물처럼 과장하지 않는다. 중앙 통로와 수리대 앞의 빈 바닥 공간은 충분히 읽히도록 한다.\n\n낮의 부드러운 자연광이 카메라 뒤쪽에서 실내로 퍼져 들어오며, 깊숙한 수리 구역에는 실제 실내에서 생기는 완만한 밝기 차이와 부드러운 그림자가 남는다. 콘크리트 표면의 거친 입자, 오래 사용한 수리대 표면의 마모, 고물의 금속 산화와 생활 얼룩, 전자제품 외장의 세월에 따른 변색을 실제 재료처럼 표현한다. 기존 적치 상태는 차분히 유지하며 바닥 통로는 비워 둔다. 과도한 암부나 극적인 조명 없이 자연스러운 노출과 색을 유지하고, 수리대에 초점을 맞춘 자연스러운 피사계 심도로 주변 공간의 구조도 알아볼 수 있게 한다. 사람, 얼굴, 신체 모양의 형상은 화면과 반사면을 포함해 전혀 나타나지 않는 빈 배경이다. 실제 장소 답사 사진과 구별되지 않는 질감이며, 광고용으로 말끔하게 꾸민 사진이나 컴퓨터 생성 영상, 삽화, 건축 시각화가 아니다. 위에서 내려다본 구도나 평면도 표현을 사용하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "camera_decision": {
          "camera_unit": 7,
          "camera_cell": [
            5,
            6
          ],
          "look_at_unit": 5,
          "look_at_cell": [
            1,
            4
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad oblique coverage toward marker 8 from its visitor-facing east side. The offset from L25B04 changes structural perspective; the medium subject composition is staged within this representative coverage."
        },
        "shot_aware_plan_node_index": 1,
        "shot_aware_plan_mode": "same_physical_space_view",
        "render_guidance": {
          "visible_space_directive": "From unit 7, show the forward portion of unit 1 toward unit 5 and markers 8, 9, and 10, with only cone-supported portions of intervening units 4 and 6. Inherit L25B04's fixed placement: marker 8 remains east-west, marker 9 stays at its west end facing north, and marker 10 stays at its east end. Preserve access around marker 8's east end.",
          "camera_framing_directive": "Use camera unit 7 at [5, 6], looking toward unit 5 at [1, 4], with wide 90-degree coverage. Maintain the oblique visitor-facing relationship to marker 8. Reserve the lower framing region for its visitor-facing edge and the just-right-of-center region for the staged upper body; do not reinterpret the wide lens as a narrow lens.",
          "subject_position_directive": "For S17_Shot3, reserve the upper-body position just right of center, with three extended fingers beside the smiling face rather than covering it. Keep the gaze toward the visitor outside frame left and marker 8's visitor-facing edge beneath the subject. No additional subject position is committed.",
          "state_cue_directive": "Carry transient marker 11, \"Television under repair\", only as supported by its association with this BG; no exact placement is supplied. Use persistent markers 1, 4, 5, 6, 7, 8, 9, and 10 and retain the staged daytime interior ambience. The raised-finger action is a shot-layer cue, not a fixed-layout change.",
          "negative_continuity_directive": "Exclude overlay markers 12 and 13. Avoid rearranging fixed markers 8, 9, and 10 relative to L25B04 or treating units 4, 5, 6, and 7 as independent newly composed rooms. Do not bring opening 3 or other out-of-cone portions into this forward view."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_junk_repair_shop",
          "prior_bg_ids": [
            "L25B04"
          ],
          "attached_ref_labels": [
            "bg:L25B04"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L25B01": {
        "status": "ok",
        "is_reuse": true,
        "render_action": "reuse_existing_plate",
        "reuse_target_bg_id": "L25B03",
        "reused_from_bg_id": "L25B03",
        "location_id": "L25",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L25B03.png",
        "t2i_prompt": "2069년 대한민국의 자원 사정이 넉넉하지 않은 고물 수리점 내부를 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 오래된 생활 전자제품을 재사용하는 소규모 수리점의 현실적인 재료와 생활감을 담은 현장 기록 사진이다. 평면도 참조는 공간 구성과 기존 집기의 상대 위치를 파악하는 용도로만 사용한다. 직사각형 점포의 중앙에는 남북으로 이어지는 고객 통로가 있고, 북쪽 안쪽은 수리 작업 구역이다. 수리대는 이 구역을 동서 방향으로 가로지르며 동쪽 끝을 돌아 뒤편 작업 공간으로 들어갈 여유가 있다. 동쪽 벽을 따라 기존 고물 더미가 놓여 있다. 수리대 서쪽 끝의 데스크톱 컴퓨터 모니터는 북쪽 작업자 공간을 향하고, 동쪽 끝에는 유선 전화기가 놓여 있다. 기존 집기와 고물 더미의 배치는 그대로 둔다.\n카메라는 중앙 고객 통로의 북서쪽 끝, 수리대 바로 남서쪽에 두고 북동쪽을 비스듬히 바라본다. 서 있는 사람의 눈높이 약 1.6미터에서 40밀리미터 렌즈로 촬영하여 수리대 상판과 뒤편 작업 공간, 동쪽 끝 전화기가 함께 보이게 한다. 가까운 쪽 컴퓨터는 자연스럽게 뒷면과 측면이 보이며 수리대 중앙과 동쪽 끝 사이의 거리감을 유지한다. 내려다보는 조감도나 평면도, 건축 도해가 아닌 실제 실내 시점이다.\n컴퓨터와 전화기 사이 수리대 중앙 작업면에는 수리 중인 텔레비전 한 대가 놓여 있다. 수리대 상판과 바로 인접한 작업 구역에만 소량의 짙은 붉은 혈흔이 국소적으로 남아 있고, 고객 통로나 동쪽 고물 더미 쪽으로 이어지지 않는다. 혈흔의 젖은 표면 반사는 절제되고 실제적인 수준으로 표현한다. 사람, 얼굴, 신체, 사람 형태의 형상은 화면과 반사면을 포함해 전혀 보이지 않는 빈 배경이다.\n낮의 부드러운 자연광이 실내로 간접적으로 퍼지고 수리대 아래와 뒤편에는 현실적인 그늘이 생긴다. 오래 사용한 콘크리트 표면의 미세한 마모와 생활 얼룩, 금속의 산화와 긁힘, 전자제품 외장의 닳은 플라스틱 질감을 세밀하게 담는다. 과장된 미래 장식 없이 오래된 장비가 계속 쓰이는 한국 생활형 수리점의 현실감을 유지한다. 눈으로 보는 듯한 자연스러운 색과 명암, 과도한 흐림 없는 자연스러운 피사계 심도, 인위적인 후처리 없는 실제 장소 사진. 매끈한 광고 사진이나 컴퓨터 생성 이미지, 삽화, 건축 시각화가 아니다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S17_Shot7",
            "guide_text": "수리대 남서쪽의 약 1.6미터 눈높이에서 북동쪽을 향하는 구도를 사용한다. 수리대 중앙의 텔레비전과 서쪽 컴퓨터, 동쪽 전화기의 상대 위치를 유지한다. 혈흔은 상판과 바로 인접한 작업 구역에만 표현하고, 인물이나 신체 없이 낮의 빈 수리점 배경으로 구성한다."
          },
          {
            "shot_id": "S17_Shot9",
            "guide_text": "앞 장면과 동일한 낮 자연광, 재질, 집기 배치와 혈흔의 위치 및 범위를 유지한다. 수리대 동쪽 끝의 유선 전화기와 뒤편 작업 여유 공간이 읽히도록 하되 별도 보고 장비를 추가하지 않는다. 고객 통로와 동쪽 고물 더미에는 혈흔을 확장하지 않으며 사람 형태의 형상은 넣지 않는다."
          }
        ],
        "shot_ids": [
          "S17_Shot7",
          "S17_Shot9"
        ],
        "scenes": [],
        "parent_id": "L25B03",
        "ref_used": "reused_plate",
        "render_attempts": 0,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "Near the northwest end of number 4, immediately southwest of number 8, facing diagonally northeast across the desk toward number 5 and number 10.",
          "camera_height": "eye-level standing, approximately 1.6m",
          "lens_hint": "40mm medium angle",
          "framing_notes": "Maintain one camera for the impact and immediate radio-report aftermath. Preserve desk space for the forward collapse, retain number 11, and confine overlay number 13 to the desk and its immediate surroundings. Keep salvage geometry unchanged; do not add bullet damage or a visible firing weapon. Character poses and the handheld radio are shot-level staging, not persistent layout fixtures."
        },
        "reference_decision": {
          "mode": "reference_derived",
          "render_action": "reuse_existing_plate",
          "reuse_target_bg_id": "L25B03",
          "selected_refs": [
            {
              "ref_bg_id": "L25B03",
              "physical_space_id": "fp_junk_repair_shop_space_1",
              "space_description": "The visitor-facing oblique view of unit 5 and marker 8 within unit 1."
            }
          ]
        },
        "shot_aware_plan_node_index": 2,
        "shot_aware_plan_mode": "reference_derived",
        "render_guidance": {
          "visible_space_directive": "Retain L25B03's fixed visitor-facing view toward unit 5 from unit 7, including marker 8 and cone-supported portions of markers 9 and 10 and units 1 and 4. Keep marker 8 east-west, marker 9 fixed at its west end facing north, and marker 10 at its east end. Preserve the same east-end access and background alignment.",
          "camera_framing_directive": "Use camera unit 7 at [5, 6], look-at unit 5 at [1, 4], and wide 90-degree coverage exactly as in L25B03. Retain this broad representative framing while supporting the lower-edge relationship to marker 8 in S17_Shot7 and its lower-left corner relationship in S17_Shot9 through shot-specific composition, not a reconstructed layout.",
          "subject_position_directive": "Treat the consuming shots separately: S17_Shot7 centers the buckling upper torso with open space immediately above, the near shoulder pitching forward, and marker 8 below; S17_Shot9 places the reporting subject in the right half with bent elbow beneath the held object at the mouth and gaze space left. Do not combine these subjects or actions into one simultaneous composition.",
          "state_cue_directive": "Carry transient markers 11, \"Television under repair\", and 13, \"Localized blood traces\", without converting them into permanent structural changes. Support the staged impact and collapse in S17_Shot7 and the reporting action in S17_Shot9 as separate scene layers. Preserve the preceding daytime illumination without an additional impact-light effect. Marker 13 has no supplied cell-level placement.",
          "negative_continuity_directive": "Exclude overlay marker 12. Do not bake L25B03's prior subject gesture into this BG, shift markers 8, 9, or 10, or treat marker 13 as structural damage. Avoid adding out-of-cone opening 3 or combining separate consuming-shot actions into a single fixed plate."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_junk_repair_shop",
          "prior_bg_ids": [
            "L25B03"
          ],
          "attached_ref_labels": [
            "bg:L25B03"
          ],
          "ref_used": "reused_plate",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L28B02": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L28",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L28B02.png",
        "t2i_prompt": "2069년 대한민국의 자원이 제한된 민병대 집무실을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 주간 실내의 실제 장소 기록 사진으로, 오래 사용한 사무용 가구와 목재 벽 마감이 남아 있는 실용적인 공간이다. 미래라는 이유로 새로운 첨단 설비나 장식물을 추가하지 않는다. 실제 미러리스 카메라와 35밀리미터 광각 렌즈를 사용하고, 북쪽 업무 구역의 북동쪽 가장자리, 지휘용 의자의 동쪽에서 약 1.6미터의 서 있는 사람 눈높이로 남서쪽을 비스듬히 바라본다. 책상과 스피커폰을 전경에 두고, 그 너머의 비어 있는 방문객 구역과 남쪽 나무 벽을 함께 담는다. 내려다보는 평면도나 건축 도해가 아닌 수평에 가까운 실내 시선이다.\n\n참조 평면도는 구조와 기존 가구의 상대적 위치를 파악하는 데만 사용한다. 방 북쪽 절반에는 긴 방향이 동서로 놓인 집무 책상이 있고, 그 바로 북쪽에는 방문객 구역을 향한 지휘용 의자가 있다. 스피커폰은 책상 상판의 북서쪽 모서리에 놓여 있다. 책상과 남쪽 벽 사이에는 방문객이 설 수 있는 빈 공간이 이어지고, 남쪽 벽에는 연속된 목재 마감이 있다. 서쪽 벽의 남서쪽 모서리 가까이에 출입문이 있으며, 문은 서쪽 벽 쪽으로 실내에 열리는 구조다. 기존 배치를 유지하되 책상 너머 나무 벽의 타격 지점을 가리지 않는 구도로 잡는다.\n\n남쪽 목재 벽에서 책상 중심선보다 조금 동쪽으로 치우친 한 지점에 단도의 타격 흔적이 있다. 바로 그 흔적에 단도 한 자루가 박혀 있으며, 박힌 날을 제외한 부분이 방 안쪽으로 돌출된다. 목재 섬유가 국소적으로 갈라진 접촉부와 단도의 실제 금속 표면을 자연스럽게 보여준다. 타격 순간에 한해 그 접촉부 바로 주변에 작은 나무 파편이 짧게 튀는 상태를 표현한다. 이 파편은 순간적인 요소로만 취급하고, 바닥이나 방 전체에 지속적으로 쌓인 잔해로 만들지 않는다. 타격 흔적과 박힌 단도의 위치는 동일한 한 지점으로 일치시킨다.\n\n화면 밖에서 들어오는 부드러운 주간 자연광이 책상과 나무 벽까지 닿고, 가구 아래에는 실제 실내에서 생기는 완만한 그림자가 남는다. 목재의 실제 나뭇결, 손때가 밴 상판, 스피커폰 외장의 잔흠집, 금속의 미세한 변색과 생활 얼룩을 과장 없이 표현한다. 책상부터 나무 벽까지 공간 관계가 읽히는 자연스러운 피사계 심도와 실제 재료의 색을 유지한다. 과도하게 말끔한 광고 사진이 아닌 일상적인 현장 사진이며, 인위적인 색 보정이나 극적인 조명 효과 없이 촬영한다. 컴퓨터 생성 이미지, 삽화, 건축 시각화가 아닌 실제 사진이어야 한다. 사람, 얼굴, 인체 형태의 형상은 어느 곳에도 묘사하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S18_Shot6",
            "guide_text": "책상 상판 북서쪽의 스피커폰과 그 너머 남쪽 목재 벽의 공간 관계를 유지한다. 책상과 벽 사이의 방문객 구역은 비워 둔다. 타격 흔적과 단도는 책상 중심선보다 조금 동쪽인 벽의 한 지점에 일치시키고, 단도의 돌출 방향을 고정한다. 타격 순간을 담는 경우에만 접촉부 주변에 작은 나무 파편을 표현하며, 순간 이후에는 공중 파편이나 바닥 잔해로 지속시키지 않는다. 인물이나 인체 형태의 형상 없이 배경만 구성한다."
          },
          {
            "shot_id": "S18_Shot8",
            "guide_text": "앞선 구도와 동일한 책상·스피커폰·남쪽 목재 벽의 배치를 기준으로 연결한다. 화면 범위가 달라져도 벽의 타격 지점, 박힌 단도의 높이와 방향 및 돌출 길이는 바꾸지 않는다. 타격 순간 여부는 숏의 시간에 맞춰 판단하며, 타격 이후라면 목재의 국소적인 타격 흔적과 박힌 단도만 유지하고 순간적인 비산 파편은 남기지 않는다. 주간 자연광과 재료의 색, 눈높이 원근을 일관되게 유지하고 배경에 사람을 추가하지 않는다."
          }
        ],
        "shot_ids": [
          "S18_Shot6",
          "S18_Shot8"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "Near the northeast edge of number 1, just east of number 6, facing diagonally southwest across numbers 5 and 7 toward number 2 and the impact location on number 4.",
          "camera_height": "Eye-level standing, approximately 1.6 m",
          "lens_hint": "28–35mm wide angle",
          "framing_notes": "Keep the speakerphone readable on the desk and the wooden wall behind the visitor unobstructed. Preserve the shared location of numbers 9 and 10. Number 11 is an impact-shot-only overlay, not a permanent feature of this reusable background. Use daytime continuity; do not draw illumination or camera metadata on the floor plan."
        },
        "reference_decision": {
          "bg_id": "L28B02",
          "fp_id": "fp_militia_office",
          "node_index": 1,
          "mode": "same_physical_space_view",
          "is_dwelling_identity_anchor": false,
          "rationale": "Both surfaced shots are ready, and their target units belong to the same physical room established by L28B01. A single reference therefore locks the layout. Camera unit 1 looking toward unit 3 with wide coverage exposes the southern portion, including unit 4 required by S18_Shot6, rather than repeating the unit-2-to-unit-1 view. A new plate is warranted by this structural slice and marker 9's changed surface state. Geometry limitation: the supplied look-at candidates contain no direct unit-4 target, and this southern-facing plate cannot also realize S18_Shot8's reverse over-shoulder view. That staged-view incompatibility requires upstream resolution; it is not an omitted-shot readiness failure.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L28B01.png"
          ],
          "source_bg_ids": [
            "L28B01"
          ],
          "fp_included": false,
          "reference_decision": {
            "selected_refs": [
              {
                "ref_bg_id": "L28B01",
                "physical_space_id": "fp_militia_office:space_1",
                "space_description": "The connected physical space containing base units 1, 2, 3 and 4."
              }
            ],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "single_same_physical_space_reference",
            "why_single_ref_or_two_refs": "L28B01 establishes the same physical room. Units 1 through 4 are not separate reference identities, and no second reference exists. Use its fixed layout while exposing a different portion from camera unit 1.",
            "physical_space_id_per_ref": [
              "fp_militia_office:space_1"
            ],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 1,
            "camera_cell": [
              1,
              1
            ],
            "look_at_unit": 3,
            "look_at_cell": [
              7,
              0
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad southern coverage aimed toward opening marker 8 at the boundary of unit 3, with unit 4 toward the right of the view. This is a coordinate-valid representative view, not an exact realization of the close S18_Shot6 framing or the reverse-facing S18_Shot8 staging; those requirements need upstream camera reconciliation."
          },
          "render_guidance": {
            "visible_space_directive": "From unit 1, show the southern-facing slice toward unit 3 and marker 8, with portions of units 2 and 4 within the broad cone. Preserve L28B01's established positions for markers 5 and 7 in the shared layout; retain marker 6 and the boundaries of units 1 through 4 at their base-plan positions. Show fixed elements only where this view includes them, rather than forcing all base markers into frame. Opening adjacency beyond the supplied facts is uncommitted.",
            "camera_framing_directive": "Use camera unit 1 at [1, 1], looking toward unit 3 at [7, 0], with wide 90-degree broad coverage. Keep the visible portion of unit 4 on the rightward side of this southern-facing view. This fixed geometry cannot simultaneously supply S18_Shot6's close adjacent-surface view and S18_Shot8's reverse over-shoulder view; preserve the listed coordinates and surface that mismatch for upstream reconciliation rather than inventing another camera position.",
            "subject_position_directive": "S18_Shot6 commits a recoiling facial edge in the left third and the adjacent background impact in the middle-right, with gaze directed off-screen. S18_Shot8 instead commits a small hunched shoulder and rear head at lower left, facing an upper body at center-right with both spread hands inside frame. Keep these as separate shot-specific subject contracts; do not combine them or claim the reverse-facing contract is resolved by this southern-facing plate.",
            "state_cue_directive": "For S18_Shot6, carry the committed state of markers 9, 10 and 11 on unit 4: the changed surface at the entry point, the embedded transient element and airborne fragments. Maintain the staged steady daytime interior illumination without an added flash. Preserve that daytime ambient state for S18_Shot8 without inventing an additional impact event. The exact close impact composition remains subject to the stated geometry reconciliation.",
            "negative_continuity_directive": "Exclude markers 12 and 13, including their state inherited from L28B01. Avoid relocating markers 5, 6, 7 or 8 to satisfy opposing shot directions. Do not force out-of-cone base markers into this view, invent adjacency through marker 8, or transfer L28B01's transient state into unit 4. Do not represent the unresolved reverse view as if it were visible from the selected camera."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L28B01' physical_space_id='fp_militia_office:space_1'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [1, 1]\n  - look_at_unit: 3\n  - look_at_cell: [7, 0]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad southern coverage aimed toward opening marker 8 at the boundary of unit 3, with unit 4 toward the right of the view. This is a coordinate-valid representative view, not an exact realization of the close S18_Shot6 framing or the reverse-facing S18_Shot8 staging; those requirements need upstream camera reconciliation.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 1, show the southern-facing slice toward unit 3 and marker 8, with portions of units 2 and 4 within the broad cone. Preserve L28B01's established positions for markers 5 and 7 in the shared layout; retain marker 6 and the boundaries of units 1 through 4 at their base-plan positions. Show fixed elements only where this view includes them, rather than forcing all base markers into frame. Opening adjacency beyond the supplied facts is uncommitted.\n  - camera_framing_directive: Use camera unit 1 at [1, 1], looking toward unit 3 at [7, 0], with wide 90-degree broad coverage. Keep the visible portion of unit 4 on the rightward side of this southern-facing view. This fixed geometry cannot simultaneously supply S18_Shot6's close adjacent-surface view and S18_Shot8's reverse over-shoulder view; preserve the listed coordinates and surface that mismatch for upstream reconciliation rather than inventing another camera position.\n  - subject_position_directive: S18_Shot6 commits a recoiling facial edge in the left third and the adjacent background impact in the middle-right, with gaze directed off-screen. S18_Shot8 instead commits a small hunched shoulder and rear head at lower left, facing an upper body at center-right with both spread hands inside frame. Keep these as separate shot-specific subject contracts; do not combine them or claim the reverse-facing contract is resolved by this southern-facing plate.\n  - state_cue_directive: For S18_Shot6, carry the committed state of markers 9, 10 and 11 on unit 4: the changed surface at the entry point, the embedded transient element and airborne fragments. Maintain the staged steady daytime interior illumination without an added flash. Preserve that daytime ambient state for S18_Shot8 without inventing an additional impact event. The exact close impact composition remains subject to the stated geometry reconciliation.\n  - negative_continuity_directive: Exclude markers 12 and 13, including their state inherited from L28B01. Avoid relocating markers 5, 6, 7 or 8 to satisfy opposing shot directions. Do not force out-of-cone base markers into this view, invent adjacency through marker 8, or transfer L28B01's transient state into unit 4. Do not represent the unresolved reverse view as if it were visible from the selected camera.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L28B01' physical_space_id='fp_militia_office:space_1'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [1, 1]\n  - look_at_unit: 3\n  - look_at_cell: [7, 0]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad southern coverage aimed toward opening marker 8 at the boundary of unit 3, with unit 4 toward the right of the view. This is a coordinate-valid representative view, not an exact realization of the close S18_Shot6 framing or the reverse-facing S18_Shot8 staging; those requirements need upstream camera reconciliation.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 1, show the southern-facing slice toward unit 3 and marker 8, with portions of units 2 and 4 within the broad cone. Preserve L28B01's established positions for markers 5 and 7 in the shared layout; retain marker 6 and the boundaries of units 1 through 4 at their base-plan positions. Show fixed elements only where this view includes them, rather than forcing all base markers into frame. Opening adjacency beyond the supplied facts is uncommitted.\n  - camera_framing_directive: Use camera unit 1 at [1, 1], looking toward unit 3 at [7, 0], with wide 90-degree broad coverage. Keep the visible portion of unit 4 on the rightward side of this southern-facing view. This fixed geometry cannot simultaneously supply S18_Shot6's close adjacent-surface view and S18_Shot8's reverse over-shoulder view; preserve the listed coordinates and surface that mismatch for upstream reconciliation rather than inventing another camera position.\n  - subject_position_directive: S18_Shot6 commits a recoiling facial edge in the left third and the adjacent background impact in the middle-right, with gaze directed off-screen. S18_Shot8 instead commits a small hunched shoulder and rear head at lower left, facing an upper body at center-right with both spread hands inside frame. Keep these as separate shot-specific subject contracts; do not combine them or claim the reverse-facing contract is resolved by this southern-facing plate.\n  - state_cue_directive: For S18_Shot6, carry the committed state of markers 9, 10 and 11 on unit 4: the changed surface at the entry point, the embedded transient element and airborne fragments. Maintain the staged steady daytime interior illumination without an added flash. Preserve that daytime ambient state for S18_Shot8 without inventing an additional impact event. The exact close impact composition remains subject to the stated geometry reconciliation.\n  - negative_continuity_directive: Exclude markers 12 and 13, including their state inherited from L28B01. Avoid relocating markers 5, 6, 7 or 8 to satisfy opposing shot directions. Do not force out-of-cone base markers into this view, invent adjacency through marker 8, or transfer L28B01's transient state into unit 4. Do not represent the unresolved reverse view as if it were visible from the selected camera.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L28B01' physical_space_id='fp_militia_office:space_1'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [1, 1]\n  - look_at_unit: 3\n  - look_at_cell: [7, 0]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad southern coverage aimed toward opening marker 8 at the boundary of unit 3, with unit 4 toward the right of the view. This is a coordinate-valid representative view, not an exact realization of the close S18_Shot6 framing or the reverse-facing S18_Shot8 staging; those requirements need upstream camera reconciliation.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 1, show the southern-facing slice toward unit 3 and marker 8, with portions of units 2 and 4 within the broad cone. Preserve L28B01's established positions for markers 5 and 7 in the shared layout; retain marker 6 and the boundaries of units 1 through 4 at their base-plan positions. Show fixed elements only where this view includes them, rather than forcing all base markers into frame. Opening adjacency beyond the supplied facts is uncommitted.\n  - camera_framing_directive: Use camera unit 1 at [1, 1], looking toward unit 3 at [7, 0], with wide 90-degree broad coverage. Keep the visible portion of unit 4 on the rightward side of this southern-facing view. This fixed geometry cannot simultaneously supply S18_Shot6's close adjacent-surface view and S18_Shot8's reverse over-shoulder view; preserve the listed coordinates and surface that mismatch for upstream reconciliation rather than inventing another camera position.\n  - subject_position_directive: S18_Shot6 commits a recoiling facial edge in the left third and the adjacent background impact in the middle-right, with gaze directed off-screen. S18_Shot8 instead commits a small hunched shoulder and rear head at lower left, facing an upper body at center-right with both spread hands inside frame. Keep these as separate shot-specific subject contracts; do not combine them or claim the reverse-facing contract is resolved by this southern-facing plate.\n  - state_cue_directive: For S18_Shot6, carry the committed state of markers 9, 10 and 11 on unit 4: the changed surface at the entry point, the embedded transient element and airborne fragments. Maintain the staged steady daytime interior illumination without an added flash. Preserve that daytime ambient state for S18_Shot8 without inventing an additional impact event. The exact close impact composition remains subject to the stated geometry reconciliation.\n  - negative_continuity_directive: Exclude markers 12 and 13, including their state inherited from L28B01. Avoid relocating markers 5, 6, 7 or 8 to satisfy opposing shot directions. Do not force out-of-cone base markers into this view, invent adjacency through marker 8, or transfer L28B01's transient state into unit 4. Do not represent the unresolved reverse view as if it were visible from the selected camera.\n\n2069년 대한민국의 자원이 제한된 민병대 집무실을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 주간 실내의 실제 장소 기록 사진으로, 오래 사용한 사무용 가구와 목재 벽 마감이 남아 있는 실용적인 공간이다. 미래라는 이유로 새로운 첨단 설비나 장식물을 추가하지 않는다. 실제 미러리스 카메라와 35밀리미터 광각 렌즈를 사용하고, 북쪽 업무 구역의 북동쪽 가장자리, 지휘용 의자의 동쪽에서 약 1.6미터의 서 있는 사람 눈높이로 남서쪽을 비스듬히 바라본다. 책상과 스피커폰을 전경에 두고, 그 너머의 비어 있는 방문객 구역과 남쪽 나무 벽을 함께 담는다. 내려다보는 평면도나 건축 도해가 아닌 수평에 가까운 실내 시선이다.\n\n참조 평면도는 구조와 기존 가구의 상대적 위치를 파악하는 데만 사용한다. 방 북쪽 절반에는 긴 방향이 동서로 놓인 집무 책상이 있고, 그 바로 북쪽에는 방문객 구역을 향한 지휘용 의자가 있다. 스피커폰은 책상 상판의 북서쪽 모서리에 놓여 있다. 책상과 남쪽 벽 사이에는 방문객이 설 수 있는 빈 공간이 이어지고, 남쪽 벽에는 연속된 목재 마감이 있다. 서쪽 벽의 남서쪽 모서리 가까이에 출입문이 있으며, 문은 서쪽 벽 쪽으로 실내에 열리는 구조다. 기존 배치를 유지하되 책상 너머 나무 벽의 타격 지점을 가리지 않는 구도로 잡는다.\n\n남쪽 목재 벽에서 책상 중심선보다 조금 동쪽으로 치우친 한 지점에 단도의 타격 흔적이 있다. 바로 그 흔적에 단도 한 자루가 박혀 있으며, 박힌 날을 제외한 부분이 방 안쪽으로 돌출된다. 목재 섬유가 국소적으로 갈라진 접촉부와 단도의 실제 금속 표면을 자연스럽게 보여준다. 타격 순간에 한해 그 접촉부 바로 주변에 작은 나무 파편이 짧게 튀는 상태를 표현한다. 이 파편은 순간적인 요소로만 취급하고, 바닥이나 방 전체에 지속적으로 쌓인 잔해로 만들지 않는다. 타격 흔적과 박힌 단도의 위치는 동일한 한 지점으로 일치시킨다.\n\n화면 밖에서 들어오는 부드러운 주간 자연광이 책상과 나무 벽까지 닿고, 가구 아래에는 실제 실내에서 생기는 완만한 그림자가 남는다. 목재의 실제 나뭇결, 손때가 밴 상판, 스피커폰 외장의 잔흠집, 금속의 미세한 변색과 생활 얼룩을 과장 없이 표현한다. 책상부터 나무 벽까지 공간 관계가 읽히는 자연스러운 피사계 심도와 실제 재료의 색을 유지한다. 과도하게 말끔한 광고 사진이 아닌 일상적인 현장 사진이며, 인위적인 색 보정이나 극적인 조명 효과 없이 촬영한다. 컴퓨터 생성 이미지, 삽화, 건축 시각화가 아닌 실제 사진이어야 한다. 사람, 얼굴, 인체 형태의 형상은 어느 곳에도 묘사하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "camera_decision": {
          "camera_unit": 1,
          "camera_cell": [
            1,
            1
          ],
          "look_at_unit": 3,
          "look_at_cell": [
            7,
            0
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad southern coverage aimed toward opening marker 8 at the boundary of unit 3, with unit 4 toward the right of the view. This is a coordinate-valid representative view, not an exact realization of the close S18_Shot6 framing or the reverse-facing S18_Shot8 staging; those requirements need upstream camera reconciliation."
        },
        "shot_aware_plan_node_index": 1,
        "shot_aware_plan_mode": "same_physical_space_view",
        "render_guidance": {
          "visible_space_directive": "From unit 1, show the southern-facing slice toward unit 3 and marker 8, with portions of units 2 and 4 within the broad cone. Preserve L28B01's established positions for markers 5 and 7 in the shared layout; retain marker 6 and the boundaries of units 1 through 4 at their base-plan positions. Show fixed elements only where this view includes them, rather than forcing all base markers into frame. Opening adjacency beyond the supplied facts is uncommitted.",
          "camera_framing_directive": "Use camera unit 1 at [1, 1], looking toward unit 3 at [7, 0], with wide 90-degree broad coverage. Keep the visible portion of unit 4 on the rightward side of this southern-facing view. This fixed geometry cannot simultaneously supply S18_Shot6's close adjacent-surface view and S18_Shot8's reverse over-shoulder view; preserve the listed coordinates and surface that mismatch for upstream reconciliation rather than inventing another camera position.",
          "subject_position_directive": "S18_Shot6 commits a recoiling facial edge in the left third and the adjacent background impact in the middle-right, with gaze directed off-screen. S18_Shot8 instead commits a small hunched shoulder and rear head at lower left, facing an upper body at center-right with both spread hands inside frame. Keep these as separate shot-specific subject contracts; do not combine them or claim the reverse-facing contract is resolved by this southern-facing plate.",
          "state_cue_directive": "For S18_Shot6, carry the committed state of markers 9, 10 and 11 on unit 4: the changed surface at the entry point, the embedded transient element and airborne fragments. Maintain the staged steady daytime interior illumination without an added flash. Preserve that daytime ambient state for S18_Shot8 without inventing an additional impact event. The exact close impact composition remains subject to the stated geometry reconciliation.",
          "negative_continuity_directive": "Exclude markers 12 and 13, including their state inherited from L28B01. Avoid relocating markers 5, 6, 7 or 8 to satisfy opposing shot directions. Do not force out-of-cone base markers into this view, invent adjacency through marker 8, or transfer L28B01's transient state into unit 4. Do not represent the unresolved reverse view as if it were visible from the selected camera."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_militia_office",
          "prior_bg_ids": [
            "L28B01"
          ],
          "attached_ref_labels": [
            "bg:L28B01"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L28B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L28",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L28B01.png",
        "t2i_prompt": "2069년 대한민국의 자원이 부족한 민병대 집무실에서 수색정보를 펼쳐 둔 책상을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 오래 사용한 사무용 가구와 기존 통신기기를 계속 사용하는 실용적인 공간이다. 평면도는 책상과 고정 물품의 위치를 파악하는 배치 자료로만 사용한다. 방 북쪽 업무 구역의 책상은 긴 변이 동서로 놓여 있고, 책상 북서쪽 모서리에는 스피커폰이 있다. 책상 중앙에는 커다란 한반도 종이지도가 평평하게 펼쳐져 있다. 지도의 지리적 북쪽은 방 북쪽을, 남쪽은 방문객이 서는 방향을 향한다. 지도는 스피커폰을 덮지 않는다. 지도의 가려지지 않은 중앙 부분 한 지점에 다트 하나가 꽂혀 있어 종이와 다트 끝의 접촉 지점이 분명하게 보인다. 특정 도시나 지명을 표적으로 강조하지 않고, 지도 방향과 다트가 꽂힌 위치를 후속 사진에서도 동일하게 유지할 수 있도록 선명하게 담는다.\n카메라는 책상 북쪽에서 약간 동쪽으로 치우친 위치에 두고 남쪽을 향한다. 서 있는 사람의 눈높이에 가까운 약 1.7미터 높이에서 책상 면을 향해 충분히 아래로 기울인 사선 구도이며, 수직으로 내려다보는 시점은 아니다. 실제 전자식 뷰파인더 카메라의 전면형 센서와 40밀리미터 렌즈로 촬영한 자연스러운 원근감. 책상 면이 화면 대부분을 차지하고, 지도 전체와 다트 타격 지점, 북서쪽 모서리의 스피커폰이 함께 보인다. 실내 전경 대신 책상 위에 집중한다.\n시간은 주간이지만 실내는 어둡다. 화면 밖에서 들어오는 약한 간접 자연광이 종이지도와 책상 표면을 부드럽게 밝히고, 주변은 실제 저조도 실내처럼 어둡게 남는다. 과장된 명암이나 인위적인 색 보정 없이 종이의 섬유질과 접힌 결, 책상 목재의 실제 나뭇결과 일상적인 마모 및 옅은 생활 얼룩, 스피커폰 외장의 사용감, 다트 금속의 은은한 반사를 보여준다. 지도와 다트 접점은 또렷하고 먼 가장자리만 완만하게 부드러워지는 자연스러운 피사계 심도. 사람이 없는 배경 사진이며 얼굴, 신체, 사람 형태의 형상은 전혀 묘사하지 않는다. 실제 현장 기록 사진과 구별되지 않는 물성과 노출로 표현하며, 삽화나 컴퓨터 합성 이미지, 건축 시각화, 평면도처럼 보이지 않게 한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S53_Shot1",
            "guide_text": "책상 북쪽의 약간 동쪽 위치에서 남쪽을 향해 내려다보는 사선 구도를 기준 화면으로 삼는다. 지도 전체와 중앙의 다트 접점, 책상 북서쪽 스피커폰을 함께 담는다. 지도 북쪽은 카메라 쪽에 놓이며, 선택된 다트 접점을 특정 지리적 목표로 해석하지 않는다. 인물 없이 지도와 책상 배치가 명확한 어두운 주간 실내 사진으로 유지한다."
          },
          {
            "shot_id": "S53_Shot5",
            "guide_text": "첫 장면과 같은 카메라 위치, 높이, 화각과 책상 중심 구도를 유지한다. 지도 방향과 가장자리 위치, 다트가 꽂힌 정확한 접점, 스피커폰의 위치를 바꾸지 않는다. 약한 주간 간접광과 실내의 어두운 노출을 그대로 이어가며, 다트 접점이 가려지지 않도록 한다. 인물이나 새로운 물품을 추가하지 않는다."
          }
        ],
        "shot_ids": [
          "S53_Shot1",
          "S53_Shot5"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Near number 6 on the north side of number 5, offset slightly east, facing south with a steep downward angle over the desktop toward numbers 12 and 13.",
          "camera_height": "Elevated tabletop view, approximately 1.7–1.9 m",
          "lens_hint": "40mm normal-wide lens",
          "framing_notes": "Use one stable tabletop-oriented composition for both shots. Show the large map, its fixed orientation, the dart strike, and number 7 at the desktop corner. Keep the south wall and entrance outside the frame; omitting the earlier wall-impact cues does not imply that the wall was repaired. Maintain daytime continuity with a dim interior in downstream backgrounds only."
        },
        "reference_decision": {
          "bg_id": "L28B01",
          "fp_id": "fp_militia_office",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L28B01 is the sole supplied anchor candidate and is ready for both consuming shots. The explicitly supplied fallback permits its selection despite clean_background_expected=false; markers 12 and 13 remain transient rather than dwelling identity. Camera unit 2 looking toward marker 5 in unit 1 provides a neutral oblique view for S53_Shot1 and S53_Shot5. The committed coordinates establish one representative plate, not separate positions for the staged descent.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/floor_plan/fp_militia_office.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The first node establishes fixed identity from the base plan; the reference catalog is empty.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 2,
            "camera_cell": [
              6,
              4
            ],
            "look_at_unit": 1,
            "look_at_cell": [
              3,
              4
            ],
            "lens_enum": "normal",
            "fov_deg": 50,
            "framing_notes": "Neutral coverage from unit 2 toward marker 5 in unit 1. Preserve the staged oblique downward presentation within this representative footprint; the candidate arrays do not supply separate descent endpoints."
          },
          "render_guidance": {
            "visible_space_directive": "Show the forward portion of unit 1 centered on base marker 5, retaining base marker 7 at its committed northwest desktop position. Establish the fixed spatial relationship of markers 1, 5 and 7 from the base plan. The visibility supersets do not require showing every listed unit or opening.",
            "camera_framing_directive": "Use camera unit 2 at [6, 4], looking toward unit 1 at [3, 4], with normal 50-degree neutral coverage. Apply the staged oblique downward presentation of marker 5. Keep marker 12's visible surface below two-fifths of the composition and preserve the shared side of the action for S53_Shot1 and S53_Shot5. Do not substitute unlisted coordinates to encode the staged change in distance.",
            "subject_position_directive": "For S53_Shot1, reserve the upper-right half for the committed bent torso, lowered face and forward shoulders, with attention directed downward toward marker 12. For S53_Shot5, reserve the central contact area for the descending forearm and gripping hand, retaining part of the torso and lowered face at the upper-right edge. These are shot-specific placements, not simultaneous subject instances.",
            "state_cue_directive": "Carry markers 12 and 13 as the supplied transient states associated with marker 5: marker 12 is spread across its surface, and marker 13 supplies the contact state for S53_Shot5. Preserve the staged dim illumination and sufficient tonal separation without inventing a visible lighting fixture. Neither transient marker defines permanent dwelling identity.",
            "negative_continuity_directive": "Exclude markers 4, 8, 9, 10 and 11 from this composition. Avoid changing the base positions of markers 5 and 7, enlarging marker 13 beyond the staged scale, or introducing units outside the selected cone. Do not bake markers 12 and 13 into permanent reference identity."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [6, 4]\n  - look_at_unit: 1\n  - look_at_cell: [3, 4]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral coverage from unit 2 toward marker 5 in unit 1. Preserve the staged oblique downward presentation within this representative footprint; the candidate arrays do not supply separate descent endpoints.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward portion of unit 1 centered on base marker 5, retaining base marker 7 at its committed northwest desktop position. Establish the fixed spatial relationship of markers 1, 5 and 7 from the base plan. The visibility supersets do not require showing every listed unit or opening.\n  - camera_framing_directive: Use camera unit 2 at [6, 4], looking toward unit 1 at [3, 4], with normal 50-degree neutral coverage. Apply the staged oblique downward presentation of marker 5. Keep marker 12's visible surface below two-fifths of the composition and preserve the shared side of the action for S53_Shot1 and S53_Shot5. Do not substitute unlisted coordinates to encode the staged change in distance.\n  - subject_position_directive: For S53_Shot1, reserve the upper-right half for the committed bent torso, lowered face and forward shoulders, with attention directed downward toward marker 12. For S53_Shot5, reserve the central contact area for the descending forearm and gripping hand, retaining part of the torso and lowered face at the upper-right edge. These are shot-specific placements, not simultaneous subject instances.\n  - state_cue_directive: Carry markers 12 and 13 as the supplied transient states associated with marker 5: marker 12 is spread across its surface, and marker 13 supplies the contact state for S53_Shot5. Preserve the staged dim illumination and sufficient tonal separation without inventing a visible lighting fixture. Neither transient marker defines permanent dwelling identity.\n  - negative_continuity_directive: Exclude markers 4, 8, 9, 10 and 11 from this composition. Avoid changing the base positions of markers 5 and 7, enlarging marker 13 beyond the staged scale, or introducing units outside the selected cone. Do not bake markers 12 and 13 into permanent reference identity.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [6, 4]\n  - look_at_unit: 1\n  - look_at_cell: [3, 4]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral coverage from unit 2 toward marker 5 in unit 1. Preserve the staged oblique downward presentation within this representative footprint; the candidate arrays do not supply separate descent endpoints.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward portion of unit 1 centered on base marker 5, retaining base marker 7 at its committed northwest desktop position. Establish the fixed spatial relationship of markers 1, 5 and 7 from the base plan. The visibility supersets do not require showing every listed unit or opening.\n  - camera_framing_directive: Use camera unit 2 at [6, 4], looking toward unit 1 at [3, 4], with normal 50-degree neutral coverage. Apply the staged oblique downward presentation of marker 5. Keep marker 12's visible surface below two-fifths of the composition and preserve the shared side of the action for S53_Shot1 and S53_Shot5. Do not substitute unlisted coordinates to encode the staged change in distance.\n  - subject_position_directive: For S53_Shot1, reserve the upper-right half for the committed bent torso, lowered face and forward shoulders, with attention directed downward toward marker 12. For S53_Shot5, reserve the central contact area for the descending forearm and gripping hand, retaining part of the torso and lowered face at the upper-right edge. These are shot-specific placements, not simultaneous subject instances.\n  - state_cue_directive: Carry markers 12 and 13 as the supplied transient states associated with marker 5: marker 12 is spread across its surface, and marker 13 supplies the contact state for S53_Shot5. Preserve the staged dim illumination and sufficient tonal separation without inventing a visible lighting fixture. Neither transient marker defines permanent dwelling identity.\n  - negative_continuity_directive: Exclude markers 4, 8, 9, 10 and 11 from this composition. Avoid changing the base positions of markers 5 and 7, enlarging marker 13 beyond the staged scale, or introducing units outside the selected cone. Do not bake markers 12 and 13 into permanent reference identity.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [6, 4]\n  - look_at_unit: 1\n  - look_at_cell: [3, 4]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral coverage from unit 2 toward marker 5 in unit 1. Preserve the staged oblique downward presentation within this representative footprint; the candidate arrays do not supply separate descent endpoints.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward portion of unit 1 centered on base marker 5, retaining base marker 7 at its committed northwest desktop position. Establish the fixed spatial relationship of markers 1, 5 and 7 from the base plan. The visibility supersets do not require showing every listed unit or opening.\n  - camera_framing_directive: Use camera unit 2 at [6, 4], looking toward unit 1 at [3, 4], with normal 50-degree neutral coverage. Apply the staged oblique downward presentation of marker 5. Keep marker 12's visible surface below two-fifths of the composition and preserve the shared side of the action for S53_Shot1 and S53_Shot5. Do not substitute unlisted coordinates to encode the staged change in distance.\n  - subject_position_directive: For S53_Shot1, reserve the upper-right half for the committed bent torso, lowered face and forward shoulders, with attention directed downward toward marker 12. For S53_Shot5, reserve the central contact area for the descending forearm and gripping hand, retaining part of the torso and lowered face at the upper-right edge. These are shot-specific placements, not simultaneous subject instances.\n  - state_cue_directive: Carry markers 12 and 13 as the supplied transient states associated with marker 5: marker 12 is spread across its surface, and marker 13 supplies the contact state for S53_Shot5. Preserve the staged dim illumination and sufficient tonal separation without inventing a visible lighting fixture. Neither transient marker defines permanent dwelling identity.\n  - negative_continuity_directive: Exclude markers 4, 8, 9, 10 and 11 from this composition. Avoid changing the base positions of markers 5 and 7, enlarging marker 13 beyond the staged scale, or introducing units outside the selected cone. Do not bake markers 12 and 13 into permanent reference identity.\n\n2069년 대한민국의 자원이 부족한 민병대 집무실에서 수색정보를 펼쳐 둔 책상을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 오래 사용한 사무용 가구와 기존 통신기기를 계속 사용하는 실용적인 공간이다. 평면도는 책상과 고정 물품의 위치를 파악하는 배치 자료로만 사용한다. 방 북쪽 업무 구역의 책상은 긴 변이 동서로 놓여 있고, 책상 북서쪽 모서리에는 스피커폰이 있다. 책상 중앙에는 커다란 한반도 종이지도가 평평하게 펼쳐져 있다. 지도의 지리적 북쪽은 방 북쪽을, 남쪽은 방문객이 서는 방향을 향한다. 지도는 스피커폰을 덮지 않는다. 지도의 가려지지 않은 중앙 부분 한 지점에 다트 하나가 꽂혀 있어 종이와 다트 끝의 접촉 지점이 분명하게 보인다. 특정 도시나 지명을 표적으로 강조하지 않고, 지도 방향과 다트가 꽂힌 위치를 후속 사진에서도 동일하게 유지할 수 있도록 선명하게 담는다.\n카메라는 책상 북쪽에서 약간 동쪽으로 치우친 위치에 두고 남쪽을 향한다. 서 있는 사람의 눈높이에 가까운 약 1.7미터 높이에서 책상 면을 향해 충분히 아래로 기울인 사선 구도이며, 수직으로 내려다보는 시점은 아니다. 실제 전자식 뷰파인더 카메라의 전면형 센서와 40밀리미터 렌즈로 촬영한 자연스러운 원근감. 책상 면이 화면 대부분을 차지하고, 지도 전체와 다트 타격 지점, 북서쪽 모서리의 스피커폰이 함께 보인다. 실내 전경 대신 책상 위에 집중한다.\n시간은 주간이지만 실내는 어둡다. 화면 밖에서 들어오는 약한 간접 자연광이 종이지도와 책상 표면을 부드럽게 밝히고, 주변은 실제 저조도 실내처럼 어둡게 남는다. 과장된 명암이나 인위적인 색 보정 없이 종이의 섬유질과 접힌 결, 책상 목재의 실제 나뭇결과 일상적인 마모 및 옅은 생활 얼룩, 스피커폰 외장의 사용감, 다트 금속의 은은한 반사를 보여준다. 지도와 다트 접점은 또렷하고 먼 가장자리만 완만하게 부드러워지는 자연스러운 피사계 심도. 사람이 없는 배경 사진이며 얼굴, 신체, 사람 형태의 형상은 전혀 묘사하지 않는다. 실제 현장 기록 사진과 구별되지 않는 물성과 노출로 표현하며, 삽화나 컴퓨터 합성 이미지, 건축 시각화, 평면도처럼 보이지 않게 한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "camera_decision": {
          "camera_unit": 2,
          "camera_cell": [
            6,
            4
          ],
          "look_at_unit": 1,
          "look_at_cell": [
            3,
            4
          ],
          "lens_enum": "normal",
          "fov_deg": 50,
          "framing_notes": "Neutral coverage from unit 2 toward marker 5 in unit 1. Preserve the staged oblique downward presentation within this representative footprint; the candidate arrays do not supply separate descent endpoints."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Show the forward portion of unit 1 centered on base marker 5, retaining base marker 7 at its committed northwest desktop position. Establish the fixed spatial relationship of markers 1, 5 and 7 from the base plan. The visibility supersets do not require showing every listed unit or opening.",
          "camera_framing_directive": "Use camera unit 2 at [6, 4], looking toward unit 1 at [3, 4], with normal 50-degree neutral coverage. Apply the staged oblique downward presentation of marker 5. Keep marker 12's visible surface below two-fifths of the composition and preserve the shared side of the action for S53_Shot1 and S53_Shot5. Do not substitute unlisted coordinates to encode the staged change in distance.",
          "subject_position_directive": "For S53_Shot1, reserve the upper-right half for the committed bent torso, lowered face and forward shoulders, with attention directed downward toward marker 12. For S53_Shot5, reserve the central contact area for the descending forearm and gripping hand, retaining part of the torso and lowered face at the upper-right edge. These are shot-specific placements, not simultaneous subject instances.",
          "state_cue_directive": "Carry markers 12 and 13 as the supplied transient states associated with marker 5: marker 12 is spread across its surface, and marker 13 supplies the contact state for S53_Shot5. Preserve the staged dim illumination and sufficient tonal separation without inventing a visible lighting fixture. Neither transient marker defines permanent dwelling identity.",
          "negative_continuity_directive": "Exclude markers 4, 8, 9, 10 and 11 from this composition. Avoid changing the base positions of markers 5 and 7, enlarging marker 13 beyond the staged scale, or introducing units outside the selected cone. Do not bake markers 12 and 13 into permanent reference identity."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_militia_office",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_militia_office"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L30B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L30",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L30B01.png",
        "t2i_prompt": "2069년 대한민국의 구치소에 있는 넓고 조용한 낮의 면회실을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 실제 장소 기록 사진처럼 보이게 한다. 미래에도 계속 사용되는 공공시설의 소박하고 실용적인 마감으로, 회백색 도장 콘크리트 벽과 관리된 바닥에 일상적인 사용감이 은은하게 남아 있다. 과장된 미래 장식 없이 현실적인 재료와 시공 질감을 보여준다.\n\n평면도는 공간 구성과 기존 가구 위치를 파악하는 참고 자료로만 사용한다. 방 중앙에는 긴 축이 동서 방향인 직사각형 면회 탁자가 있고, 북쪽과 남쪽에 좌석이 하나씩 서로 마주 본다. 서쪽 벽 하단의 출입문에서 남쪽 좌석까지 이어지는 남서쪽 통행 공간은 비워 둔다. 탁자는 무광 적층판 상판과 실용적인 금속 구조로 이루어져 있으며, 표면의 미세한 긁힘과 가장자리의 자연스러운 마모가 실제 크기로 드러난다. 좌석과 출입문의 금속 부분에는 오래 사용한 재료 특유의 둔한 반사와 가벼운 변색이 있다.\n\n중앙 탁자 위에는 남쪽 방문자 자리에서 북쪽 상대 자리 쪽으로 내민 위치에 놓인 인화 사진 한 장이 있다. 사진은 상판에 평평하게 놓여 있으며 얇은 종이 가장자리와 인화지의 약한 광택이 보인다. 인화면의 세부 내용은 촬영 각도와 부드러운 반사 때문에 식별되지 않으며, 얼굴이나 몸 형태는 드러나지 않는다.\n\n카메라는 방 동쪽 벽 가까이에서 서쪽을 바라보며 중앙 탁자를 가로질러 촬영한다. 북쪽 좌석은 화면 오른쪽, 남쪽 좌석은 화면 왼쪽, 서쪽 출입문은 왼쪽 먼 배경에 보인다. 서 있는 사람의 눈높이인 약 1.6미터에서 실제 디지털 미러리스 카메라와 35밀리미터 환산 렌즈로 촬영한 구도다. 탁자 표면과 두 좌석의 관계를 충분히 보여주고, 주변의 넓은 빈 공간도 함께 담는다. 화면 밖에서 들어오는 부드러운 낮의 자연광이 실내에 확산되어 상판과 바닥에 옅고 현실적인 그림자를 만든다. 중립적인 색과 자연스러운 명암, 실제 렌즈의 원근감과 심도를 유지한다. 인물, 손, 얼굴, 사람 모양의 형상은 묘사하지 않는다. 위에서 내려다본 구도나 평면도, 건축 도해가 아니라 실제 장소에서 찍은 사진이며, 컴퓨터 합성 이미지나 삽화 같은 표현과 과도한 후처리를 피한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S23_Shot3",
            "guide_text": "넓고 조용한 낮의 면회실과 중앙 탁자를 기준 배경으로 사용한다. 동쪽에서 바라볼 때 두 좌석이 화면 좌우로 마주 보이고 서쪽 출입문이 왼쪽 먼 배경에 있는 공간 관계를 유지한다. 사람 없이 탁자 위 인화 사진과 주변 공간만 보여준다."
          },
          {
            "shot_id": "S23_Shot7",
            "guide_text": "같은 탁자와 좌석 배치, 낮의 확산광, 재료 색을 유지한다. 탁자 표면을 가깝게 사용하는 경우에도 기존 상판의 질감과 마모를 이어 쓰며 별도의 탁자를 만들지 않는다. 인화 사진은 남쪽 자리에서 북쪽 자리로 제시된 위치를 유지하고, 배경에는 손이나 식별 가능한 사진 속 형상을 넣지 않는다."
          },
          {
            "shot_id": "S23_Shot11",
            "guide_text": "동일한 면회실의 연속 배경으로 사용한다. 탁자의 동서 방향과 남북으로 마주 보는 좌석, 남서쪽 통행 공간을 유지하고 조명이나 가구 상태를 바꾸지 않는다. 가까운 구도에서도 동일한 상판과 인화 사진을 사용하며 새로운 환경 흔적을 추가하지 않는다."
          }
        ],
        "shot_ids": [
          "S23_Shot3",
          "S23_Shot7",
          "S23_Shot11"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Near the east wall of number 1, facing west across number 4, with number 5 to frame right, number 6 to frame left, and number 3 in the far-left background.",
          "camera_height": "eye-level standing, approximately 1.6 m",
          "lens_hint": "35mm equivalent moderate wide angle",
          "framing_notes": "Maintain this camera orientation across the shared background. Include the opposing seats and clear entry approach, leaving the table surface readable. Tabletop detail crops must preserve number 4's geometry and the north-south interaction axis. Number 7 is a separate action-dependent overlay for the photograph presentation, not a permanent tabletop feature; its depicted subject exists only within the photograph. Do not extend facial bruising into background bloodstains."
        },
        "reference_decision": {
          "bg_id": "L30B01",
          "fp_id": "fp_detention_visiting_room",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L30B01 is the sole ready BG and sole supplied anchor candidate; the catalog is empty. Use the explicitly widened anchor eligibility despite clean_background_expected=false, retaining marker 7 as transient rather than fixed identity. Camera unit 2 looking toward marker 5 in unit 1 supports the shared across-table axis of S23_Shot3, S23_Shot7, and S23_Shot11. Their differing close crops and subject actions remain shot-specific rather than separate structural layouts.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/floor_plan/fp_detention_visiting_room.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_reference_anchor",
            "why_single_ref_or_two_refs": "No reference is selected: this is the first and only node, establishing identity directly from the supplied base plan.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 2,
            "camera_cell": [
              8,
              2
            ],
            "look_at_unit": 1,
            "look_at_cell": [
              4,
              5
            ],
            "lens_enum": "normal",
            "fov_deg": 50,
            "framing_notes": "Neutral coverage from unit 2 toward marker 5 in unit 1, across marker 4. Establish a common structural view for the consuming close shots; the supplied cell geometry does not encode their differing camera heights or moving trajectories."
          },
          "render_guidance": {
            "visible_space_directive": "From unit 2 at [8, 2], look into unit 1 toward [4, 5]. Center the visible structure on marker 4 and the marker 5 side, retaining the fixed relationship of markers 4, 5, and 6. Base markers 1–6 establish layout, not a requirement that every marker appear in the crop. Opening 3 is only a visibility-superset candidate; its on-screen visibility and opening adjacency are not committed.",
            "camera_framing_directive": "Use camera_unit 2, camera_cell [8, 2], look_at_unit 1, look_at_cell [4, 5], and normal lens coverage at 50 degrees. Maintain neutral across-table coverage with an oblique view of marker 4. Preserve this structural axis while allowing the staged close crops; do not represent the three distinct shot framings as one simultaneous composition.",
            "subject_position_directive": "Apply subject cues per consuming shot, not simultaneously. S23_Shot3 places 이현우 center-left with pressed palms and cuffed wrists low in frame, and a narrow strip of 윤성찬's shoulder at right foreground. S23_Shot7 places 윤성찬's entering hand at right and 이현우's cropped lower torso at upper left, with both faces outside the upper crop. S23_Shot11 places 이현우 leaning forward into the central half, a cropped shoulder below, and his gaze toward 윤성찬's off-screen face beside the lens. Keep these subject layers separate from the fixed background layout.",
            "state_cue_directive": "clean_background_expected=false; marker 7 is the committed transient element. In S23_Shot7, show the Presented reference photograph face-up and oblique on marker 4 beneath the pressing fingertip, occupying less than one third of the image. Its staged printed content is the gorilla robot 찰리. Do not make marker 7 a permanent fixture or force it into the other shots' close crops. Preserve the supplied daytime ambient continuity; apply the cuffed-wrist cue to S23_Shot3 and the forward-lean cue to S23_Shot11 only as staged.",
            "negative_continuity_directive": "No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating markers 3–6, promoting marker 7 into fixed structure, or merging mutually different shot-specific subject states into one plate. Do not force opening 3 or all of units 1 and 2 into the selected crop merely because they appear in visibility supersets. Avoid adding uncommitted elements outside the selected view."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [8, 2]\n  - look_at_unit: 1\n  - look_at_cell: [4, 5]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral coverage from unit 2 toward marker 5 in unit 1, across marker 4. Establish a common structural view for the consuming close shots; the supplied cell geometry does not encode their differing camera heights or moving trajectories.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 2 at [8, 2], look into unit 1 toward [4, 5]. Center the visible structure on marker 4 and the marker 5 side, retaining the fixed relationship of markers 4, 5, and 6. Base markers 1–6 establish layout, not a requirement that every marker appear in the crop. Opening 3 is only a visibility-superset candidate; its on-screen visibility and opening adjacency are not committed.\n  - camera_framing_directive: Use camera_unit 2, camera_cell [8, 2], look_at_unit 1, look_at_cell [4, 5], and normal lens coverage at 50 degrees. Maintain neutral across-table coverage with an oblique view of marker 4. Preserve this structural axis while allowing the staged close crops; do not represent the three distinct shot framings as one simultaneous composition.\n  - subject_position_directive: Apply subject cues per consuming shot, not simultaneously. S23_Shot3 places 이현우 center-left with pressed palms and cuffed wrists low in frame, and a narrow strip of 윤성찬's shoulder at right foreground. S23_Shot7 places 윤성찬's entering hand at right and 이현우's cropped lower torso at upper left, with both faces outside the upper crop. S23_Shot11 places 이현우 leaning forward into the central half, a cropped shoulder below, and his gaze toward 윤성찬's off-screen face beside the lens. Keep these subject layers separate from the fixed background layout.\n  - state_cue_directive: clean_background_expected=false; marker 7 is the committed transient element. In S23_Shot7, show the Presented reference photograph face-up and oblique on marker 4 beneath the pressing fingertip, occupying less than one third of the image. Its staged printed content is the gorilla robot 찰리. Do not make marker 7 a permanent fixture or force it into the other shots' close crops. Preserve the supplied daytime ambient continuity; apply the cuffed-wrist cue to S23_Shot3 and the forward-lean cue to S23_Shot11 only as staged.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating markers 3–6, promoting marker 7 into fixed structure, or merging mutually different shot-specific subject states into one plate. Do not force opening 3 or all of units 1 and 2 into the selected crop merely because they appear in visibility supersets. Avoid adding uncommitted elements outside the selected view.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [8, 2]\n  - look_at_unit: 1\n  - look_at_cell: [4, 5]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral coverage from unit 2 toward marker 5 in unit 1, across marker 4. Establish a common structural view for the consuming close shots; the supplied cell geometry does not encode their differing camera heights or moving trajectories.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 2 at [8, 2], look into unit 1 toward [4, 5]. Center the visible structure on marker 4 and the marker 5 side, retaining the fixed relationship of markers 4, 5, and 6. Base markers 1–6 establish layout, not a requirement that every marker appear in the crop. Opening 3 is only a visibility-superset candidate; its on-screen visibility and opening adjacency are not committed.\n  - camera_framing_directive: Use camera_unit 2, camera_cell [8, 2], look_at_unit 1, look_at_cell [4, 5], and normal lens coverage at 50 degrees. Maintain neutral across-table coverage with an oblique view of marker 4. Preserve this structural axis while allowing the staged close crops; do not represent the three distinct shot framings as one simultaneous composition.\n  - subject_position_directive: Apply subject cues per consuming shot, not simultaneously. S23_Shot3 places 이현우 center-left with pressed palms and cuffed wrists low in frame, and a narrow strip of 윤성찬's shoulder at right foreground. S23_Shot7 places 윤성찬's entering hand at right and 이현우's cropped lower torso at upper left, with both faces outside the upper crop. S23_Shot11 places 이현우 leaning forward into the central half, a cropped shoulder below, and his gaze toward 윤성찬's off-screen face beside the lens. Keep these subject layers separate from the fixed background layout.\n  - state_cue_directive: clean_background_expected=false; marker 7 is the committed transient element. In S23_Shot7, show the Presented reference photograph face-up and oblique on marker 4 beneath the pressing fingertip, occupying less than one third of the image. Its staged printed content is the gorilla robot 찰리. Do not make marker 7 a permanent fixture or force it into the other shots' close crops. Preserve the supplied daytime ambient continuity; apply the cuffed-wrist cue to S23_Shot3 and the forward-lean cue to S23_Shot11 only as staged.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating markers 3–6, promoting marker 7 into fixed structure, or merging mutually different shot-specific subject states into one plate. Do not force opening 3 or all of units 1 and 2 into the selected crop merely because they appear in visibility supersets. Avoid adding uncommitted elements outside the selected view.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [8, 2]\n  - look_at_unit: 1\n  - look_at_cell: [4, 5]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral coverage from unit 2 toward marker 5 in unit 1, across marker 4. Establish a common structural view for the consuming close shots; the supplied cell geometry does not encode their differing camera heights or moving trajectories.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 2 at [8, 2], look into unit 1 toward [4, 5]. Center the visible structure on marker 4 and the marker 5 side, retaining the fixed relationship of markers 4, 5, and 6. Base markers 1–6 establish layout, not a requirement that every marker appear in the crop. Opening 3 is only a visibility-superset candidate; its on-screen visibility and opening adjacency are not committed.\n  - camera_framing_directive: Use camera_unit 2, camera_cell [8, 2], look_at_unit 1, look_at_cell [4, 5], and normal lens coverage at 50 degrees. Maintain neutral across-table coverage with an oblique view of marker 4. Preserve this structural axis while allowing the staged close crops; do not represent the three distinct shot framings as one simultaneous composition.\n  - subject_position_directive: Apply subject cues per consuming shot, not simultaneously. S23_Shot3 places 이현우 center-left with pressed palms and cuffed wrists low in frame, and a narrow strip of 윤성찬's shoulder at right foreground. S23_Shot7 places 윤성찬's entering hand at right and 이현우's cropped lower torso at upper left, with both faces outside the upper crop. S23_Shot11 places 이현우 leaning forward into the central half, a cropped shoulder below, and his gaze toward 윤성찬's off-screen face beside the lens. Keep these subject layers separate from the fixed background layout.\n  - state_cue_directive: clean_background_expected=false; marker 7 is the committed transient element. In S23_Shot7, show the Presented reference photograph face-up and oblique on marker 4 beneath the pressing fingertip, occupying less than one third of the image. Its staged printed content is the gorilla robot 찰리. Do not make marker 7 a permanent fixture or force it into the other shots' close crops. Preserve the supplied daytime ambient continuity; apply the cuffed-wrist cue to S23_Shot3 and the forward-lean cue to S23_Shot11 only as staged.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating markers 3–6, promoting marker 7 into fixed structure, or merging mutually different shot-specific subject states into one plate. Do not force opening 3 or all of units 1 and 2 into the selected crop merely because they appear in visibility supersets. Avoid adding uncommitted elements outside the selected view.\n\n2069년 대한민국의 구치소에 있는 넓고 조용한 낮의 면회실을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 실제 장소 기록 사진처럼 보이게 한다. 미래에도 계속 사용되는 공공시설의 소박하고 실용적인 마감으로, 회백색 도장 콘크리트 벽과 관리된 바닥에 일상적인 사용감이 은은하게 남아 있다. 과장된 미래 장식 없이 현실적인 재료와 시공 질감을 보여준다.\n\n평면도는 공간 구성과 기존 가구 위치를 파악하는 참고 자료로만 사용한다. 방 중앙에는 긴 축이 동서 방향인 직사각형 면회 탁자가 있고, 북쪽과 남쪽에 좌석이 하나씩 서로 마주 본다. 서쪽 벽 하단의 출입문에서 남쪽 좌석까지 이어지는 남서쪽 통행 공간은 비워 둔다. 탁자는 무광 적층판 상판과 실용적인 금속 구조로 이루어져 있으며, 표면의 미세한 긁힘과 가장자리의 자연스러운 마모가 실제 크기로 드러난다. 좌석과 출입문의 금속 부분에는 오래 사용한 재료 특유의 둔한 반사와 가벼운 변색이 있다.\n\n중앙 탁자 위에는 남쪽 방문자 자리에서 북쪽 상대 자리 쪽으로 내민 위치에 놓인 인화 사진 한 장이 있다. 사진은 상판에 평평하게 놓여 있으며 얇은 종이 가장자리와 인화지의 약한 광택이 보인다. 인화면의 세부 내용은 촬영 각도와 부드러운 반사 때문에 식별되지 않으며, 얼굴이나 몸 형태는 드러나지 않는다.\n\n카메라는 방 동쪽 벽 가까이에서 서쪽을 바라보며 중앙 탁자를 가로질러 촬영한다. 북쪽 좌석은 화면 오른쪽, 남쪽 좌석은 화면 왼쪽, 서쪽 출입문은 왼쪽 먼 배경에 보인다. 서 있는 사람의 눈높이인 약 1.6미터에서 실제 디지털 미러리스 카메라와 35밀리미터 환산 렌즈로 촬영한 구도다. 탁자 표면과 두 좌석의 관계를 충분히 보여주고, 주변의 넓은 빈 공간도 함께 담는다. 화면 밖에서 들어오는 부드러운 낮의 자연광이 실내에 확산되어 상판과 바닥에 옅고 현실적인 그림자를 만든다. 중립적인 색과 자연스러운 명암, 실제 렌즈의 원근감과 심도를 유지한다. 인물, 손, 얼굴, 사람 모양의 형상은 묘사하지 않는다. 위에서 내려다본 구도나 평면도, 건축 도해가 아니라 실제 장소에서 찍은 사진이며, 컴퓨터 합성 이미지나 삽화 같은 표현과 과도한 후처리를 피한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "camera_decision": {
          "camera_unit": 2,
          "camera_cell": [
            8,
            2
          ],
          "look_at_unit": 1,
          "look_at_cell": [
            4,
            5
          ],
          "lens_enum": "normal",
          "fov_deg": 50,
          "framing_notes": "Neutral coverage from unit 2 toward marker 5 in unit 1, across marker 4. Establish a common structural view for the consuming close shots; the supplied cell geometry does not encode their differing camera heights or moving trajectories."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "From unit 2 at [8, 2], look into unit 1 toward [4, 5]. Center the visible structure on marker 4 and the marker 5 side, retaining the fixed relationship of markers 4, 5, and 6. Base markers 1–6 establish layout, not a requirement that every marker appear in the crop. Opening 3 is only a visibility-superset candidate; its on-screen visibility and opening adjacency are not committed.",
          "camera_framing_directive": "Use camera_unit 2, camera_cell [8, 2], look_at_unit 1, look_at_cell [4, 5], and normal lens coverage at 50 degrees. Maintain neutral across-table coverage with an oblique view of marker 4. Preserve this structural axis while allowing the staged close crops; do not represent the three distinct shot framings as one simultaneous composition.",
          "subject_position_directive": "Apply subject cues per consuming shot, not simultaneously. S23_Shot3 places 이현우 center-left with pressed palms and cuffed wrists low in frame, and a narrow strip of 윤성찬's shoulder at right foreground. S23_Shot7 places 윤성찬's entering hand at right and 이현우's cropped lower torso at upper left, with both faces outside the upper crop. S23_Shot11 places 이현우 leaning forward into the central half, a cropped shoulder below, and his gaze toward 윤성찬's off-screen face beside the lens. Keep these subject layers separate from the fixed background layout.",
          "state_cue_directive": "clean_background_expected=false; marker 7 is the committed transient element. In S23_Shot7, show the Presented reference photograph face-up and oblique on marker 4 beneath the pressing fingertip, occupying less than one third of the image. Its staged printed content is the gorilla robot 찰리. Do not make marker 7 a permanent fixture or force it into the other shots' close crops. Preserve the supplied daytime ambient continuity; apply the cuffed-wrist cue to S23_Shot3 and the forward-lean cue to S23_Shot11 only as staged.",
          "negative_continuity_directive": "No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating markers 3–6, promoting marker 7 into fixed structure, or merging mutually different shot-specific subject states into one plate. Do not force opening 3 or all of units 1 and 2 into the selected crop merely because they appear in visibility supersets. Avoid adding uncommitted elements outside the selected view."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_detention_visiting_room",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_detention_visiting_room"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L35B03": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L35",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L35B03.png",
        "t2i_prompt": "2069년 대한민국의 오래된 교회 지하 계단실을 실제 미러리스 카메라와 35밀리미터 렌즈로 촬영한 다큐멘터리 풍 사진. 사람이 없는 장소 기록 사진으로, 오랫동안 사용한 한국의 소규모 철근콘크리트 종교 건물 내부처럼 소박하고 실용적인 마감이다. 실제 콘크리트 계단의 거친 입자와 닳은 모서리, 도장 벽의 미세한 요철과 일상적인 묵은 얼룩, 금속 손잡이의 벗겨진 칠과 손때가 과장 없이 드러난다. 미래라는 이유로 새로운 장비나 장식물을 덧붙이지 않는다.\n\n카메라는 지하 층계참 남쪽 가장자리에서 바닥 위 약 1.5미터의 서 있는 사람 눈높이에 놓고 북쪽을 향한다. 가까운 지하 층계참에서 중앙의 직선 계단이 화면 안쪽 위로 올라가며, 계단 끝에는 지상 층계참과 그 북쪽 경계 중앙의 통로 개구부가 이어진다. 서쪽 벽을 따라 설치된 금속 계단 손잡이는 화면 왼쪽에 보인다. 전경의 층계참, 중경의 계단, 어두운 상부 층계참이 자연스러운 원근으로 연결되게 한다. 위에서 내려다보는 구도나 도면 구도가 아닌 실제 계단 아래에서 올려다보는 시선이다.\n\n계단 하단 가까이에서 이동 중인 휴대용 초 하나의 작은 불꽃이 유일한 가까운 광원이다. 초의 윗부분과 불꽃만 화면 아래 가장자리에 걸쳐 보이도록 하고, 초를 지지하는 부분은 화면 밖에 두어 공중에 떠 있는 물체처럼 보이지 않게 한다. 작은 불꽃의 따뜻한 빛이 가까운 계단 모서리와 왼쪽 금속 손잡이 일부에만 약하게 닿고, 위쪽으로 갈수록 빛이 빠르게 줄어 상부 층계참과 통로는 깊은 어둠에 잠긴다. 벽과 계단의 윤곽은 희미한 반사광으로 겨우 구분된다. 고요한 어둠과 제한된 가시성을 실제 촛불의 자연스러운 광량과 노출로 표현하며, 공간 전체를 밝히는 보조광은 사용하지 않는다. 실제 렌즈의 자연스러운 심도와 재료 질감, 사실적인 명암을 유지한다. 사람, 얼굴, 손, 신체 일부, 사람 모양 형상이나 그림자는 전혀 보이지 않는다. 과도한 보정 없는 실제 장소 촬영본이며 삽화나 건축 시각화가 아니다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S29_Shot8",
            "guide_text": "지하 층계참 남쪽에서 약 1.5미터 눈높이로 계단 위를 바라본다. 왼쪽 손잡이와 중앙 계단의 상승 방향을 분명히 유지하고, 위쪽 층계참 및 통로는 어둠 속에서도 공간적 연결을 읽을 수 있게 한다. 계단 하단 가까운 화면 아래 가장자리의 초 윗부분과 작은 불꽃, 주변 표면에 닿는 제한적인 반사광으로 숨죽인 정적을 표현한다. 초의 지지 부분은 화면 밖에 두고 인물이나 신체 일부, 사람 형태의 그림자는 넣지 않는다."
          }
        ],
        "shot_ids": [
          "S29_Shot8"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "At the south edge of number 1, immediately inside number 4, facing north toward number 2 and number 3, with number 6 along the left side.",
          "camera_height": "standing eye level, approximately 1.5 m above the basement landing",
          "lens_hint": "28–35mm wide angle",
          "framing_notes": "Include the lower landing in the foreground and the stair flight rising toward the upper passage. Keep the prayer-room furnishings and exterior church door outside the frame. The background overlay supplies number 7 and the subdued candle-dependent visibility; do not add visible knocking waves, drones, or later illuminated lanterns. Leave clear staging space for the group to pause and for the leading adult to signal silence."
        },
        "reference_decision": {
          "bg_id": "L35B03",
          "fp_id": "fp_church_basement_stairs",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L35B03 is ready and is the sole supplied anchor candidate under the documented ramped fallback, despite clean_background_expected being false. With no prior references, establish fixed identity from base markers 1, 2, 3, 5 and 6. For S29_Shot8, camera unit 1 facing unit 3 provides depth through unit 2, while normal coverage supports the committed close over-shoulder staging without optical distortion. Marker 7 remains transient rather than part of fixed identity.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/floor_plan/fp_church_basement_stairs.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The sole anchor is seeded from the base floor plan; the same-fp reference catalog is empty.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 1,
            "camera_cell": [
              8,
              4
            ],
            "look_at_unit": 3,
            "look_at_cell": [
              0,
              4
            ],
            "lens_enum": "normal",
            "fov_deg": 50,
            "framing_notes": "Use the listed unit-1 camera cell and listed northward look-at cell at marker 5, on the boundary of unit 3. Normal 50-degree coverage provides a neutral perspective for the committed close over-shoulder composition; the depth axis passes through unit 2."
          },
          "render_guidance": {
            "visible_space_directive": "Establish the view from unit 1 through unit 2 toward unit 3 and base opening 5. Preserve base fixture 6 along the west wall of unit 2 wherever exposed within the normal view. Treat candidate visibility as a superset: subject occlusion and the close framing may limit how much of these base elements is visible.",
            "camera_framing_directive": "Place the camera in unit 1 at [8, 4], looking toward unit 3 at [0, 4], with normal 50-degree neutral coverage. Apply the committed close over-shoulder composition at the principal subject's upper-chest height, slightly upward from the oblique side; retain central-right emphasis and the lower-left shoulder sliver.",
            "subject_position_directive": "For S29_Shot8, place the staged three-quarter-left subject's face and raised index finger centrally to the right, with the finger close to the lips and gaze directed toward the other staged subject rather than the lens. Retain the listening subject only as the committed soft shoulder sliver at lower left, shoulder drawn inward. No absolute subject unit positions are committed; do not invent additional subjects.",
            "state_cue_directive": "Carry transient marker 7 using its supplied label, Carried candle, and the committed candlelight supporting intimate facial modeling and readable eyes. Preserve the completed silence gesture and attentive response. clean_background_expected is false; keep marker 7 transient and retain base markers 1, 2, 3, 5 and 6 as the fixed structural basis without inventing additional state cues.",
            "negative_continuity_directive": "No ignored numbered elements or ignored state overlays are listed. Avoid promoting marker 7 into a permanent fixture, relocating marker 6 from the west side of unit 2, or altering the base arrangement of units 1, 2 and 3 and opening 5. Do not introduce opening 4 behind the chosen northward view or treat visibility supersets as proof that every candidate must appear."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [8, 4]\n  - look_at_unit: 3\n  - look_at_cell: [0, 4]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Use the listed unit-1 camera cell and listed northward look-at cell at marker 5, on the boundary of unit 3. Normal 50-degree coverage provides a neutral perspective for the committed close over-shoulder composition; the depth axis passes through unit 2.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish the view from unit 1 through unit 2 toward unit 3 and base opening 5. Preserve base fixture 6 along the west wall of unit 2 wherever exposed within the normal view. Treat candidate visibility as a superset: subject occlusion and the close framing may limit how much of these base elements is visible.\n  - camera_framing_directive: Place the camera in unit 1 at [8, 4], looking toward unit 3 at [0, 4], with normal 50-degree neutral coverage. Apply the committed close over-shoulder composition at the principal subject's upper-chest height, slightly upward from the oblique side; retain central-right emphasis and the lower-left shoulder sliver.\n  - subject_position_directive: For S29_Shot8, place the staged three-quarter-left subject's face and raised index finger centrally to the right, with the finger close to the lips and gaze directed toward the other staged subject rather than the lens. Retain the listening subject only as the committed soft shoulder sliver at lower left, shoulder drawn inward. No absolute subject unit positions are committed; do not invent additional subjects.\n  - state_cue_directive: Carry transient marker 7 using its supplied label, Carried candle, and the committed candlelight supporting intimate facial modeling and readable eyes. Preserve the completed silence gesture and attentive response. clean_background_expected is false; keep marker 7 transient and retain base markers 1, 2, 3, 5 and 6 as the fixed structural basis without inventing additional state cues.\n  - negative_continuity_directive: No ignored numbered elements or ignored state overlays are listed. Avoid promoting marker 7 into a permanent fixture, relocating marker 6 from the west side of unit 2, or altering the base arrangement of units 1, 2 and 3 and opening 5. Do not introduce opening 4 behind the chosen northward view or treat visibility supersets as proof that every candidate must appear.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [8, 4]\n  - look_at_unit: 3\n  - look_at_cell: [0, 4]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Use the listed unit-1 camera cell and listed northward look-at cell at marker 5, on the boundary of unit 3. Normal 50-degree coverage provides a neutral perspective for the committed close over-shoulder composition; the depth axis passes through unit 2.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish the view from unit 1 through unit 2 toward unit 3 and base opening 5. Preserve base fixture 6 along the west wall of unit 2 wherever exposed within the normal view. Treat candidate visibility as a superset: subject occlusion and the close framing may limit how much of these base elements is visible.\n  - camera_framing_directive: Place the camera in unit 1 at [8, 4], looking toward unit 3 at [0, 4], with normal 50-degree neutral coverage. Apply the committed close over-shoulder composition at the principal subject's upper-chest height, slightly upward from the oblique side; retain central-right emphasis and the lower-left shoulder sliver.\n  - subject_position_directive: For S29_Shot8, place the staged three-quarter-left subject's face and raised index finger centrally to the right, with the finger close to the lips and gaze directed toward the other staged subject rather than the lens. Retain the listening subject only as the committed soft shoulder sliver at lower left, shoulder drawn inward. No absolute subject unit positions are committed; do not invent additional subjects.\n  - state_cue_directive: Carry transient marker 7 using its supplied label, Carried candle, and the committed candlelight supporting intimate facial modeling and readable eyes. Preserve the completed silence gesture and attentive response. clean_background_expected is false; keep marker 7 transient and retain base markers 1, 2, 3, 5 and 6 as the fixed structural basis without inventing additional state cues.\n  - negative_continuity_directive: No ignored numbered elements or ignored state overlays are listed. Avoid promoting marker 7 into a permanent fixture, relocating marker 6 from the west side of unit 2, or altering the base arrangement of units 1, 2 and 3 and opening 5. Do not introduce opening 4 behind the chosen northward view or treat visibility supersets as proof that every candidate must appear.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [8, 4]\n  - look_at_unit: 3\n  - look_at_cell: [0, 4]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Use the listed unit-1 camera cell and listed northward look-at cell at marker 5, on the boundary of unit 3. Normal 50-degree coverage provides a neutral perspective for the committed close over-shoulder composition; the depth axis passes through unit 2.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish the view from unit 1 through unit 2 toward unit 3 and base opening 5. Preserve base fixture 6 along the west wall of unit 2 wherever exposed within the normal view. Treat candidate visibility as a superset: subject occlusion and the close framing may limit how much of these base elements is visible.\n  - camera_framing_directive: Place the camera in unit 1 at [8, 4], looking toward unit 3 at [0, 4], with normal 50-degree neutral coverage. Apply the committed close over-shoulder composition at the principal subject's upper-chest height, slightly upward from the oblique side; retain central-right emphasis and the lower-left shoulder sliver.\n  - subject_position_directive: For S29_Shot8, place the staged three-quarter-left subject's face and raised index finger centrally to the right, with the finger close to the lips and gaze directed toward the other staged subject rather than the lens. Retain the listening subject only as the committed soft shoulder sliver at lower left, shoulder drawn inward. No absolute subject unit positions are committed; do not invent additional subjects.\n  - state_cue_directive: Carry transient marker 7 using its supplied label, Carried candle, and the committed candlelight supporting intimate facial modeling and readable eyes. Preserve the completed silence gesture and attentive response. clean_background_expected is false; keep marker 7 transient and retain base markers 1, 2, 3, 5 and 6 as the fixed structural basis without inventing additional state cues.\n  - negative_continuity_directive: No ignored numbered elements or ignored state overlays are listed. Avoid promoting marker 7 into a permanent fixture, relocating marker 6 from the west side of unit 2, or altering the base arrangement of units 1, 2 and 3 and opening 5. Do not introduce opening 4 behind the chosen northward view or treat visibility supersets as proof that every candidate must appear.\n\n2069년 대한민국의 오래된 교회 지하 계단실을 실제 미러리스 카메라와 35밀리미터 렌즈로 촬영한 다큐멘터리 풍 사진. 사람이 없는 장소 기록 사진으로, 오랫동안 사용한 한국의 소규모 철근콘크리트 종교 건물 내부처럼 소박하고 실용적인 마감이다. 실제 콘크리트 계단의 거친 입자와 닳은 모서리, 도장 벽의 미세한 요철과 일상적인 묵은 얼룩, 금속 손잡이의 벗겨진 칠과 손때가 과장 없이 드러난다. 미래라는 이유로 새로운 장비나 장식물을 덧붙이지 않는다.\n\n카메라는 지하 층계참 남쪽 가장자리에서 바닥 위 약 1.5미터의 서 있는 사람 눈높이에 놓고 북쪽을 향한다. 가까운 지하 층계참에서 중앙의 직선 계단이 화면 안쪽 위로 올라가며, 계단 끝에는 지상 층계참과 그 북쪽 경계 중앙의 통로 개구부가 이어진다. 서쪽 벽을 따라 설치된 금속 계단 손잡이는 화면 왼쪽에 보인다. 전경의 층계참, 중경의 계단, 어두운 상부 층계참이 자연스러운 원근으로 연결되게 한다. 위에서 내려다보는 구도나 도면 구도가 아닌 실제 계단 아래에서 올려다보는 시선이다.\n\n계단 하단 가까이에서 이동 중인 휴대용 초 하나의 작은 불꽃이 유일한 가까운 광원이다. 초의 윗부분과 불꽃만 화면 아래 가장자리에 걸쳐 보이도록 하고, 초를 지지하는 부분은 화면 밖에 두어 공중에 떠 있는 물체처럼 보이지 않게 한다. 작은 불꽃의 따뜻한 빛이 가까운 계단 모서리와 왼쪽 금속 손잡이 일부에만 약하게 닿고, 위쪽으로 갈수록 빛이 빠르게 줄어 상부 층계참과 통로는 깊은 어둠에 잠긴다. 벽과 계단의 윤곽은 희미한 반사광으로 겨우 구분된다. 고요한 어둠과 제한된 가시성을 실제 촛불의 자연스러운 광량과 노출로 표현하며, 공간 전체를 밝히는 보조광은 사용하지 않는다. 실제 렌즈의 자연스러운 심도와 재료 질감, 사실적인 명암을 유지한다. 사람, 얼굴, 손, 신체 일부, 사람 모양 형상이나 그림자는 전혀 보이지 않는다. 과도한 보정 없는 실제 장소 촬영본이며 삽화나 건축 시각화가 아니다. 16:9 가로 비율, 실제 카메라 촬영본",
        "camera_decision": {
          "camera_unit": 1,
          "camera_cell": [
            8,
            4
          ],
          "look_at_unit": 3,
          "look_at_cell": [
            0,
            4
          ],
          "lens_enum": "normal",
          "fov_deg": 50,
          "framing_notes": "Use the listed unit-1 camera cell and listed northward look-at cell at marker 5, on the boundary of unit 3. Normal 50-degree coverage provides a neutral perspective for the committed close over-shoulder composition; the depth axis passes through unit 2."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Establish the view from unit 1 through unit 2 toward unit 3 and base opening 5. Preserve base fixture 6 along the west wall of unit 2 wherever exposed within the normal view. Treat candidate visibility as a superset: subject occlusion and the close framing may limit how much of these base elements is visible.",
          "camera_framing_directive": "Place the camera in unit 1 at [8, 4], looking toward unit 3 at [0, 4], with normal 50-degree neutral coverage. Apply the committed close over-shoulder composition at the principal subject's upper-chest height, slightly upward from the oblique side; retain central-right emphasis and the lower-left shoulder sliver.",
          "subject_position_directive": "For S29_Shot8, place the staged three-quarter-left subject's face and raised index finger centrally to the right, with the finger close to the lips and gaze directed toward the other staged subject rather than the lens. Retain the listening subject only as the committed soft shoulder sliver at lower left, shoulder drawn inward. No absolute subject unit positions are committed; do not invent additional subjects.",
          "state_cue_directive": "Carry transient marker 7 using its supplied label, Carried candle, and the committed candlelight supporting intimate facial modeling and readable eyes. Preserve the completed silence gesture and attentive response. clean_background_expected is false; keep marker 7 transient and retain base markers 1, 2, 3, 5 and 6 as the fixed structural basis without inventing additional state cues.",
          "negative_continuity_directive": "No ignored numbered elements or ignored state overlays are listed. Avoid promoting marker 7 into a permanent fixture, relocating marker 6 from the west side of unit 2, or altering the base arrangement of units 1, 2 and 3 and opening 5. Do not introduce opening 4 behind the chosen northward view or treat visibility supersets as proof that every candidate must appear."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_church_basement_stairs",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_church_basement_stairs"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L35B01": {
        "status": "ok",
        "location_id": "L35",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L35B01.png",
        "t2i_prompt": "2069년 대한민국에 남아 사용되는 오래된 성당의 출입문 바깥을 밤에 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람 없는 외부 진입 공간과 굳게 닫힌 성당 문, 그 옆 외벽이 주된 피사체다. 과거에 지어진 소박한 한국 지역 성당의 붉은 벽돌 외벽과 회색 석재 문틀, 짙은 목재 양개문, 닳은 금속 손잡이, 출입구 위의 작은 비발광 금속 십자가를 보여준다. 벽돌 줄눈의 부분 보수 흔적, 외벽 아래쪽의 오래된 빗물 얼룩, 문 표면의 실제 나뭇결과 손때, 금속의 산화 흔적, 콘크리트 바닥의 잔균열과 일상적인 먼지가 가까이서도 사실적으로 읽힌다. 미래라는 이유로 새 전자 장치나 발광 장식을 덧붙이지 않고, 오랫동안 보수하며 사용한 건물의 현실적인 상태를 유지한다.\n카메라는 출입문에서 몇 걸음 물러난 외부 진입부에 두고, 높이 약 1.6미터의 서 있는 사람 눈높이에서 35밀리미터급 렌즈를 장착한 실제 미러리스 카메라로 촬영한다. 외벽을 약간 비스듬하게 바라보되 수직선과 공간 비례는 자연스럽게 유지한다. 닫힌 문은 화면 왼쪽 중앙에, 연속된 외벽은 오른쪽에 배치하며, 화면 아래쪽과 중앙에는 두 사람이 서로 마주 설 수 있는 장애물 없는 평탄한 바닥을 넉넉하게 확보한다. 문은 완전히 닫혀 있고 내부는 보이지 않는다.\n야간의 약한 자연 주변광과 출입문 옆 작은 벽등의 절제된 따뜻한 빛만으로 입구를 밝힌다. 벽등 가까이의 목재와 석재는 식별되지만 외벽 가장자리와 먼 바닥은 점진적으로 어두워지며, 광원의 거리와 방향에 맞는 부드러운 그림자가 생긴다. 밤을 낮처럼 밝히거나 검은 부분을 인위적으로 지우지 않는다. 자연스러운 피사계 심도로 문과 대면 공간의 표면이 충분히 보이는 실제 장소 기록 사진이며, 과도한 보정이나 광고 사진처럼 말끔한 표면은 없다. 그림이나 컴퓨터 생성 이미지, 건축 시각화가 아닌 실제 촬영 사진이고, 위에서 내려다보는 시점이나 평면도 구도가 아니다. 사람, 얼굴, 사람의 반사상이나 그림자, 시신, 혈흔은 전혀 없다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S29_Shot13",
            "guide_text": "서 있는 사람의 눈높이에서 닫힌 출입문과 옆 외벽을 함께 담는다. 문 가까운 자리와 그 맞은편 진입부 사이에 두 사람이 마주 설 만큼 빈 바닥과 시선 여백을 확보하되, 배경 이미지 자체에는 아무도 배치하지 않는다. 방문자 도착 상태는 외부 접근 공간의 확보로만 반영하며 문을 열거나 방문자의 짐을 추가하지 않는다. 문 주변의 약한 따뜻한 벽등과 바깥쪽의 어두운 야간 주변광을 유지한다."
          }
        ],
        "shot_ids": [
          "S29_Shot13"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {},
        "reference_decision": {
          "mode": "surface_role_direct_plate",
          "surface_role": "exterior_plate",
          "fp_id": "",
          "source_bg_ids": []
        },
        "effective_render_prompt": "2069년 대한민국에 남아 사용되는 오래된 성당의 출입문 바깥을 밤에 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람 없는 외부 진입 공간과 굳게 닫힌 성당 문, 그 옆 외벽이 주된 피사체다. 과거에 지어진 소박한 한국 지역 성당의 붉은 벽돌 외벽과 회색 석재 문틀, 짙은 목재 양개문, 닳은 금속 손잡이, 출입구 위의 작은 비발광 금속 십자가를 보여준다. 벽돌 줄눈의 부분 보수 흔적, 외벽 아래쪽의 오래된 빗물 얼룩, 문 표면의 실제 나뭇결과 손때, 금속의 산화 흔적, 콘크리트 바닥의 잔균열과 일상적인 먼지가 가까이서도 사실적으로 읽힌다. 미래라는 이유로 새 전자 장치나 발광 장식을 덧붙이지 않고, 오랫동안 보수하며 사용한 건물의 현실적인 상태를 유지한다.\n카메라는 출입문에서 몇 걸음 물러난 외부 진입부에 두고, 높이 약 1.6미터의 서 있는 사람 눈높이에서 35밀리미터급 렌즈를 장착한 실제 미러리스 카메라로 촬영한다. 외벽을 약간 비스듬하게 바라보되 수직선과 공간 비례는 자연스럽게 유지한다. 닫힌 문은 화면 왼쪽 중앙에, 연속된 외벽은 오른쪽에 배치하며, 화면 아래쪽과 중앙에는 두 사람이 서로 마주 설 수 있는 장애물 없는 평탄한 바닥을 넉넉하게 확보한다. 문은 완전히 닫혀 있고 내부는 보이지 않는다.\n야간의 약한 자연 주변광과 출입문 옆 작은 벽등의 절제된 따뜻한 빛만으로 입구를 밝힌다. 벽등 가까이의 목재와 석재는 식별되지만 외벽 가장자리와 먼 바닥은 점진적으로 어두워지며, 광원의 거리와 방향에 맞는 부드러운 그림자가 생긴다. 밤을 낮처럼 밝히거나 검은 부분을 인위적으로 지우지 않는다. 자연스러운 피사계 심도로 문과 대면 공간의 표면이 충분히 보이는 실제 장소 기록 사진이며, 과도한 보정이나 광고 사진처럼 말끔한 표면은 없다. 그림이나 컴퓨터 생성 이미지, 건축 시각화가 아닌 실제 촬영 사진이고, 위에서 내려다보는 시점이나 평면도 구도가 아니다. 사람, 얼굴, 사람의 반사상이나 그림자, 시신, 혈흔은 전혀 없다. 16:9 가로 비율, 실제 카메라 촬영본\n\nOne attached image is a PHOTOREAL RENDER of this SAME place — the same physical location, possibly seen from a different angle or at a different moment. Treat it as the PLACE IDENTITY reference. Keep this render consistent with it: the same spatial layout and architecture, the same surface materials and colors, and the same permanently installed fixtures and furniture. Lettering visible in the reference is reproduced EXACTLY — same characters, same mark, same position; never invent different wording from render to render. Camera angle, framing, lighting, time of day and weather follow THIS prompt — do NOT copy the reference's composition or mood; only the place's physical identity carries over.",
        "shot_aware_plan_mode": "surface_role_direct_plate",
        "attached_reference_lineage": {
          "fp_id": "",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "same_loc_anchor:L35B03"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        },
        "same_loc_anchor_ref": {
          "anchor_bg_id": "L35B03",
          "loc_id": "L35"
        }
      },
      "L35B02": {
        "status": "ok",
        "location_id": "L35",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L35B02.png",
        "t2i_prompt": "2069년 대한민국의 오래된 성당 일대에서 벌어지는 야간 공중 수색을 기록한, 실제 카메라로 촬영한 다큐멘터리 풍 사진. 지상 약 1.6미터의 서 있는 사람 눈높이에 놓인 실제 미러리스 카메라와 35밀리미터급 렌즈로 성당 위 밤하늘을 올려다본다. 항공 촬영이나 내려다보는 시점이 아니다. 화면 대부분은 실제 밤처럼 짙고 어두운 하늘이며, 상단에 떠 있는 수색 헬리콥터 한 대의 하부에서 강한 백색 서치라이트가 아래쪽으로 비스듬히 뻗어 화면 하단 밖의 지상을 훑는다. 광원과 광선의 연결이 명확하고, 빛줄기는 공기 중 옅은 수분과 먼지에서 산란해 드러나며 아래로 갈수록 조금 넓어지고 가장자리는 자연스럽게 흐려진다. 하늘 전체를 밝게 만드는 과도한 안개나 초자연적인 빛기둥은 없다. 헬리콥터는 실제 비행 가능한 동체와 회전날개 구조를 갖추고, 금속 외피의 이음매와 사용 흔적은 빛이 닿는 부분에서만 제한적으로 보인다. 회전날개에는 실제 촬영에서 생기는 미세한 움직임 흐림이 있다. 탑승자와 얼굴은 보이지 않는다. 화면 맨 아래 가장자리에만 한국의 지역 성당에서 볼 법한 소박한 벽돌 외벽의 윗부분, 낡은 콘크리트 종탑과 십자가, 금속 지붕 가장자리가 어두운 윤곽으로 걸린다. 약하게 빛을 받은 부분에는 벽돌 줄눈, 콘크리트의 빗물 얼룩, 금속의 산화 흔적이 사실적으로 드러난다. 오래된 건축과 운용 중인 수색 장비가 공존하는 미래이며, 근거 없는 미래형 고층 건물이나 공중 정보창은 추가하지 않는다. 희미한 야간 주변광과 강한 하향 수색등 사이의 실제적인 노출 차이, 자연스러운 색과 광학적 심도를 유지하고 어두운 부분을 억지로 밝히지 않는다. 현장 기록 사진처럼 가공하지 않은 질감이며, 정돈된 광고 사진이나 컴퓨터 생성 이미지, 삽화, 건축 시각화가 아니다. 인물, 얼굴, 시신, 유혈, 실내 공간과 실내 계단은 전혀 없다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S29_Shot14",
            "guide_text": "외부 공중 수색 상태를 보여주는 빈 배경으로 사용한다. 화면 상단의 헬리콥터와 하단을 향해 뻗는 강한 백색 수색등이 한눈에 연결되게 하고, 어두운 밤하늘을 넓게 확보한다. 성당 지붕과 종탑 윤곽은 하단 가장자리에만 둔다. 수색 대상이나 탑승자는 그리지 않으며 실내 계단을 섞지 않는다."
          }
        ],
        "shot_ids": [
          "S29_Shot14"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {},
        "reference_decision": {
          "mode": "surface_role_direct_plate",
          "surface_role": "exterior_plate",
          "fp_id": "",
          "source_bg_ids": []
        },
        "effective_render_prompt": "2069년 대한민국의 오래된 성당 일대에서 벌어지는 야간 공중 수색을 기록한, 실제 카메라로 촬영한 다큐멘터리 풍 사진. 지상 약 1.6미터의 서 있는 사람 눈높이에 놓인 실제 미러리스 카메라와 35밀리미터급 렌즈로 성당 위 밤하늘을 올려다본다. 항공 촬영이나 내려다보는 시점이 아니다. 화면 대부분은 실제 밤처럼 짙고 어두운 하늘이며, 상단에 떠 있는 수색 헬리콥터 한 대의 하부에서 강한 백색 서치라이트가 아래쪽으로 비스듬히 뻗어 화면 하단 밖의 지상을 훑는다. 광원과 광선의 연결이 명확하고, 빛줄기는 공기 중 옅은 수분과 먼지에서 산란해 드러나며 아래로 갈수록 조금 넓어지고 가장자리는 자연스럽게 흐려진다. 하늘 전체를 밝게 만드는 과도한 안개나 초자연적인 빛기둥은 없다. 헬리콥터는 실제 비행 가능한 동체와 회전날개 구조를 갖추고, 금속 외피의 이음매와 사용 흔적은 빛이 닿는 부분에서만 제한적으로 보인다. 회전날개에는 실제 촬영에서 생기는 미세한 움직임 흐림이 있다. 탑승자와 얼굴은 보이지 않는다. 화면 맨 아래 가장자리에만 한국의 지역 성당에서 볼 법한 소박한 벽돌 외벽의 윗부분, 낡은 콘크리트 종탑과 십자가, 금속 지붕 가장자리가 어두운 윤곽으로 걸린다. 약하게 빛을 받은 부분에는 벽돌 줄눈, 콘크리트의 빗물 얼룩, 금속의 산화 흔적이 사실적으로 드러난다. 오래된 건축과 운용 중인 수색 장비가 공존하는 미래이며, 근거 없는 미래형 고층 건물이나 공중 정보창은 추가하지 않는다. 희미한 야간 주변광과 강한 하향 수색등 사이의 실제적인 노출 차이, 자연스러운 색과 광학적 심도를 유지하고 어두운 부분을 억지로 밝히지 않는다. 현장 기록 사진처럼 가공하지 않은 질감이며, 정돈된 광고 사진이나 컴퓨터 생성 이미지, 삽화, 건축 시각화가 아니다. 인물, 얼굴, 시신, 유혈, 실내 공간과 실내 계단은 전혀 없다. 16:9 가로 비율, 실제 카메라 촬영본\n\nOne attached image is a PHOTOREAL RENDER of this SAME place — the same physical location, possibly seen from a different angle or at a different moment. Treat it as the PLACE IDENTITY reference. Keep this render consistent with it: the same spatial layout and architecture, the same surface materials and colors, and the same permanently installed fixtures and furniture. Lettering visible in the reference is reproduced EXACTLY — same characters, same mark, same position; never invent different wording from render to render. Camera angle, framing, lighting, time of day and weather follow THIS prompt — do NOT copy the reference's composition or mood; only the place's physical identity carries over.",
        "shot_aware_plan_mode": "surface_role_direct_plate",
        "attached_reference_lineage": {
          "fp_id": "",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "same_loc_anchor:L35B03"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        },
        "same_loc_anchor_ref": {
          "anchor_bg_id": "L35B03",
          "loc_id": "L35"
        }
      },
      "L36B03": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L36",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L36B03.png",
        "t2i_prompt": "대한민국의 오래된 소규모 지하 기도소를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 2069년에도 자원이 부족한 환경에서 오래된 생활용품을 계속 사용하는, 소박하지만 온전하게 관리된 피난 공간이다. 직사각형 방의 남서쪽 안쪽에서 북동쪽을 바라보며, 약 1.6미터의 서 있는 사람 눈높이에서 풀프레임 미러리스 카메라와 28밀리미터 광각 렌즈로 촬영한다. 과장된 원근 왜곡 없이 방의 깊이와 가구 사이의 거리가 읽히는 수평 구도이며, 위에서 내려다본 시점이 아니다.\n\n제공된 평면도는 기존 공간과 고정 물품의 위치를 파악하는 데만 사용한다. 북쪽 벽 중앙에는 인체 조각 없는 단순한 벽 십자가가 있다. 작은 탁자는 방의 동쪽 중앙에 있으며, 탁자의 북쪽·동쪽·남쪽에 의자가 각각 하나씩 놓여 있다. 남쪽 의자 뒤로는 이동할 수 있는 여유 공간을 둔다. 북서쪽 벽의 작은 목제 풍금은 건반이 남쪽을 향하고, 풍금용 긴 의자는 건반 바로 앞에 있다. 라디오는 북동쪽 모서리의 기존 자리에 한 대만 놓인다. 서쪽 벽 중간, 동쪽 벽의 지정된 자리, 북쪽 벽의 십자가와 라디오 사이에 각각 낡은 랜턴이 있다. 십자가와 탁자, 북동쪽 라디오가 시선의 중심에 놓이고 왼편의 풍금도 공간 관계를 알아볼 수 있게 들어온다.\n\n현재는 전력이 공급되어 세 자리의 낡은 랜턴이 밝고 안정적으로 켜지고 라디오도 작동하는 상태다. 라디오의 작은 작동 표시와 랜턴의 실제 광원으로만 가동 상태를 드러낸다. 랜턴에서 나오는 은은하게 따뜻한 빛이 탁자와 의자, 벽면까지 충분히 닿아 지하 공간의 구조와 물품이 또렷하게 보인다. 광원 가까이의 밝기와 모서리로 갈수록 줄어드는 조도, 물체 뒤의 부드러운 그림자와 벽의 반사광을 물리적으로 자연스럽게 기록한다. 낡은 공간이지만 어둠에 묻히지 않고 잠시 안심하고 머물 수 있는 밝고 차분한 분위기다.\n\n소박한 미장 콘크리트 벽과 바닥의 실제 거칠기, 오래 사용한 목제 가구와 풍금의 나뭇결 및 가장자리 마모, 랜턴 금속 표면의 산화와 손때, 라디오 스피커 망의 촘촘한 질감을 사실적으로 보여준다. 일상적인 오래된 변색은 절제해서 남기되 공간을 폐허처럼 만들지 않는다. 실제 현장 기록 사진과 구별되지 않는 자연스러운 색과 노출, 주요 가구부터 뒤쪽 벽까지 알아볼 수 있는 자연스러운 피사계 심도. 인위적인 색 보정이나 과장된 광채 없이 실제 광원의 빛을 담는다. 사람, 얼굴, 사람 모양의 형상은 전혀 없는 빈 배경이며, 그림이나 컴퓨터 합성 이미지, 건축 시각화가 아닌 실제 장소 촬영 사진이다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S30_Shot6",
            "guide_text": "밝아진 랜턴의 빛이 방 전체에 닿는 온전한 피난 공간을 보여준다. 눈높이 광각 구도에서 북쪽 벽의 십자가, 동쪽 중앙의 탁자와 세 의자, 왼편 풍금, 북동쪽 라디오의 위치 관계가 읽히게 한다. 인물 없이 기존 장비의 가동 상태와 자연스러운 실내 반사광만 담는다."
          },
          {
            "shot_id": "S32_Shot1",
            "guide_text": "대화 장면에 이어 사용할 수 있도록 십자가, 탁자와 세 의자, 풍금과 긴 의자, 라디오 한 대의 배치를 그대로 유지한다. 세 랜턴의 밝기와 빛의 방향도 앞선 배경과 일치시킨다. 탁자 주변의 빈 공간과 남쪽 이동 여유를 확보하고 인물이나 추가 물품을 생성하지 않는다."
          }
        ],
        "shot_ids": [
          "S30_Shot6",
          "S32_Shot1"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "just inside number 3 (stair access opening), facing northeast across number 1 toward number 6 (wall cross), number 7 (table), and number 13 (radio home position)",
          "camera_height": "eye-level standing, approximately 1.6 m",
          "lens_hint": "28mm wide angle",
          "framing_notes": "Establish the intact refuge with numbers 11 and 12 on the left and numbers 7 through 10 on the right. Preserve the central negative space for both the organ interaction and later seated conversation. Apply number 18 only in the background image, not the floor plan."
        },
        "reference_decision": {
          "bg_id": "L36B03",
          "fp_id": "fp_church_prayer_room",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L36B03 is an authorized fallback anchor candidate with readiness ok=true. Its two wide consuming shots establish unit 1 and the broadest fixed-marker inventory. Seed its identity directly from the floor plan, using unit 4 as the camera position looking into unit 1. The fallback designation does not override clean_background_expected=false or the committed marker 18 state.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/floor_plan/fp_church_prayer_room.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The first node establishes the identity without a prior background reference; the supplied catalog is empty.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 4,
            "camera_cell": [
              6,
              9
            ],
            "look_at_unit": 1,
            "look_at_cell": [
              1,
              4
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad diagonal coverage into unit 1 toward marker 6. This is a shared structural plate for the two wide shots, not a claim that their distinct elevated staging positions are identical."
          },
          "render_guidance": {
            "visible_space_directive": "Establish unit 1 as viewed from unit 4 through opening 5. Preserve the floor-plan positions of markers 6 through 14, 16 and 17 wherever visible: marker 6 at the north wall center, markers 11 and 12 northwest, marker 13 northeast, and markers 7 through 10 east-central. Opening 5 limits the view into unit 1; the visibility supersets do not authorize showing unit 2 or every fixture through intervening structure.",
            "camera_framing_directive": "Use camera unit 4 at [6,9], looking toward unit 1 at [1,4], with wide 90-degree broad coverage. Retain oblique spatial depth and separated fixed-marker positions. Treat the consuming shots' elevated downward framing and differing subject crops as staging requirements rather than relocating the plate's fixed structure.",
            "subject_position_directive": "Keep the two shot arrangements separate. S30_Shot6 commits C01 near center beside marker 11, torso turned toward marker 13, with the other described subject outside the right edge. S32_Shot1 commits C03 in the right midground against the wall and C12 seated at the left edge beside a cropped portion of marker 7. Preserve those relative placements for their respective consuming shots rather than combining all subjects into one arrangement.",
            "state_cue_directive": "Carry marker 18 as the committed state. S30_Shot6 includes simultaneous brightening at the distributed fixtures and light from C01's chest without an assigned hue; S32_Shot1 instead calls for restrained ambient illumination and subdued contrast. Keep the transient light action shot-specific rather than a permanent fixture alteration. clean_background_expected is false.",
            "negative_continuity_directive": "Exclude markers 19 and 20. Avoid duplicating marker 13, relocating markers 6 through 17 to force screen placement, or treating visibility supersets as guaranteed unobstructed views. Do not enlarge the visible extent of units 2 or 4 beyond the selected framing and openings."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [6, 9]\n  - look_at_unit: 1\n  - look_at_cell: [1, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad diagonal coverage into unit 1 toward marker 6. This is a shared structural plate for the two wide shots, not a claim that their distinct elevated staging positions are identical.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 1 as viewed from unit 4 through opening 5. Preserve the floor-plan positions of markers 6 through 14, 16 and 17 wherever visible: marker 6 at the north wall center, markers 11 and 12 northwest, marker 13 northeast, and markers 7 through 10 east-central. Opening 5 limits the view into unit 1; the visibility supersets do not authorize showing unit 2 or every fixture through intervening structure.\n  - camera_framing_directive: Use camera unit 4 at [6,9], looking toward unit 1 at [1,4], with wide 90-degree broad coverage. Retain oblique spatial depth and separated fixed-marker positions. Treat the consuming shots' elevated downward framing and differing subject crops as staging requirements rather than relocating the plate's fixed structure.\n  - subject_position_directive: Keep the two shot arrangements separate. S30_Shot6 commits C01 near center beside marker 11, torso turned toward marker 13, with the other described subject outside the right edge. S32_Shot1 commits C03 in the right midground against the wall and C12 seated at the left edge beside a cropped portion of marker 7. Preserve those relative placements for their respective consuming shots rather than combining all subjects into one arrangement.\n  - state_cue_directive: Carry marker 18 as the committed state. S30_Shot6 includes simultaneous brightening at the distributed fixtures and light from C01's chest without an assigned hue; S32_Shot1 instead calls for restrained ambient illumination and subdued contrast. Keep the transient light action shot-specific rather than a permanent fixture alteration. clean_background_expected is false.\n  - negative_continuity_directive: Exclude markers 19 and 20. Avoid duplicating marker 13, relocating markers 6 through 17 to force screen placement, or treating visibility supersets as guaranteed unobstructed views. Do not enlarge the visible extent of units 2 or 4 beyond the selected framing and openings.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [6, 9]\n  - look_at_unit: 1\n  - look_at_cell: [1, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad diagonal coverage into unit 1 toward marker 6. This is a shared structural plate for the two wide shots, not a claim that their distinct elevated staging positions are identical.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 1 as viewed from unit 4 through opening 5. Preserve the floor-plan positions of markers 6 through 14, 16 and 17 wherever visible: marker 6 at the north wall center, markers 11 and 12 northwest, marker 13 northeast, and markers 7 through 10 east-central. Opening 5 limits the view into unit 1; the visibility supersets do not authorize showing unit 2 or every fixture through intervening structure.\n  - camera_framing_directive: Use camera unit 4 at [6,9], looking toward unit 1 at [1,4], with wide 90-degree broad coverage. Retain oblique spatial depth and separated fixed-marker positions. Treat the consuming shots' elevated downward framing and differing subject crops as staging requirements rather than relocating the plate's fixed structure.\n  - subject_position_directive: Keep the two shot arrangements separate. S30_Shot6 commits C01 near center beside marker 11, torso turned toward marker 13, with the other described subject outside the right edge. S32_Shot1 commits C03 in the right midground against the wall and C12 seated at the left edge beside a cropped portion of marker 7. Preserve those relative placements for their respective consuming shots rather than combining all subjects into one arrangement.\n  - state_cue_directive: Carry marker 18 as the committed state. S30_Shot6 includes simultaneous brightening at the distributed fixtures and light from C01's chest without an assigned hue; S32_Shot1 instead calls for restrained ambient illumination and subdued contrast. Keep the transient light action shot-specific rather than a permanent fixture alteration. clean_background_expected is false.\n  - negative_continuity_directive: Exclude markers 19 and 20. Avoid duplicating marker 13, relocating markers 6 through 17 to force screen placement, or treating visibility supersets as guaranteed unobstructed views. Do not enlarge the visible extent of units 2 or 4 beyond the selected framing and openings.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [6, 9]\n  - look_at_unit: 1\n  - look_at_cell: [1, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad diagonal coverage into unit 1 toward marker 6. This is a shared structural plate for the two wide shots, not a claim that their distinct elevated staging positions are identical.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 1 as viewed from unit 4 through opening 5. Preserve the floor-plan positions of markers 6 through 14, 16 and 17 wherever visible: marker 6 at the north wall center, markers 11 and 12 northwest, marker 13 northeast, and markers 7 through 10 east-central. Opening 5 limits the view into unit 1; the visibility supersets do not authorize showing unit 2 or every fixture through intervening structure.\n  - camera_framing_directive: Use camera unit 4 at [6,9], looking toward unit 1 at [1,4], with wide 90-degree broad coverage. Retain oblique spatial depth and separated fixed-marker positions. Treat the consuming shots' elevated downward framing and differing subject crops as staging requirements rather than relocating the plate's fixed structure.\n  - subject_position_directive: Keep the two shot arrangements separate. S30_Shot6 commits C01 near center beside marker 11, torso turned toward marker 13, with the other described subject outside the right edge. S32_Shot1 commits C03 in the right midground against the wall and C12 seated at the left edge beside a cropped portion of marker 7. Preserve those relative placements for their respective consuming shots rather than combining all subjects into one arrangement.\n  - state_cue_directive: Carry marker 18 as the committed state. S30_Shot6 includes simultaneous brightening at the distributed fixtures and light from C01's chest without an assigned hue; S32_Shot1 instead calls for restrained ambient illumination and subdued contrast. Keep the transient light action shot-specific rather than a permanent fixture alteration. clean_background_expected is false.\n  - negative_continuity_directive: Exclude markers 19 and 20. Avoid duplicating marker 13, relocating markers 6 through 17 to force screen placement, or treating visibility supersets as guaranteed unobstructed views. Do not enlarge the visible extent of units 2 or 4 beyond the selected framing and openings.\n\n대한민국의 오래된 소규모 지하 기도소를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 2069년에도 자원이 부족한 환경에서 오래된 생활용품을 계속 사용하는, 소박하지만 온전하게 관리된 피난 공간이다. 직사각형 방의 남서쪽 안쪽에서 북동쪽을 바라보며, 약 1.6미터의 서 있는 사람 눈높이에서 풀프레임 미러리스 카메라와 28밀리미터 광각 렌즈로 촬영한다. 과장된 원근 왜곡 없이 방의 깊이와 가구 사이의 거리가 읽히는 수평 구도이며, 위에서 내려다본 시점이 아니다.\n\n제공된 평면도는 기존 공간과 고정 물품의 위치를 파악하는 데만 사용한다. 북쪽 벽 중앙에는 인체 조각 없는 단순한 벽 십자가가 있다. 작은 탁자는 방의 동쪽 중앙에 있으며, 탁자의 북쪽·동쪽·남쪽에 의자가 각각 하나씩 놓여 있다. 남쪽 의자 뒤로는 이동할 수 있는 여유 공간을 둔다. 북서쪽 벽의 작은 목제 풍금은 건반이 남쪽을 향하고, 풍금용 긴 의자는 건반 바로 앞에 있다. 라디오는 북동쪽 모서리의 기존 자리에 한 대만 놓인다. 서쪽 벽 중간, 동쪽 벽의 지정된 자리, 북쪽 벽의 십자가와 라디오 사이에 각각 낡은 랜턴이 있다. 십자가와 탁자, 북동쪽 라디오가 시선의 중심에 놓이고 왼편의 풍금도 공간 관계를 알아볼 수 있게 들어온다.\n\n현재는 전력이 공급되어 세 자리의 낡은 랜턴이 밝고 안정적으로 켜지고 라디오도 작동하는 상태다. 라디오의 작은 작동 표시와 랜턴의 실제 광원으로만 가동 상태를 드러낸다. 랜턴에서 나오는 은은하게 따뜻한 빛이 탁자와 의자, 벽면까지 충분히 닿아 지하 공간의 구조와 물품이 또렷하게 보인다. 광원 가까이의 밝기와 모서리로 갈수록 줄어드는 조도, 물체 뒤의 부드러운 그림자와 벽의 반사광을 물리적으로 자연스럽게 기록한다. 낡은 공간이지만 어둠에 묻히지 않고 잠시 안심하고 머물 수 있는 밝고 차분한 분위기다.\n\n소박한 미장 콘크리트 벽과 바닥의 실제 거칠기, 오래 사용한 목제 가구와 풍금의 나뭇결 및 가장자리 마모, 랜턴 금속 표면의 산화와 손때, 라디오 스피커 망의 촘촘한 질감을 사실적으로 보여준다. 일상적인 오래된 변색은 절제해서 남기되 공간을 폐허처럼 만들지 않는다. 실제 현장 기록 사진과 구별되지 않는 자연스러운 색과 노출, 주요 가구부터 뒤쪽 벽까지 알아볼 수 있는 자연스러운 피사계 심도. 인위적인 색 보정이나 과장된 광채 없이 실제 광원의 빛을 담는다. 사람, 얼굴, 사람 모양의 형상은 전혀 없는 빈 배경이며, 그림이나 컴퓨터 합성 이미지, 건축 시각화가 아닌 실제 장소 촬영 사진이다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 4,
          "camera_cell": [
            6,
            9
          ],
          "look_at_unit": 1,
          "look_at_cell": [
            1,
            4
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad diagonal coverage into unit 1 toward marker 6. This is a shared structural plate for the two wide shots, not a claim that their distinct elevated staging positions are identical."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Establish unit 1 as viewed from unit 4 through opening 5. Preserve the floor-plan positions of markers 6 through 14, 16 and 17 wherever visible: marker 6 at the north wall center, markers 11 and 12 northwest, marker 13 northeast, and markers 7 through 10 east-central. Opening 5 limits the view into unit 1; the visibility supersets do not authorize showing unit 2 or every fixture through intervening structure.",
          "camera_framing_directive": "Use camera unit 4 at [6,9], looking toward unit 1 at [1,4], with wide 90-degree broad coverage. Retain oblique spatial depth and separated fixed-marker positions. Treat the consuming shots' elevated downward framing and differing subject crops as staging requirements rather than relocating the plate's fixed structure.",
          "subject_position_directive": "Keep the two shot arrangements separate. S30_Shot6 commits C01 near center beside marker 11, torso turned toward marker 13, with the other described subject outside the right edge. S32_Shot1 commits C03 in the right midground against the wall and C12 seated at the left edge beside a cropped portion of marker 7. Preserve those relative placements for their respective consuming shots rather than combining all subjects into one arrangement.",
          "state_cue_directive": "Carry marker 18 as the committed state. S30_Shot6 includes simultaneous brightening at the distributed fixtures and light from C01's chest without an assigned hue; S32_Shot1 instead calls for restrained ambient illumination and subdued contrast. Keep the transient light action shot-specific rather than a permanent fixture alteration. clean_background_expected is false.",
          "negative_continuity_directive": "Exclude markers 19 and 20. Avoid duplicating marker 13, relocating markers 6 through 17 to force screen placement, or treating visibility supersets as guaranteed unobstructed views. Do not enlarge the visible extent of units 2 or 4 beyond the selected framing and openings."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_church_prayer_room",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_church_prayer_room"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L36B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L36",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L36B01.png",
        "t2i_prompt": "2069년 대한민국의 오래된 지하 기도소를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 자원 접근이 제한된 환경에서 이전 시대의 가구와 악기를 계속 사용하는 소박한 실내다. 실제 장소 기록 사진과 구별되지 않는 사실적인 표현으로, 콘크리트의 거친 입자와 옅은 생활 얼룩, 낡은 목재의 나뭇결과 손때, 금속 부품의 자연스러운 산화 흔적을 담는다. 과장된 황폐화나 미래형 장식을 덧붙이지 않는다. 사람, 얼굴, 인체 형태의 형상은 전혀 없는 빈 배경이다.\n\n참조 평면도는 공간의 연결 관계와 기존 가구 위치를 파악하는 용도로만 사용한다. 직사각형 실내의 북동쪽, 작은 탁자보다 북쪽에 카메라를 두고 남서쪽 계단 출입구와 계단참을 바라본다. 촬영 높이는 바닥에서 약 1.6미터, 실제 풀프레임 미러리스 카메라의 28밀리미터 광각 렌즈로 촬영한 자연스러운 원근감이다. 내려다보는 구도나 평면도 시점이 아니라 서 있는 사람의 눈높이 사진이다. 남서쪽 계단참에서 남쪽 위층으로 이어지는 계단의 공간 연결이 읽히며, 출입구에서 실내 중앙까지 바닥과 접근 동선이 넓게 드러나게 한다. 동쪽 중앙의 작은 탁자와 그 북쪽·동쪽·남쪽에 놓인 의자는 전경 가장자리에만 걸리게 하여 출입구를 가리지 않는다. 남쪽 의자도 통행 공간을 침범하지 않는다. 북서쪽 벽에는 건반이 남쪽을 향하는 오래된 풍금과 그 건반 바로 앞의 연주용 긴 의자가 기존 위치에 놓여 있다.\n\n현재 피난 공간에는 전력이 공급되고 있다. 서쪽 벽 중간과 계단 출입구에서 떨어진 남쪽 벽의 중앙보다 서쪽에 있는 기존 랜턴이 켜져, 실내 중앙과 계단 접근부를 실제 광원의 도달 범위에 맞게 밝힌다. 라디오도 가동 중인 상태이지만 위치가 확인되지 않으므로 화면 안에 기기를 임의로 추가하지 않는다. 조명은 벽과 바닥에서 자연스럽게 반사되며, 따뜻한 랜턴빛과 그 빛이 덜 닿는 회색 콘크리트의 명암 차이를 담담하게 기록한다. 지하 실내에 근거 없는 햇빛 줄기를 만들지 않는다. 가구 배치는 그대로 유지하고 중앙 동선은 비워 둔다. 실제 재료의 질감, 현실적인 노출과 자연스러운 피사계 심도를 유지하며, 과도하게 정돈된 홍보 사진이나 컴퓨터 생성 영상, 삽화, 건축 시각화처럼 보이지 않게 한다. 인위적인 색 보정이나 후처리 효과 없이 촬영한 모습. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S30_Shot13",
            "guide_text": "북동쪽 눈높이에서 남서쪽 계단 출입구를 바라보는 넓은 구도를 사용한다. 계단참과 출입구에서 실내 중앙으로 이어지는 접근 구간을 한눈에 읽을 수 있게 비워 두고, 탁자와 의자는 전경 가장자리에 둔다. 켜진 랜턴의 빛과 기존 가구 위치를 유지하며 인물이나 인체 형태의 그림자를 넣지 않는다."
          },
          {
            "shot_id": "S30_Shot17",
            "guide_text": "같은 눈높이와 촬영 방향, 점등 상태를 유지한다. 실내 중앙의 넉넉한 빈 공간과 출입구 사이의 연결이 가려지지 않도록 하고, 중앙을 가로지르는 이동에 충분한 화면 여백을 확보한다. 탁자와 의자, 풍금의 위치를 바꾸거나 새 장애물을 추가하지 않으며 배경만 촬영한다."
          }
        ],
        "shot_ids": [
          "S30_Shot13",
          "S30_Shot17"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "in the northeast portion of number 1, west of number 13 and north of number 7, facing southwest toward number 3 (stair access opening) and number 2 (stair and landing)",
          "camera_height": "eye-level standing, approximately 1.6 m",
          "lens_hint": "28mm wide angle",
          "framing_notes": "Keep the full approach from number 3 into the center unobstructed for arrival, an embrace, and an intervening figure. Let the table grouping edge the foreground without obscuring the entrance. Maintain the same intact, powered room and unchanged furniture positions."
        },
        "reference_decision": {
          "bg_id": "L36B01",
          "fp_id": "fp_church_prayer_room",
          "node_index": 1,
          "mode": "same_physical_space_view",
          "is_dwelling_identity_anchor": false,
          "rationale": "Both consuming shots occupy unit 1 near markers 11 and 12, so L36B03 commits the same physical layout. The camera moves from unit 4 to unit 2 and looks into unit 1, establishing the opposite approach through opening 3. This changes the fixed-structure perspective rather than merely restoring gestures onto the anchor plate; use a new view with inherited identity.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L36B03.png"
          ],
          "source_bg_ids": [
            "L36B03"
          ],
          "fp_included": false,
          "reference_decision": {
            "selected_refs": [
              {
                "ref_bg_id": "L36B03",
                "physical_space_id": "fp_church_prayer_room:unit_1",
                "space_description": "Unit 1 with its committed fixed fixtures and furniture."
              }
            ],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "single_representative_for_same_physical_space",
            "why_single_ref_or_two_refs": "L36B03 supplies the fixed identity of unit 1. The adjoining unit 2 approach is supplied by the floor plan; no separate earlier reference depicts it, and a second reference is unnecessary.",
            "physical_space_id_per_ref": [
              "fp_church_prayer_room:unit_1"
            ],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 2,
            "camera_cell": [
              6,
              1
            ],
            "look_at_unit": 1,
            "look_at_cell": [
              1,
              4
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad structural coverage from the unit 2 approach into unit 1, supporting medium consuming-shot crops and partial visibility of marker 11. This reverses the lateral approach relative to L36B03."
          },
          "render_guidance": {
            "visible_space_directive": "Show the unit 2 approach through opening 3 into unit 1. Keep markers 11 and 12 in their northwest positions and markers 7 through 10 east-central, as established by L36B03. Retain markers 14 and 15 at their base positions when included by the framing. Respect the aperture of opening 3 rather than forcing all listed markers into view.",
            "camera_framing_directive": "Use camera unit 2 at [6,1], looking toward unit 1 at [1,4], with wide 90-degree broad plate coverage. Support the two medium shot compositions with restrained crops, leaving marker 11 available as a partial background continuity element. The discrete geometry does not establish the shots' vertical camera heights or a continuous tracking path.",
            "subject_position_directive": "For S30_Shot13, reserve the left for C12 and center-right for C01, preserving the embracing contact and both faces. For S30_Shot17, reserve middle-right foreground for C03, middle-left midground for C01 and middle-center background for C12 beyond the contact. Keep clear space behind the backward-leaning foreground subject. These are separate shot-layer arrangements on the same fixed layout.",
            "state_cue_directive": "Carry marker 18 with the established illumination unchanged across both consuming shots. The differences are embracing and contested-contact poses, not a new light source or structural state. clean_background_expected is false; no additional transient cue is committed.",
            "negative_continuity_directive": "Exclude markers 19 and 20. Avoid copying L36B03's shot-specific subject emission into these shots, changing the fixed positions of markers 7 through 17, or importing its unit 4 perspective. Do not expose unit 4 or opening 5 merely because they occur in the visibility supersets."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L36B03' physical_space_id='fp_church_prayer_room:unit_1'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [6, 1]\n  - look_at_unit: 1\n  - look_at_cell: [1, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad structural coverage from the unit 2 approach into unit 1, supporting medium consuming-shot crops and partial visibility of marker 11. This reverses the lateral approach relative to L36B03.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the unit 2 approach through opening 3 into unit 1. Keep markers 11 and 12 in their northwest positions and markers 7 through 10 east-central, as established by L36B03. Retain markers 14 and 15 at their base positions when included by the framing. Respect the aperture of opening 3 rather than forcing all listed markers into view.\n  - camera_framing_directive: Use camera unit 2 at [6,1], looking toward unit 1 at [1,4], with wide 90-degree broad plate coverage. Support the two medium shot compositions with restrained crops, leaving marker 11 available as a partial background continuity element. The discrete geometry does not establish the shots' vertical camera heights or a continuous tracking path.\n  - subject_position_directive: For S30_Shot13, reserve the left for C12 and center-right for C01, preserving the embracing contact and both faces. For S30_Shot17, reserve middle-right foreground for C03, middle-left midground for C01 and middle-center background for C12 beyond the contact. Keep clear space behind the backward-leaning foreground subject. These are separate shot-layer arrangements on the same fixed layout.\n  - state_cue_directive: Carry marker 18 with the established illumination unchanged across both consuming shots. The differences are embracing and contested-contact poses, not a new light source or structural state. clean_background_expected is false; no additional transient cue is committed.\n  - negative_continuity_directive: Exclude markers 19 and 20. Avoid copying L36B03's shot-specific subject emission into these shots, changing the fixed positions of markers 7 through 17, or importing its unit 4 perspective. Do not expose unit 4 or opening 5 merely because they occur in the visibility supersets.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L36B03' physical_space_id='fp_church_prayer_room:unit_1'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [6, 1]\n  - look_at_unit: 1\n  - look_at_cell: [1, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad structural coverage from the unit 2 approach into unit 1, supporting medium consuming-shot crops and partial visibility of marker 11. This reverses the lateral approach relative to L36B03.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the unit 2 approach through opening 3 into unit 1. Keep markers 11 and 12 in their northwest positions and markers 7 through 10 east-central, as established by L36B03. Retain markers 14 and 15 at their base positions when included by the framing. Respect the aperture of opening 3 rather than forcing all listed markers into view.\n  - camera_framing_directive: Use camera unit 2 at [6,1], looking toward unit 1 at [1,4], with wide 90-degree broad plate coverage. Support the two medium shot compositions with restrained crops, leaving marker 11 available as a partial background continuity element. The discrete geometry does not establish the shots' vertical camera heights or a continuous tracking path.\n  - subject_position_directive: For S30_Shot13, reserve the left for C12 and center-right for C01, preserving the embracing contact and both faces. For S30_Shot17, reserve middle-right foreground for C03, middle-left midground for C01 and middle-center background for C12 beyond the contact. Keep clear space behind the backward-leaning foreground subject. These are separate shot-layer arrangements on the same fixed layout.\n  - state_cue_directive: Carry marker 18 with the established illumination unchanged across both consuming shots. The differences are embracing and contested-contact poses, not a new light source or structural state. clean_background_expected is false; no additional transient cue is committed.\n  - negative_continuity_directive: Exclude markers 19 and 20. Avoid copying L36B03's shot-specific subject emission into these shots, changing the fixed positions of markers 7 through 17, or importing its unit 4 perspective. Do not expose unit 4 or opening 5 merely because they occur in the visibility supersets.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L36B03' physical_space_id='fp_church_prayer_room:unit_1'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [6, 1]\n  - look_at_unit: 1\n  - look_at_cell: [1, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad structural coverage from the unit 2 approach into unit 1, supporting medium consuming-shot crops and partial visibility of marker 11. This reverses the lateral approach relative to L36B03.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the unit 2 approach through opening 3 into unit 1. Keep markers 11 and 12 in their northwest positions and markers 7 through 10 east-central, as established by L36B03. Retain markers 14 and 15 at their base positions when included by the framing. Respect the aperture of opening 3 rather than forcing all listed markers into view.\n  - camera_framing_directive: Use camera unit 2 at [6,1], looking toward unit 1 at [1,4], with wide 90-degree broad plate coverage. Support the two medium shot compositions with restrained crops, leaving marker 11 available as a partial background continuity element. The discrete geometry does not establish the shots' vertical camera heights or a continuous tracking path.\n  - subject_position_directive: For S30_Shot13, reserve the left for C12 and center-right for C01, preserving the embracing contact and both faces. For S30_Shot17, reserve middle-right foreground for C03, middle-left midground for C01 and middle-center background for C12 beyond the contact. Keep clear space behind the backward-leaning foreground subject. These are separate shot-layer arrangements on the same fixed layout.\n  - state_cue_directive: Carry marker 18 with the established illumination unchanged across both consuming shots. The differences are embracing and contested-contact poses, not a new light source or structural state. clean_background_expected is false; no additional transient cue is committed.\n  - negative_continuity_directive: Exclude markers 19 and 20. Avoid copying L36B03's shot-specific subject emission into these shots, changing the fixed positions of markers 7 through 17, or importing its unit 4 perspective. Do not expose unit 4 or opening 5 merely because they occur in the visibility supersets.\n\n2069년 대한민국의 오래된 지하 기도소를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 자원 접근이 제한된 환경에서 이전 시대의 가구와 악기를 계속 사용하는 소박한 실내다. 실제 장소 기록 사진과 구별되지 않는 사실적인 표현으로, 콘크리트의 거친 입자와 옅은 생활 얼룩, 낡은 목재의 나뭇결과 손때, 금속 부품의 자연스러운 산화 흔적을 담는다. 과장된 황폐화나 미래형 장식을 덧붙이지 않는다. 사람, 얼굴, 인체 형태의 형상은 전혀 없는 빈 배경이다.\n\n참조 평면도는 공간의 연결 관계와 기존 가구 위치를 파악하는 용도로만 사용한다. 직사각형 실내의 북동쪽, 작은 탁자보다 북쪽에 카메라를 두고 남서쪽 계단 출입구와 계단참을 바라본다. 촬영 높이는 바닥에서 약 1.6미터, 실제 풀프레임 미러리스 카메라의 28밀리미터 광각 렌즈로 촬영한 자연스러운 원근감이다. 내려다보는 구도나 평면도 시점이 아니라 서 있는 사람의 눈높이 사진이다. 남서쪽 계단참에서 남쪽 위층으로 이어지는 계단의 공간 연결이 읽히며, 출입구에서 실내 중앙까지 바닥과 접근 동선이 넓게 드러나게 한다. 동쪽 중앙의 작은 탁자와 그 북쪽·동쪽·남쪽에 놓인 의자는 전경 가장자리에만 걸리게 하여 출입구를 가리지 않는다. 남쪽 의자도 통행 공간을 침범하지 않는다. 북서쪽 벽에는 건반이 남쪽을 향하는 오래된 풍금과 그 건반 바로 앞의 연주용 긴 의자가 기존 위치에 놓여 있다.\n\n현재 피난 공간에는 전력이 공급되고 있다. 서쪽 벽 중간과 계단 출입구에서 떨어진 남쪽 벽의 중앙보다 서쪽에 있는 기존 랜턴이 켜져, 실내 중앙과 계단 접근부를 실제 광원의 도달 범위에 맞게 밝힌다. 라디오도 가동 중인 상태이지만 위치가 확인되지 않으므로 화면 안에 기기를 임의로 추가하지 않는다. 조명은 벽과 바닥에서 자연스럽게 반사되며, 따뜻한 랜턴빛과 그 빛이 덜 닿는 회색 콘크리트의 명암 차이를 담담하게 기록한다. 지하 실내에 근거 없는 햇빛 줄기를 만들지 않는다. 가구 배치는 그대로 유지하고 중앙 동선은 비워 둔다. 실제 재료의 질감, 현실적인 노출과 자연스러운 피사계 심도를 유지하며, 과도하게 정돈된 홍보 사진이나 컴퓨터 생성 영상, 삽화, 건축 시각화처럼 보이지 않게 한다. 인위적인 색 보정이나 후처리 효과 없이 촬영한 모습. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 2,
          "camera_cell": [
            6,
            1
          ],
          "look_at_unit": 1,
          "look_at_cell": [
            1,
            4
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad structural coverage from the unit 2 approach into unit 1, supporting medium consuming-shot crops and partial visibility of marker 11. This reverses the lateral approach relative to L36B03."
        },
        "shot_aware_plan_node_index": 1,
        "shot_aware_plan_mode": "same_physical_space_view",
        "render_guidance": {
          "visible_space_directive": "Show the unit 2 approach through opening 3 into unit 1. Keep markers 11 and 12 in their northwest positions and markers 7 through 10 east-central, as established by L36B03. Retain markers 14 and 15 at their base positions when included by the framing. Respect the aperture of opening 3 rather than forcing all listed markers into view.",
          "camera_framing_directive": "Use camera unit 2 at [6,1], looking toward unit 1 at [1,4], with wide 90-degree broad plate coverage. Support the two medium shot compositions with restrained crops, leaving marker 11 available as a partial background continuity element. The discrete geometry does not establish the shots' vertical camera heights or a continuous tracking path.",
          "subject_position_directive": "For S30_Shot13, reserve the left for C12 and center-right for C01, preserving the embracing contact and both faces. For S30_Shot17, reserve middle-right foreground for C03, middle-left midground for C01 and middle-center background for C12 beyond the contact. Keep clear space behind the backward-leaning foreground subject. These are separate shot-layer arrangements on the same fixed layout.",
          "state_cue_directive": "Carry marker 18 with the established illumination unchanged across both consuming shots. The differences are embracing and contested-contact poses, not a new light source or structural state. clean_background_expected is false; no additional transient cue is committed.",
          "negative_continuity_directive": "Exclude markers 19 and 20. Avoid copying L36B03's shot-specific subject emission into these shots, changing the fixed positions of markers 7 through 17, or importing its unit 4 perspective. Do not expose unit 4 or opening 5 merely because they occur in the visibility supersets."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_church_prayer_room",
          "prior_bg_ids": [
            "L36B03"
          ],
          "attached_ref_labels": [
            "bg:L36B03"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L36B02": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L36",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L36B02.png",
        "t2i_prompt": "실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 2069년 한국의 자원이 부족한 지하 기도소 출입구 안쪽을 담은, 사람이 없는 실제 장소 참고 사진이다. 오래된 지하 공간을 계속 사용하는 현실적인 환경으로, 콘크리트 표면의 잔잔한 얼룩과 마모, 가구의 나뭇결과 금속 부위의 사용감을 과장 없이 보여준다. 새것처럼 매끈한 홍보 사진이나 컴퓨터 생성 이미지, 삽화, 건축 조감도가 아니라 실제 현장을 촬영한 사진이어야 한다.\n카메라는 직사각형 기도실의 서쪽 중앙부에 서서 동남동 방향을 바라본다. 높이는 서 있는 사람의 눈높이인 약 1.6미터, 렌즈는 35밀리미터급에 가까운 32밀리미터의 완만한 광각이다. 동쪽 벽 남쪽의 탈출 출입구와 그 너머 짧게 보이는 연결 통로를 구도의 중심으로 삼는다. 동쪽 중앙의 작은 탁자와 그 북쪽·동쪽·남쪽에 있는 의자는 평면도에서 확인되는 상대적 위치를 따른다. 탁자와 남쪽 의자는 중앙에서 출입구로 이어지는 이동 공간을 가리지 않는다. 출입구 북쪽 동벽의 기존 랜턴은 배경의 고정된 조명 지점으로 유지한다. 내려다보는 시점이 아니라 바닥을 따라 출입구까지 이어지는 깊이가 보이는 수평에 가까운 구도다.\n긴급히 떠날 준비를 하는 시점으로, 실내의 전력은 살아 있어 라디오와 랜턴들이 작동하는 상태다. 위치가 제시되지 않은 라디오와 다른 랜턴들은 임의로 화면 안에 배치하지 않고, 화면에는 동쪽 벽 랜턴의 실제 점등과 실내에 닿는 은은한 주변광으로 가동 상태를 나타낸다. 중앙 이동 경로를 따라 출입구 쪽으로 향하는 휴대용 손전등의 빛이 바닥과 문턱에 길쭉하게 닿는다. 휴대 중인 손전등 본체와 운반 주체는 화면 밖에 두어 손이나 신체, 공중에 떠 있는 물체 없이 빛의 흔적만 보이게 한다. 출입구 너머 연결 통로는 실내보다 훨씬 어둡고, 문턱 가까운 표면만 실내에서 새어 나오는 빛으로 희미하게 드러난다. 통로의 보이지 않는 깊이나 구조를 덧붙이지 않는다. 파손이나 침입 흔적 없이 가구는 제자리에 있으며 출구 동선이 명료하다.\n지하의 실제 광원에 맞는 자연스러운 빛의 감쇠와 노출, 현실적인 그림자와 자연스러운 피사계 심도를 유지한다. 과도한 색 보정이나 인위적인 광선 효과 없이 재료 본래의 색과 질감을 살린다. 사람, 얼굴, 신체 일부, 사람 형태의 형상이나 반사상은 전혀 넣지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S32_Shot11",
            "guide_text": "서쪽 중앙부의 눈높이 시점에서 작은 탁자와 의자, 동벽의 켜진 랜턴, 출입구의 관계가 함께 읽히도록 한다. 중앙 이동 공간을 비워 두고 손전등 빛이 문턱으로 이어지게 하며, 실내 조명과 어두운 연결 통로의 밝기 차이를 유지한다. 인물이나 신체는 배경에 포함하지 않는다."
          },
          {
            "shot_id": "S32_Shot13",
            "guide_text": "동일한 배치와 광원 상태를 유지하며 출입구와 그 너머 어두운 통로가 시선의 도착점이 되게 한다. 손전등이 바닥과 문턱에 만드는 조명 범위는 중앙 이동 경로와 연결하고, 탁자나 의자가 이를 막지 않게 한다. 통로는 평면도에 제시된 인접 구간만 드러내며 추가 공간이나 파손 흔적을 만들지 않는다."
          }
        ],
        "shot_ids": [
          "S32_Shot11",
          "S32_Shot13"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "in the west-central portion of number 1 near number 14, facing east-southeast toward number 5 (escape doorway) and number 4 (escape passage)",
          "camera_height": "eye-level standing, approximately 1.6 m",
          "lens_hint": "32mm moderate wide angle",
          "framing_notes": "Make number 5 and the clear route leading to it dominant. Include the table grouping near the left edge where framing permits. Apply number 19 as a carried flashlight and number 20 only beyond the doorway; retain the powered interior through number 18. Show no damage, forced entry, or intruders."
        },
        "reference_decision": {
          "bg_id": "L36B02",
          "fp_id": "fp_church_prayer_room",
          "node_index": 2,
          "mode": "same_physical_space_view",
          "is_dwelling_identity_anchor": false,
          "rationale": "The staged departure in S32_Shot13 requires a view from unit 1 toward opening 5 and unit 4, while S32_Shot11 requires a close subject arrangement. L36B03 commits unit 1's furniture and fixture positions. A camera in unit 1 aimed at opening 5 reveals a different structural slice from either earlier node, so the state overlays alone do not make this a low-delta reuse.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L36B03.png"
          ],
          "source_bg_ids": [
            "L36B03"
          ],
          "fp_included": false,
          "reference_decision": {
            "selected_refs": [
              {
                "ref_bg_id": "L36B03",
                "physical_space_id": "fp_church_prayer_room:unit_1",
                "space_description": "Unit 1, including the fixed east-central furniture and east-wall fixture positions."
              }
            ],
            "rejected_refs": [
              {
                "ref_bg_id": "L36B01",
                "reason": "It represents the same unit 1 identity from the unit 2 approach, not a second distinct visible-space reference. L36B03 already supplies that identity."
              }
            ],
            "same_physical_space_dedup_decision": "single_representative_for_same_physical_space",
            "why_single_ref_or_two_refs": "S32_Shot13 co-shows unit 1 and the opening toward unit 4, but there is no earlier dedicated plate of unit 4's interior. One unit 1 identity reference plus the floor-plan opening geometry is sufficient; two references to unit 1 would duplicate the same space.",
            "physical_space_id_per_ref": [
              "fp_church_prayer_room:unit_1"
            ],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 1,
            "camera_cell": [
              3,
              4
            ],
            "look_at_unit": 4,
            "look_at_cell": [
              6,
              8
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Aim at opening 5 on the route toward unit 4. Broad coverage prioritizes the full-figure departure and continuous floor-to-threshold relationship; S32_Shot11 uses a close subject crop rather than a separate fixed layout."
          },
          "render_guidance": {
            "visible_space_directive": "Show unit 1 facing opening 5 and only the adjoining visible stub of unit 4 beyond it. Preserve markers 7 through 10 east-central and marker 16 on the east wall north of opening 5 at the positions committed by L36B03 and the base plan. Include only those portions falling within the southeast-facing view; do not move furniture into frame.",
            "camera_framing_directive": "Use camera unit 1 at [3,4], looking toward unit 4 at the opening-5 cell [6,8], with wide 90-degree broad coverage. Preserve floor continuity to the threshold and space for the S32_Shot13 full figure slightly left of center with the opening ahead in the upper-center composition. The close over-shoulder composition of S32_Shot11 is a consuming-shot crop, not a change to this camera-cell geometry.",
            "subject_position_directive": "For S32_Shot11, place the appealing subject's three-quarter face center-right, with the other subject's narrow shoulder in the foreground and visible gripping hands along the lower edge; the other face remains beyond the upper-left crop. For S32_Shot13, place C03 back-to-camera slightly left of center, with the driving rear leg low in frame and attention directed through opening 5. Do not merge these separate subject arrangements.",
            "state_cue_directive": "Carry the committed overlays 18, 19 and 20. Marker 19 is transient; its precise holder and placement are not committed by the surfaced staging and must not be invented. Keep the region beyond opening 5 dark under marker 20. S32_Shot13 commits the opening as open and requires sufficient tonal separation for the advancing figure and threshold; S32_Shot11 preserves ambient illumination without a new lighting change.",
            "negative_continuity_directive": "No numbered elements are explicitly ignored for this BG. Avoid moving markers 5, 7 through 10 or 16, importing L36B03's shot-specific subject light action, duplicating marker 19, or extending unit 4 beyond its supplied adjoining stub. Exclude unit 2 and opening 3 from this southeast-directed composition unless actually within the aperture and view."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L36B03' physical_space_id='fp_church_prayer_room:unit_1'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [3, 4]\n  - look_at_unit: 4\n  - look_at_cell: [6, 8]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Aim at opening 5 on the route toward unit 4. Broad coverage prioritizes the full-figure departure and continuous floor-to-threshold relationship; S32_Shot11 uses a close subject crop rather than a separate fixed layout.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 1 facing opening 5 and only the adjoining visible stub of unit 4 beyond it. Preserve markers 7 through 10 east-central and marker 16 on the east wall north of opening 5 at the positions committed by L36B03 and the base plan. Include only those portions falling within the southeast-facing view; do not move furniture into frame.\n  - camera_framing_directive: Use camera unit 1 at [3,4], looking toward unit 4 at the opening-5 cell [6,8], with wide 90-degree broad coverage. Preserve floor continuity to the threshold and space for the S32_Shot13 full figure slightly left of center with the opening ahead in the upper-center composition. The close over-shoulder composition of S32_Shot11 is a consuming-shot crop, not a change to this camera-cell geometry.\n  - subject_position_directive: For S32_Shot11, place the appealing subject's three-quarter face center-right, with the other subject's narrow shoulder in the foreground and visible gripping hands along the lower edge; the other face remains beyond the upper-left crop. For S32_Shot13, place C03 back-to-camera slightly left of center, with the driving rear leg low in frame and attention directed through opening 5. Do not merge these separate subject arrangements.\n  - state_cue_directive: Carry the committed overlays 18, 19 and 20. Marker 19 is transient; its precise holder and placement are not committed by the surfaced staging and must not be invented. Keep the region beyond opening 5 dark under marker 20. S32_Shot13 commits the opening as open and requires sufficient tonal separation for the advancing figure and threshold; S32_Shot11 preserves ambient illumination without a new lighting change.\n  - negative_continuity_directive: No numbered elements are explicitly ignored for this BG. Avoid moving markers 5, 7 through 10 or 16, importing L36B03's shot-specific subject light action, duplicating marker 19, or extending unit 4 beyond its supplied adjoining stub. Exclude unit 2 and opening 3 from this southeast-directed composition unless actually within the aperture and view.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L36B03' physical_space_id='fp_church_prayer_room:unit_1'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [3, 4]\n  - look_at_unit: 4\n  - look_at_cell: [6, 8]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Aim at opening 5 on the route toward unit 4. Broad coverage prioritizes the full-figure departure and continuous floor-to-threshold relationship; S32_Shot11 uses a close subject crop rather than a separate fixed layout.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 1 facing opening 5 and only the adjoining visible stub of unit 4 beyond it. Preserve markers 7 through 10 east-central and marker 16 on the east wall north of opening 5 at the positions committed by L36B03 and the base plan. Include only those portions falling within the southeast-facing view; do not move furniture into frame.\n  - camera_framing_directive: Use camera unit 1 at [3,4], looking toward unit 4 at the opening-5 cell [6,8], with wide 90-degree broad coverage. Preserve floor continuity to the threshold and space for the S32_Shot13 full figure slightly left of center with the opening ahead in the upper-center composition. The close over-shoulder composition of S32_Shot11 is a consuming-shot crop, not a change to this camera-cell geometry.\n  - subject_position_directive: For S32_Shot11, place the appealing subject's three-quarter face center-right, with the other subject's narrow shoulder in the foreground and visible gripping hands along the lower edge; the other face remains beyond the upper-left crop. For S32_Shot13, place C03 back-to-camera slightly left of center, with the driving rear leg low in frame and attention directed through opening 5. Do not merge these separate subject arrangements.\n  - state_cue_directive: Carry the committed overlays 18, 19 and 20. Marker 19 is transient; its precise holder and placement are not committed by the surfaced staging and must not be invented. Keep the region beyond opening 5 dark under marker 20. S32_Shot13 commits the opening as open and requires sufficient tonal separation for the advancing figure and threshold; S32_Shot11 preserves ambient illumination without a new lighting change.\n  - negative_continuity_directive: No numbered elements are explicitly ignored for this BG. Avoid moving markers 5, 7 through 10 or 16, importing L36B03's shot-specific subject light action, duplicating marker 19, or extending unit 4 beyond its supplied adjoining stub. Exclude unit 2 and opening 3 from this southeast-directed composition unless actually within the aperture and view.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L36B03' physical_space_id='fp_church_prayer_room:unit_1'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [3, 4]\n  - look_at_unit: 4\n  - look_at_cell: [6, 8]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Aim at opening 5 on the route toward unit 4. Broad coverage prioritizes the full-figure departure and continuous floor-to-threshold relationship; S32_Shot11 uses a close subject crop rather than a separate fixed layout.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 1 facing opening 5 and only the adjoining visible stub of unit 4 beyond it. Preserve markers 7 through 10 east-central and marker 16 on the east wall north of opening 5 at the positions committed by L36B03 and the base plan. Include only those portions falling within the southeast-facing view; do not move furniture into frame.\n  - camera_framing_directive: Use camera unit 1 at [3,4], looking toward unit 4 at the opening-5 cell [6,8], with wide 90-degree broad coverage. Preserve floor continuity to the threshold and space for the S32_Shot13 full figure slightly left of center with the opening ahead in the upper-center composition. The close over-shoulder composition of S32_Shot11 is a consuming-shot crop, not a change to this camera-cell geometry.\n  - subject_position_directive: For S32_Shot11, place the appealing subject's three-quarter face center-right, with the other subject's narrow shoulder in the foreground and visible gripping hands along the lower edge; the other face remains beyond the upper-left crop. For S32_Shot13, place C03 back-to-camera slightly left of center, with the driving rear leg low in frame and attention directed through opening 5. Do not merge these separate subject arrangements.\n  - state_cue_directive: Carry the committed overlays 18, 19 and 20. Marker 19 is transient; its precise holder and placement are not committed by the surfaced staging and must not be invented. Keep the region beyond opening 5 dark under marker 20. S32_Shot13 commits the opening as open and requires sufficient tonal separation for the advancing figure and threshold; S32_Shot11 preserves ambient illumination without a new lighting change.\n  - negative_continuity_directive: No numbered elements are explicitly ignored for this BG. Avoid moving markers 5, 7 through 10 or 16, importing L36B03's shot-specific subject light action, duplicating marker 19, or extending unit 4 beyond its supplied adjoining stub. Exclude unit 2 and opening 3 from this southeast-directed composition unless actually within the aperture and view.\n\n실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 2069년 한국의 자원이 부족한 지하 기도소 출입구 안쪽을 담은, 사람이 없는 실제 장소 참고 사진이다. 오래된 지하 공간을 계속 사용하는 현실적인 환경으로, 콘크리트 표면의 잔잔한 얼룩과 마모, 가구의 나뭇결과 금속 부위의 사용감을 과장 없이 보여준다. 새것처럼 매끈한 홍보 사진이나 컴퓨터 생성 이미지, 삽화, 건축 조감도가 아니라 실제 현장을 촬영한 사진이어야 한다.\n카메라는 직사각형 기도실의 서쪽 중앙부에 서서 동남동 방향을 바라본다. 높이는 서 있는 사람의 눈높이인 약 1.6미터, 렌즈는 35밀리미터급에 가까운 32밀리미터의 완만한 광각이다. 동쪽 벽 남쪽의 탈출 출입구와 그 너머 짧게 보이는 연결 통로를 구도의 중심으로 삼는다. 동쪽 중앙의 작은 탁자와 그 북쪽·동쪽·남쪽에 있는 의자는 평면도에서 확인되는 상대적 위치를 따른다. 탁자와 남쪽 의자는 중앙에서 출입구로 이어지는 이동 공간을 가리지 않는다. 출입구 북쪽 동벽의 기존 랜턴은 배경의 고정된 조명 지점으로 유지한다. 내려다보는 시점이 아니라 바닥을 따라 출입구까지 이어지는 깊이가 보이는 수평에 가까운 구도다.\n긴급히 떠날 준비를 하는 시점으로, 실내의 전력은 살아 있어 라디오와 랜턴들이 작동하는 상태다. 위치가 제시되지 않은 라디오와 다른 랜턴들은 임의로 화면 안에 배치하지 않고, 화면에는 동쪽 벽 랜턴의 실제 점등과 실내에 닿는 은은한 주변광으로 가동 상태를 나타낸다. 중앙 이동 경로를 따라 출입구 쪽으로 향하는 휴대용 손전등의 빛이 바닥과 문턱에 길쭉하게 닿는다. 휴대 중인 손전등 본체와 운반 주체는 화면 밖에 두어 손이나 신체, 공중에 떠 있는 물체 없이 빛의 흔적만 보이게 한다. 출입구 너머 연결 통로는 실내보다 훨씬 어둡고, 문턱 가까운 표면만 실내에서 새어 나오는 빛으로 희미하게 드러난다. 통로의 보이지 않는 깊이나 구조를 덧붙이지 않는다. 파손이나 침입 흔적 없이 가구는 제자리에 있으며 출구 동선이 명료하다.\n지하의 실제 광원에 맞는 자연스러운 빛의 감쇠와 노출, 현실적인 그림자와 자연스러운 피사계 심도를 유지한다. 과도한 색 보정이나 인위적인 광선 효과 없이 재료 본래의 색과 질감을 살린다. 사람, 얼굴, 신체 일부, 사람 형태의 형상이나 반사상은 전혀 넣지 않는다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 1,
          "camera_cell": [
            3,
            4
          ],
          "look_at_unit": 4,
          "look_at_cell": [
            6,
            8
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Aim at opening 5 on the route toward unit 4. Broad coverage prioritizes the full-figure departure and continuous floor-to-threshold relationship; S32_Shot11 uses a close subject crop rather than a separate fixed layout."
        },
        "shot_aware_plan_node_index": 2,
        "shot_aware_plan_mode": "same_physical_space_view",
        "render_guidance": {
          "visible_space_directive": "Show unit 1 facing opening 5 and only the adjoining visible stub of unit 4 beyond it. Preserve markers 7 through 10 east-central and marker 16 on the east wall north of opening 5 at the positions committed by L36B03 and the base plan. Include only those portions falling within the southeast-facing view; do not move furniture into frame.",
          "camera_framing_directive": "Use camera unit 1 at [3,4], looking toward unit 4 at the opening-5 cell [6,8], with wide 90-degree broad coverage. Preserve floor continuity to the threshold and space for the S32_Shot13 full figure slightly left of center with the opening ahead in the upper-center composition. The close over-shoulder composition of S32_Shot11 is a consuming-shot crop, not a change to this camera-cell geometry.",
          "subject_position_directive": "For S32_Shot11, place the appealing subject's three-quarter face center-right, with the other subject's narrow shoulder in the foreground and visible gripping hands along the lower edge; the other face remains beyond the upper-left crop. For S32_Shot13, place C03 back-to-camera slightly left of center, with the driving rear leg low in frame and attention directed through opening 5. Do not merge these separate subject arrangements.",
          "state_cue_directive": "Carry the committed overlays 18, 19 and 20. Marker 19 is transient; its precise holder and placement are not committed by the surfaced staging and must not be invented. Keep the region beyond opening 5 dark under marker 20. S32_Shot13 commits the opening as open and requires sufficient tonal separation for the advancing figure and threshold; S32_Shot11 preserves ambient illumination without a new lighting change.",
          "negative_continuity_directive": "No numbered elements are explicitly ignored for this BG. Avoid moving markers 5, 7 through 10 or 16, importing L36B03's shot-specific subject light action, duplicating marker 19, or extending unit 4 beyond its supplied adjoining stub. Exclude unit 2 and opening 3 from this southeast-directed composition unless actually within the aperture and view."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_church_prayer_room",
          "prior_bg_ids": [
            "L36B03"
          ],
          "attached_ref_labels": [
            "bg:L36B03"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L44B03": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L44",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L44B03.png",
        "t2i_prompt": "2069년 대한민국의 자원이 제한된 시설 내부, 야간의 작은 감금실을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 오래된 국내 시설의 실용적인 콘크리트 마감과 철제 출입문이 그대로 사용되는 공간이다. 실제 장소를 기록한 사진처럼 담백하게 표현하며, 미래라는 이유로 장비나 장식을 덧붙이지 않는다.\n\n카메라는 방 안 북동쪽 모서리 가까이에 두고 남서쪽을 향한다. 서쪽 중앙에 서로 마주 보는 두 의자와 남쪽 벽 동쪽 끝의 철제 출입문이 한 화면에서 분명하게 읽히도록 시야를 잡는다. 북쪽 의자는 남쪽을, 남쪽 의자는 북쪽을 향한다. 화면 왼쪽에는 의자 자리에서 출입문으로 이어지는 방 동쪽의 빈 통행 공간을 확보한다. 출입문은 복도 쪽으로 물러난 문턱에 연결되며, 동쪽 경첩을 축으로 복도 방향으로 열리는 구조다. 손잡이와 걸쇠 장치는 경첩 반대쪽 문 가장자리에 있다. 두 의자 사이의 거리와 문으로 향하는 동선은 배치 참조에 따른다.\n\n실제 디지털 일안 반사식 카메라의 35밀리미터급 렌즈로, 서 있는 사람의 눈높이인 약 1.6미터에서 수평에 가깝게 촬영한다. 두 의자와 출입문이 함께 식별되는 자연스러운 피사계 심도와 과장 없는 원근감을 유지한다. 밤의 실내광은 밝기가 절제되어 있지만 의자와 문손잡이의 구조를 알아볼 수 있으며, 실제 광원의 거리와 차폐에 따른 자연스러운 밝기 감소와 그림자를 보여준다. 콘크리트의 미세한 입자, 철의 무광 표면과 오래 사용한 금속의 재질감을 실제 사진 수준으로 담는다. 공간은 정돈되어 있으며 흐트러짐 없는 상태다. 사람, 얼굴, 인체 형태의 형상은 전혀 없는 빈 배경이다. 광고용으로 매끈하게 정리한 사진이 아니라 실제 현장 기록 사진이며, 합성 영상이나 그림, 건축 시각화가 아니다. 위에서 내려다보는 시점이나 평면도 구도는 사용하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S31_Shot2",
            "guide_text": "두 의자의 남북 대향 관계와 남동쪽 출입문이 함께 읽히는 기본 공간 구도를 사용한다. 화면 왼쪽의 동쪽 통행 공간을 확보하고, 인물 없이 정돈된 야간 배경만 유지한다."
          },
          {
            "shot_id": "S31_Shot5",
            "guide_text": "동일한 두 의자와 출입문의 위치 관계를 유지한다. 화면 범위를 조절하더라도 의자가 향하는 방향과 문까지의 동선을 뒤집지 않으며, 야간 조명의 밝기와 금속·콘크리트 재질을 기준 배경에 맞춘다."
          },
          {
            "shot_id": "S31_Shot9",
            "guide_text": "출입문을 포함할 때 동쪽 경첩과 반대편 손잡이 위치, 복도 쪽으로 열리는 구조를 유지한다. 두 의자와 동쪽 통행 공간의 배치는 바꾸지 않고, 새로운 물건이나 환경 변화를 추가하지 않는다."
          }
        ],
        "shot_ids": [
          "S31_Shot2",
          "S31_Shot5",
          "S31_Shot9"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Inside number 1 near its northeast corner, facing southwest across numbers 5 and 6 toward number 4.",
          "camera_height": "Seated eye level, approximately 1.2 m",
          "lens_hint": "35mm moderate wide angle",
          "framing_notes": "Keep both opposed chairs and the entrance legible in the same established geography, with number 3 clear at frame left. The door may operate for corridor entry without changing its hinge position. No room bloodstains, damaged hardware, or disaster effects."
        },
        "reference_decision": {
          "bg_id": "L44B03",
          "fp_id": "fp_miyeon_confinement_room",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L44B03 is the sole eligible clean anchor and is staged-ready. Establish its fixed identity directly from the floor plan. Camera unit 3 looking toward marker 6 in unit 1 provides an oblique representative view for S31_Shot5 and S31_Shot9. The reverse-facing staging of S31_Shot2 remains shot-specific coverage, not an assertion that all three shot views fit this single camera.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/floor_plan/fp_miyeon_confinement_room.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The clean dwelling-identity anchor is rendered from the floor plan without a background reference.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 3,
            "camera_cell": [
              3,
              7
            ],
            "look_at_unit": 1,
            "look_at_cell": [
              5,
              4
            ],
            "lens_enum": "normal",
            "fov_deg": 50,
            "framing_notes": "Neutral, oblique coverage from unit 3 toward base marker 6 in unit 1. This representative plate favors the seated interaction around marker 6; it does not combine opposing shot directions."
          },
          "render_guidance": {
            "visible_space_directive": "Show the selected slice of unit 1 around base marker 6 from unit 3. Establish marker 6 at [5, 4] and preserve the floor-plan relationships to marker 5 at [1, 4], opening 4 at [5, 7], and fixture 10 at [6, 7], without forcing those off-axis elements into this view. The visibility supersets do not establish additional visible units or openings.",
            "camera_framing_directive": "Use camera unit 3 at [3, 7], looking into unit 1 at [5, 4], with a normal lens and 50-degree FOV. Maintain neutral coverage and the oblique relationship to marker 6. Treat the close and medium consuming-shot compositions as individual staging requirements rather than simultaneous views or additional camera moves.",
            "subject_position_directive": "Keep the clean identity plate free of baked-in subjects while preserving space for the committed shot staging. S31_Shot5 places the lunging seated upper body center-right and the opposing shoulder at left foreground; S31_Shot9 places the seated near profile lower-left and the bent upper body center-right. S31_Shot2 instead requires the opposite seated face central-left and a shoulder sliver at extreme right; do not superimpose that reverse view onto this plate.",
            "state_cue_directive": "No committed state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Retain base elements 1, 3, 4, 5, 6, and 10 in their fixed arrangement and refrain from inventing additional cues. Shot-specific facial contrast and illumination do not establish a new fixed light source.",
            "negative_continuity_directive": "Exclude overlay markers 11, 12, 13, 14, and 15. Avoid relocating base markers 5, 6, 4, or 10 to fit the crop, importing units 2 or 9 merely because they appear in visibility supersets, or combining opposing camera views into one plate."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [3, 7]\n  - look_at_unit: 1\n  - look_at_cell: [5, 4]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral, oblique coverage from unit 3 toward base marker 6 in unit 1. This representative plate favors the seated interaction around marker 6; it does not combine opposing shot directions.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the selected slice of unit 1 around base marker 6 from unit 3. Establish marker 6 at [5, 4] and preserve the floor-plan relationships to marker 5 at [1, 4], opening 4 at [5, 7], and fixture 10 at [6, 7], without forcing those off-axis elements into this view. The visibility supersets do not establish additional visible units or openings.\n  - camera_framing_directive: Use camera unit 3 at [3, 7], looking into unit 1 at [5, 4], with a normal lens and 50-degree FOV. Maintain neutral coverage and the oblique relationship to marker 6. Treat the close and medium consuming-shot compositions as individual staging requirements rather than simultaneous views or additional camera moves.\n  - subject_position_directive: Keep the clean identity plate free of baked-in subjects while preserving space for the committed shot staging. S31_Shot5 places the lunging seated upper body center-right and the opposing shoulder at left foreground; S31_Shot9 places the seated near profile lower-left and the bent upper body center-right. S31_Shot2 instead requires the opposite seated face central-left and a shoulder sliver at extreme right; do not superimpose that reverse view onto this plate.\n  - state_cue_directive: No committed state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Retain base elements 1, 3, 4, 5, 6, and 10 in their fixed arrangement and refrain from inventing additional cues. Shot-specific facial contrast and illumination do not establish a new fixed light source.\n  - negative_continuity_directive: Exclude overlay markers 11, 12, 13, 14, and 15. Avoid relocating base markers 5, 6, 4, or 10 to fit the crop, importing units 2 or 9 merely because they appear in visibility supersets, or combining opposing camera views into one plate.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [3, 7]\n  - look_at_unit: 1\n  - look_at_cell: [5, 4]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral, oblique coverage from unit 3 toward base marker 6 in unit 1. This representative plate favors the seated interaction around marker 6; it does not combine opposing shot directions.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the selected slice of unit 1 around base marker 6 from unit 3. Establish marker 6 at [5, 4] and preserve the floor-plan relationships to marker 5 at [1, 4], opening 4 at [5, 7], and fixture 10 at [6, 7], without forcing those off-axis elements into this view. The visibility supersets do not establish additional visible units or openings.\n  - camera_framing_directive: Use camera unit 3 at [3, 7], looking into unit 1 at [5, 4], with a normal lens and 50-degree FOV. Maintain neutral coverage and the oblique relationship to marker 6. Treat the close and medium consuming-shot compositions as individual staging requirements rather than simultaneous views or additional camera moves.\n  - subject_position_directive: Keep the clean identity plate free of baked-in subjects while preserving space for the committed shot staging. S31_Shot5 places the lunging seated upper body center-right and the opposing shoulder at left foreground; S31_Shot9 places the seated near profile lower-left and the bent upper body center-right. S31_Shot2 instead requires the opposite seated face central-left and a shoulder sliver at extreme right; do not superimpose that reverse view onto this plate.\n  - state_cue_directive: No committed state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Retain base elements 1, 3, 4, 5, 6, and 10 in their fixed arrangement and refrain from inventing additional cues. Shot-specific facial contrast and illumination do not establish a new fixed light source.\n  - negative_continuity_directive: Exclude overlay markers 11, 12, 13, 14, and 15. Avoid relocating base markers 5, 6, 4, or 10 to fit the crop, importing units 2 or 9 merely because they appear in visibility supersets, or combining opposing camera views into one plate.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [3, 7]\n  - look_at_unit: 1\n  - look_at_cell: [5, 4]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral, oblique coverage from unit 3 toward base marker 6 in unit 1. This representative plate favors the seated interaction around marker 6; it does not combine opposing shot directions.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the selected slice of unit 1 around base marker 6 from unit 3. Establish marker 6 at [5, 4] and preserve the floor-plan relationships to marker 5 at [1, 4], opening 4 at [5, 7], and fixture 10 at [6, 7], without forcing those off-axis elements into this view. The visibility supersets do not establish additional visible units or openings.\n  - camera_framing_directive: Use camera unit 3 at [3, 7], looking into unit 1 at [5, 4], with a normal lens and 50-degree FOV. Maintain neutral coverage and the oblique relationship to marker 6. Treat the close and medium consuming-shot compositions as individual staging requirements rather than simultaneous views or additional camera moves.\n  - subject_position_directive: Keep the clean identity plate free of baked-in subjects while preserving space for the committed shot staging. S31_Shot5 places the lunging seated upper body center-right and the opposing shoulder at left foreground; S31_Shot9 places the seated near profile lower-left and the bent upper body center-right. S31_Shot2 instead requires the opposite seated face central-left and a shoulder sliver at extreme right; do not superimpose that reverse view onto this plate.\n  - state_cue_directive: No committed state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Retain base elements 1, 3, 4, 5, 6, and 10 in their fixed arrangement and refrain from inventing additional cues. Shot-specific facial contrast and illumination do not establish a new fixed light source.\n  - negative_continuity_directive: Exclude overlay markers 11, 12, 13, 14, and 15. Avoid relocating base markers 5, 6, 4, or 10 to fit the crop, importing units 2 or 9 merely because they appear in visibility supersets, or combining opposing camera views into one plate.\n\n2069년 대한민국의 자원이 제한된 시설 내부, 야간의 작은 감금실을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 오래된 국내 시설의 실용적인 콘크리트 마감과 철제 출입문이 그대로 사용되는 공간이다. 실제 장소를 기록한 사진처럼 담백하게 표현하며, 미래라는 이유로 장비나 장식을 덧붙이지 않는다.\n\n카메라는 방 안 북동쪽 모서리 가까이에 두고 남서쪽을 향한다. 서쪽 중앙에 서로 마주 보는 두 의자와 남쪽 벽 동쪽 끝의 철제 출입문이 한 화면에서 분명하게 읽히도록 시야를 잡는다. 북쪽 의자는 남쪽을, 남쪽 의자는 북쪽을 향한다. 화면 왼쪽에는 의자 자리에서 출입문으로 이어지는 방 동쪽의 빈 통행 공간을 확보한다. 출입문은 복도 쪽으로 물러난 문턱에 연결되며, 동쪽 경첩을 축으로 복도 방향으로 열리는 구조다. 손잡이와 걸쇠 장치는 경첩 반대쪽 문 가장자리에 있다. 두 의자 사이의 거리와 문으로 향하는 동선은 배치 참조에 따른다.\n\n실제 디지털 일안 반사식 카메라의 35밀리미터급 렌즈로, 서 있는 사람의 눈높이인 약 1.6미터에서 수평에 가깝게 촬영한다. 두 의자와 출입문이 함께 식별되는 자연스러운 피사계 심도와 과장 없는 원근감을 유지한다. 밤의 실내광은 밝기가 절제되어 있지만 의자와 문손잡이의 구조를 알아볼 수 있으며, 실제 광원의 거리와 차폐에 따른 자연스러운 밝기 감소와 그림자를 보여준다. 콘크리트의 미세한 입자, 철의 무광 표면과 오래 사용한 금속의 재질감을 실제 사진 수준으로 담는다. 공간은 정돈되어 있으며 흐트러짐 없는 상태다. 사람, 얼굴, 인체 형태의 형상은 전혀 없는 빈 배경이다. 광고용으로 매끈하게 정리한 사진이 아니라 실제 현장 기록 사진이며, 합성 영상이나 그림, 건축 시각화가 아니다. 위에서 내려다보는 시점이나 평면도 구도는 사용하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 3,
          "camera_cell": [
            3,
            7
          ],
          "look_at_unit": 1,
          "look_at_cell": [
            5,
            4
          ],
          "lens_enum": "normal",
          "fov_deg": 50,
          "framing_notes": "Neutral, oblique coverage from unit 3 toward base marker 6 in unit 1. This representative plate favors the seated interaction around marker 6; it does not combine opposing shot directions."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Show the selected slice of unit 1 around base marker 6 from unit 3. Establish marker 6 at [5, 4] and preserve the floor-plan relationships to marker 5 at [1, 4], opening 4 at [5, 7], and fixture 10 at [6, 7], without forcing those off-axis elements into this view. The visibility supersets do not establish additional visible units or openings.",
          "camera_framing_directive": "Use camera unit 3 at [3, 7], looking into unit 1 at [5, 4], with a normal lens and 50-degree FOV. Maintain neutral coverage and the oblique relationship to marker 6. Treat the close and medium consuming-shot compositions as individual staging requirements rather than simultaneous views or additional camera moves.",
          "subject_position_directive": "Keep the clean identity plate free of baked-in subjects while preserving space for the committed shot staging. S31_Shot5 places the lunging seated upper body center-right and the opposing shoulder at left foreground; S31_Shot9 places the seated near profile lower-left and the bent upper body center-right. S31_Shot2 instead requires the opposite seated face central-left and a shoulder sliver at extreme right; do not superimpose that reverse view onto this plate.",
          "state_cue_directive": "No committed state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Retain base elements 1, 3, 4, 5, 6, and 10 in their fixed arrangement and refrain from inventing additional cues. Shot-specific facial contrast and illumination do not establish a new fixed light source.",
          "negative_continuity_directive": "Exclude overlay markers 11, 12, 13, 14, and 15. Avoid relocating base markers 5, 6, 4, or 10 to fit the crop, importing units 2 or 9 merely because they appear in visibility supersets, or combining opposing camera views into one plate."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_miyeon_confinement_room",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_miyeon_confinement_room"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L44B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L44",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L44B01.png",
        "t2i_prompt": "2069년 대한민국의 자원 접근이 제한된 구역에서 오래된 건물 내부를 계속 사용하는 감금실과 복도. 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진으로, 사람이 없는 현장 기록 사진처럼 보이게 한다. 복도의 철문 남서쪽에서 북동쪽을 향해, 높이 약 1.5미터의 서 있는 사람 눈높이와 32밀리미터 준광각 렌즈로 촬영한다. 가까운 철문의 손잡이 부분과 열린 출입구, 그 너머 방 동쪽의 비어 있는 퇴실 동선이 함께 읽히는 구도다. 위에서 내려다보는 시점이 아닌 수평에 가까운 실제 실내 시점이다.\n\n참조 평면도는 공간의 연결과 기존 시설 위치를 파악하는 데만 사용한다. 방 남쪽을 따라 복도가 이어지고 복도 동쪽 끝에는 창이 있다. 방 남쪽 벽의 동쪽 모서리 가까이에 있는 낡은 철문은 동쪽 경첩을 축으로 복도의 움푹 들어간 문턱 공간 쪽으로 열려 있다. 방 서쪽 중앙에는 남쪽을 향한 의자와 그 남쪽에서 북쪽을 향한 의자가 마주 보는 기존 배치를 유지한다. 의자들이 있는 구역에서 남동쪽 출입구로 이어지는 방 동쪽 통로는 비워 둔다. 복도 남서쪽의 장비 보관 구역은 기존 공간으로만 유지한다.\n\n현재는 소화기를 이용한 타격 직후의 상태다. 철문에서 동쪽 경첩의 반대편에 있는 손잡이 결합부가 부서져, 변형된 손잡이와 접합부의 국소적인 금속 손상이 보인다. 문은 열린 상태를 유지하며 손상은 손잡이 주변에 집중된다. 복도 보관 구역에서 입구까지 옮겨 온 구조용 소화기 한 대가 손잡이 가까운 문턱 옆에 놓여 있고, 출입 동선을 가로막지 않는다. 방의 다른 부분과 두 의자는 흐트러지지 않은 상태로 유지한다.\n\n한국의 오래된 실용 건물에서 볼 수 있는 도장 콘크리트 벽, 닳은 콘크리트 바닥, 여러 번 덧칠한 철문의 표면과 가장자리의 산화 흔적을 실제 재료처럼 표현한다. 의자의 재질과 형태는 평면도에서 확인되는 범위를 따르며 임의의 가구나 장비를 추가하지 않는다. 복도 동쪽 창으로 들어오는 자연광이 문 가장자리와 바닥을 비추고 방 안쪽으로 점차 약해진다. 자연스러운 차가운 실내 반사광과 실제 금속의 반사, 일상적인 마모와 오래된 얼룩을 보여 주되 과도하게 폐허화하지 않는다. 가까운 손잡이부터 출입구 안쪽까지 공간 관계를 알아볼 수 있는 자연스러운 피사계 심도와 현실적인 노출을 사용한다. 과장된 보정이나 인공적인 광택 없이 실제 장소를 촬영한 사진이어야 하며, 삽화나 건축 시각화 또는 컴퓨터 생성 영상처럼 보이지 않게 한다. 사람, 얼굴, 신체 일부, 사람 형태의 형상은 반사면을 포함해 전혀 나타나지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S34_Shot2",
            "guide_text": "복도 남서쪽에서 철문을 바라보는 눈높이 구도를 기준으로 삼는다. 손잡이 결합부의 국소적인 파손, 복도 쪽으로 열린 문, 문턱 옆 소화기의 위치가 읽히게 하며 타격하는 인물이나 신체는 넣지 않는다."
          },
          {
            "shot_id": "S34_Shot5",
            "guide_text": "동일한 열린 철문과 파손된 손잡이 상태를 유지한다. 출입구 너머 서로 마주 보는 의자 두 개와 방 동쪽의 빈 통로가 공간 연결을 설명하도록 하고, 추가적인 실내 파손이나 가구 이동은 만들지 않는다. 배경은 비어 있는 상태로 제공한다."
          },
          {
            "shot_id": "S34_Shot8",
            "guide_text": "방 동쪽 통로에서 남동쪽 출입구와 복도로 이어지는 퇴실 경로를 가리지 않는다. 문 열림 방향, 손잡이 손상, 문턱 옆 소화기 위치와 창에서 들어오는 자연광을 동일하게 유지하며 인물이나 이동 잔상은 묘사하지 않는다."
          }
        ],
        "shot_ids": [
          "S34_Shot2",
          "S34_Shot5",
          "S34_Shot8"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "In number 2 southwest of number 4, facing northeast toward number 10 and through the entrance into numbers 3 and 1.",
          "camera_height": "Standing eye level, approximately 1.5 m",
          "lens_hint": "32mm moderate wide angle",
          "framing_notes": "Use one fixed threshold-facing setup for the handle attack, reunion, and exit. Number 12 is retrieved from number 9, not duplicated there. Apply number 11 only after the handle breaks, then retain the damaged handle and open door throughout the post-breach action. Preserve chair positions and clear egress; do not scatter unrelated debris."
        },
        "reference_decision": {
          "bg_id": "L44B01",
          "fp_id": "fp_miyeon_confinement_room",
          "node_index": 1,
          "mode": "same_physical_space_view",
          "is_dwelling_identity_anchor": false,
          "rationale": "L44B01 shares units 1 and 3 and fixed markers 4, 5, 6, and 10 with L44B03, so its layout is reference-committed rather than a new room composition. Camera unit 1 looking toward opening 4 in unit 3 supports the interior exit view of S34_Shot8 and exposes a different structural slice. Marker 11 also commits damage to a fixed assembly; this is not low-delta reuse. S34_Shot2's opposite-side impact view and S34_Shot5's close interaction remain separate shot-specific staging.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L44B03.png"
          ],
          "source_bg_ids": [
            "L44B03"
          ],
          "fp_included": false,
          "reference_decision": {
            "selected_refs": [
              {
                "ref_bg_id": "L44B03",
                "physical_space_id": "fp_miyeon_confinement_room:units_1_3",
                "space_description": "Units 1 and 3 with fixed base markers 4, 5, 6, and 10."
              }
            ],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "single_reference_same_physical_space",
            "why_single_ref_or_two_refs": "L44B03 supplies the shared units 1 and 3. S34_Shot8 exposes unit 2 through opening 4, but no earlier independent reference for that visible space exists; a second reference is neither available nor required.",
            "physical_space_id_per_ref": [
              "fp_miyeon_confinement_room:units_1_3"
            ],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 1,
            "camera_cell": [
              3,
              5
            ],
            "look_at_unit": 3,
            "look_at_cell": [
              5,
              7
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad interior coverage aimed at opening 4 on the exit side of unit 3, favoring S34_Shot8. This differs from the anchor's unit-3-to-unit-1 view and does not stand in for the corridor-facing impact angle."
          },
          "render_guidance": {
            "visible_space_directive": "Show unit 3 and opening 4 at [5, 7] from inside unit 1, with the portion of unit 2 exposed through opening 4 as committed by S34_Shot8. Keep opening 4, fixture 10, and the fixed relationships of markers 5 and 6 in the positions established by L44B03 and the floor plan. Only depict the portion of unit 2 actually exposed by the opening; do not assume visibility of unit 9 from its target-list membership.",
            "camera_framing_directive": "Use camera unit 1 at [3, 5], look-at unit 3 at [5, 7], and a wide lens with 90-degree FOV for broad coverage of the oblique interior exit view. Preserve depth beyond opening 4. S34_Shot8 supplies the representative composition; the corridor-facing S34_Shot2 angle is not simultaneously visible from this camera.",
            "subject_position_directive": "For the representative S34_Shot8 composition, reserve center-left for the half-turned back, the lower-center region for the unobstructed wrist connection, and the right edge for the partly visible second subject, with opening 4 beyond them. Keep the S34_Shot2 left-side upper body and center-right contact staging, and the S34_Shot5 left-foreground shoulder and upper-center face staging, specific to their own shots rather than adding duplicate subjects to this view.",
            "state_cue_directive": "Use markers 11 and 12 only in their committed shot states. The representative S34_Shot8 view carries marker 11's opened state after damage to marker 10. S34_Shot2 instead retains opening 4 closed during contact, with marker 12 angled downward and occupying less than one third of the image. These are successive states, not simultaneous ones. Preserve restrained interior or nighttime illumination as staged, without inventing a visible light source.",
            "negative_continuity_directive": "Exclude markers 13, 14, and 15. Preserve L44B03's fixed marker positions while applying marker 11 only to its committed affected elements. Avoid importing the anchor's camera angle, showing unit 9 without established visibility, duplicating marker 12 across shots, or combining incompatible states of markers 4 and 10."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L44B03' physical_space_id='fp_miyeon_confinement_room:units_1_3'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [3, 5]\n  - look_at_unit: 3\n  - look_at_cell: [5, 7]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad interior coverage aimed at opening 4 on the exit side of unit 3, favoring S34_Shot8. This differs from the anchor's unit-3-to-unit-1 view and does not stand in for the corridor-facing impact angle.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 3 and opening 4 at [5, 7] from inside unit 1, with the portion of unit 2 exposed through opening 4 as committed by S34_Shot8. Keep opening 4, fixture 10, and the fixed relationships of markers 5 and 6 in the positions established by L44B03 and the floor plan. Only depict the portion of unit 2 actually exposed by the opening; do not assume visibility of unit 9 from its target-list membership.\n  - camera_framing_directive: Use camera unit 1 at [3, 5], look-at unit 3 at [5, 7], and a wide lens with 90-degree FOV for broad coverage of the oblique interior exit view. Preserve depth beyond opening 4. S34_Shot8 supplies the representative composition; the corridor-facing S34_Shot2 angle is not simultaneously visible from this camera.\n  - subject_position_directive: For the representative S34_Shot8 composition, reserve center-left for the half-turned back, the lower-center region for the unobstructed wrist connection, and the right edge for the partly visible second subject, with opening 4 beyond them. Keep the S34_Shot2 left-side upper body and center-right contact staging, and the S34_Shot5 left-foreground shoulder and upper-center face staging, specific to their own shots rather than adding duplicate subjects to this view.\n  - state_cue_directive: Use markers 11 and 12 only in their committed shot states. The representative S34_Shot8 view carries marker 11's opened state after damage to marker 10. S34_Shot2 instead retains opening 4 closed during contact, with marker 12 angled downward and occupying less than one third of the image. These are successive states, not simultaneous ones. Preserve restrained interior or nighttime illumination as staged, without inventing a visible light source.\n  - negative_continuity_directive: Exclude markers 13, 14, and 15. Preserve L44B03's fixed marker positions while applying marker 11 only to its committed affected elements. Avoid importing the anchor's camera angle, showing unit 9 without established visibility, duplicating marker 12 across shots, or combining incompatible states of markers 4 and 10.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L44B03' physical_space_id='fp_miyeon_confinement_room:units_1_3'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [3, 5]\n  - look_at_unit: 3\n  - look_at_cell: [5, 7]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad interior coverage aimed at opening 4 on the exit side of unit 3, favoring S34_Shot8. This differs from the anchor's unit-3-to-unit-1 view and does not stand in for the corridor-facing impact angle.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 3 and opening 4 at [5, 7] from inside unit 1, with the portion of unit 2 exposed through opening 4 as committed by S34_Shot8. Keep opening 4, fixture 10, and the fixed relationships of markers 5 and 6 in the positions established by L44B03 and the floor plan. Only depict the portion of unit 2 actually exposed by the opening; do not assume visibility of unit 9 from its target-list membership.\n  - camera_framing_directive: Use camera unit 1 at [3, 5], look-at unit 3 at [5, 7], and a wide lens with 90-degree FOV for broad coverage of the oblique interior exit view. Preserve depth beyond opening 4. S34_Shot8 supplies the representative composition; the corridor-facing S34_Shot2 angle is not simultaneously visible from this camera.\n  - subject_position_directive: For the representative S34_Shot8 composition, reserve center-left for the half-turned back, the lower-center region for the unobstructed wrist connection, and the right edge for the partly visible second subject, with opening 4 beyond them. Keep the S34_Shot2 left-side upper body and center-right contact staging, and the S34_Shot5 left-foreground shoulder and upper-center face staging, specific to their own shots rather than adding duplicate subjects to this view.\n  - state_cue_directive: Use markers 11 and 12 only in their committed shot states. The representative S34_Shot8 view carries marker 11's opened state after damage to marker 10. S34_Shot2 instead retains opening 4 closed during contact, with marker 12 angled downward and occupying less than one third of the image. These are successive states, not simultaneous ones. Preserve restrained interior or nighttime illumination as staged, without inventing a visible light source.\n  - negative_continuity_directive: Exclude markers 13, 14, and 15. Preserve L44B03's fixed marker positions while applying marker 11 only to its committed affected elements. Avoid importing the anchor's camera angle, showing unit 9 without established visibility, duplicating marker 12 across shots, or combining incompatible states of markers 4 and 10.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L44B03' physical_space_id='fp_miyeon_confinement_room:units_1_3'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [3, 5]\n  - look_at_unit: 3\n  - look_at_cell: [5, 7]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad interior coverage aimed at opening 4 on the exit side of unit 3, favoring S34_Shot8. This differs from the anchor's unit-3-to-unit-1 view and does not stand in for the corridor-facing impact angle.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 3 and opening 4 at [5, 7] from inside unit 1, with the portion of unit 2 exposed through opening 4 as committed by S34_Shot8. Keep opening 4, fixture 10, and the fixed relationships of markers 5 and 6 in the positions established by L44B03 and the floor plan. Only depict the portion of unit 2 actually exposed by the opening; do not assume visibility of unit 9 from its target-list membership.\n  - camera_framing_directive: Use camera unit 1 at [3, 5], look-at unit 3 at [5, 7], and a wide lens with 90-degree FOV for broad coverage of the oblique interior exit view. Preserve depth beyond opening 4. S34_Shot8 supplies the representative composition; the corridor-facing S34_Shot2 angle is not simultaneously visible from this camera.\n  - subject_position_directive: For the representative S34_Shot8 composition, reserve center-left for the half-turned back, the lower-center region for the unobstructed wrist connection, and the right edge for the partly visible second subject, with opening 4 beyond them. Keep the S34_Shot2 left-side upper body and center-right contact staging, and the S34_Shot5 left-foreground shoulder and upper-center face staging, specific to their own shots rather than adding duplicate subjects to this view.\n  - state_cue_directive: Use markers 11 and 12 only in their committed shot states. The representative S34_Shot8 view carries marker 11's opened state after damage to marker 10. S34_Shot2 instead retains opening 4 closed during contact, with marker 12 angled downward and occupying less than one third of the image. These are successive states, not simultaneous ones. Preserve restrained interior or nighttime illumination as staged, without inventing a visible light source.\n  - negative_continuity_directive: Exclude markers 13, 14, and 15. Preserve L44B03's fixed marker positions while applying marker 11 only to its committed affected elements. Avoid importing the anchor's camera angle, showing unit 9 without established visibility, duplicating marker 12 across shots, or combining incompatible states of markers 4 and 10.\n\n2069년 대한민국의 자원 접근이 제한된 구역에서 오래된 건물 내부를 계속 사용하는 감금실과 복도. 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진으로, 사람이 없는 현장 기록 사진처럼 보이게 한다. 복도의 철문 남서쪽에서 북동쪽을 향해, 높이 약 1.5미터의 서 있는 사람 눈높이와 32밀리미터 준광각 렌즈로 촬영한다. 가까운 철문의 손잡이 부분과 열린 출입구, 그 너머 방 동쪽의 비어 있는 퇴실 동선이 함께 읽히는 구도다. 위에서 내려다보는 시점이 아닌 수평에 가까운 실제 실내 시점이다.\n\n참조 평면도는 공간의 연결과 기존 시설 위치를 파악하는 데만 사용한다. 방 남쪽을 따라 복도가 이어지고 복도 동쪽 끝에는 창이 있다. 방 남쪽 벽의 동쪽 모서리 가까이에 있는 낡은 철문은 동쪽 경첩을 축으로 복도의 움푹 들어간 문턱 공간 쪽으로 열려 있다. 방 서쪽 중앙에는 남쪽을 향한 의자와 그 남쪽에서 북쪽을 향한 의자가 마주 보는 기존 배치를 유지한다. 의자들이 있는 구역에서 남동쪽 출입구로 이어지는 방 동쪽 통로는 비워 둔다. 복도 남서쪽의 장비 보관 구역은 기존 공간으로만 유지한다.\n\n현재는 소화기를 이용한 타격 직후의 상태다. 철문에서 동쪽 경첩의 반대편에 있는 손잡이 결합부가 부서져, 변형된 손잡이와 접합부의 국소적인 금속 손상이 보인다. 문은 열린 상태를 유지하며 손상은 손잡이 주변에 집중된다. 복도 보관 구역에서 입구까지 옮겨 온 구조용 소화기 한 대가 손잡이 가까운 문턱 옆에 놓여 있고, 출입 동선을 가로막지 않는다. 방의 다른 부분과 두 의자는 흐트러지지 않은 상태로 유지한다.\n\n한국의 오래된 실용 건물에서 볼 수 있는 도장 콘크리트 벽, 닳은 콘크리트 바닥, 여러 번 덧칠한 철문의 표면과 가장자리의 산화 흔적을 실제 재료처럼 표현한다. 의자의 재질과 형태는 평면도에서 확인되는 범위를 따르며 임의의 가구나 장비를 추가하지 않는다. 복도 동쪽 창으로 들어오는 자연광이 문 가장자리와 바닥을 비추고 방 안쪽으로 점차 약해진다. 자연스러운 차가운 실내 반사광과 실제 금속의 반사, 일상적인 마모와 오래된 얼룩을 보여 주되 과도하게 폐허화하지 않는다. 가까운 손잡이부터 출입구 안쪽까지 공간 관계를 알아볼 수 있는 자연스러운 피사계 심도와 현실적인 노출을 사용한다. 과장된 보정이나 인공적인 광택 없이 실제 장소를 촬영한 사진이어야 하며, 삽화나 건축 시각화 또는 컴퓨터 생성 영상처럼 보이지 않게 한다. 사람, 얼굴, 신체 일부, 사람 형태의 형상은 반사면을 포함해 전혀 나타나지 않는다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 1,
          "camera_cell": [
            3,
            5
          ],
          "look_at_unit": 3,
          "look_at_cell": [
            5,
            7
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad interior coverage aimed at opening 4 on the exit side of unit 3, favoring S34_Shot8. This differs from the anchor's unit-3-to-unit-1 view and does not stand in for the corridor-facing impact angle."
        },
        "shot_aware_plan_node_index": 1,
        "shot_aware_plan_mode": "same_physical_space_view",
        "render_guidance": {
          "visible_space_directive": "Show unit 3 and opening 4 at [5, 7] from inside unit 1, with the portion of unit 2 exposed through opening 4 as committed by S34_Shot8. Keep opening 4, fixture 10, and the fixed relationships of markers 5 and 6 in the positions established by L44B03 and the floor plan. Only depict the portion of unit 2 actually exposed by the opening; do not assume visibility of unit 9 from its target-list membership.",
          "camera_framing_directive": "Use camera unit 1 at [3, 5], look-at unit 3 at [5, 7], and a wide lens with 90-degree FOV for broad coverage of the oblique interior exit view. Preserve depth beyond opening 4. S34_Shot8 supplies the representative composition; the corridor-facing S34_Shot2 angle is not simultaneously visible from this camera.",
          "subject_position_directive": "For the representative S34_Shot8 composition, reserve center-left for the half-turned back, the lower-center region for the unobstructed wrist connection, and the right edge for the partly visible second subject, with opening 4 beyond them. Keep the S34_Shot2 left-side upper body and center-right contact staging, and the S34_Shot5 left-foreground shoulder and upper-center face staging, specific to their own shots rather than adding duplicate subjects to this view.",
          "state_cue_directive": "Use markers 11 and 12 only in their committed shot states. The representative S34_Shot8 view carries marker 11's opened state after damage to marker 10. S34_Shot2 instead retains opening 4 closed during contact, with marker 12 angled downward and occupying less than one third of the image. These are successive states, not simultaneous ones. Preserve restrained interior or nighttime illumination as staged, without inventing a visible light source.",
          "negative_continuity_directive": "Exclude markers 13, 14, and 15. Preserve L44B03's fixed marker positions while applying marker 11 only to its committed affected elements. Avoid importing the anchor's camera angle, showing unit 9 without established visibility, duplicating marker 12 across shots, or combining incompatible states of markers 4 and 10."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_miyeon_confinement_room",
          "prior_bg_ids": [
            "L44B03"
          ],
          "attached_ref_labels": [
            "bg:L44B03"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L44B02": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L44",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L44B02.png",
        "t2i_prompt": "2069년 대한민국의 오래 사용된 건물 내부, 방 남쪽을 따라 동서로 이어지며 동쪽 끝 외벽 창문에서 끝나는 복도와 창가 공간. 실제 카메라로 촬영한 다큐멘터리 풍 사진으로 표현한다. 평면도는 복도와 외벽 창문의 위치 관계를 확인하는 용도로만 사용한다. 카메라는 복도 안에서 창문 서쪽에 서서 동쪽 창문을 정면으로 바라본다. 높이는 약 1.6미터, 실제 미러리스 카메라의 35밀리미터 규격 촬상면과 28밀리미터 광각 렌즈를 사용한 시야다. 창문을 중심에 두고 양옆 벽과 창가 바닥이 함께 보여 바깥에서 안으로 향하는 물의 방향을 읽을 수 있게 한다. 수직선은 자연스럽게 유지하며 내려다보는 구도나 평면도식 시점은 사용하지 않는다.\n\n한국의 기존 건축물이 오래 유지되어 온 현실적인 공간으로, 실용적인 콘크리트 벽면 마감과 금속 창틀, 유리의 두께와 반사를 사실적으로 보여준다. 벽면의 생활 얼룩과 창틀 표면의 마모는 과장하지 않는다. 임의의 미래 장비나 장식, 가구를 추가하지 않는다. 창밖에서 들어오는 자연광을 주광원으로 하며, 짙은 해일이 외부 빛을 가리면서 창가와 복도 안쪽 사이에 실제 노출 차이가 생긴다. 재료 고유의 색과 자연스러운 피사계 심도를 유지하고 인위적인 색 보정 없이 실제 재난 현장의 장소 기록 사진처럼 보이게 한다.\n\n시간 단계는 반드시 구분한다. 접근 단계에서는 동쪽 창문 바깥으로 검고 육중한 해일이 높이 솟아 밀려오는 모습을 온전한 유리 너머로 보여준다. 유리 표면의 약한 실내 반사와 바깥 물결의 불규칙한 굴곡이 함께 보이며, 이 단계의 바닷물은 실외에 있다. 충돌 단계에서는 같은 창문의 유리가 수압에 깨져 창틀 주변과 바로 안쪽 창가 공간으로 파편이 튀고, 바닷물이 동쪽 창문을 통해 복도 안으로 거세게 들이닥친다. 깨진 유리의 날카로운 단면, 불규칙한 파편의 크기, 밀려드는 물의 무게와 흰 포말, 바닥으로 퍼지는 물의 반사를 실제 물리 현상으로 표현한다. 기본 이미지는 충돌 직후의 한순간으로 촬영하며, 접근용 이미지에는 접근 단계만 적용한다. 온전한 유리와 그 자리를 통과하는 파편·유입수를 한 시점에 겹치지 않고, 화면 분할이나 연속 장면 합성을 하지 않는다.\n\n사람, 얼굴, 인체 형태의 형상은 반사 속까지 일절 없다. 컴퓨터 생성 이미지나 삽화, 건축 시각화가 아닌 실제 장소에서 촬영한 사진의 질감과 공간감을 유지한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S37_Shot2",
            "guide_text": "진행 순서상 접근 단계로 구성한다. 복도 서쪽에서 동쪽 끝 창문을 바라보는 눈높이 구도로, 온전한 창유리 너머에서 검은 해일이 솟아 접근하는 모습을 담는다. 창틀과 양옆 벽을 함께 보여 실내 관찰 위치를 분명히 한다. 유리는 깨지지 않았고 바닷물은 창밖에 머문다. 사람이나 반사된 인체 형상 없이 빈 공간만 촬영한다."
          },
          {
            "shot_id": "S37_Shot6",
            "guide_text": "진행 순서상 충돌과 실내 침입 단계로 구성한다. 접근 단계와 같은 창문과 촬영 축을 유지하며, 창유리가 깨져 파편이 창가 바로 안쪽으로 튀고 바닷물이 동쪽에서 복도 안으로 밀려드는 순간을 담는다. 창가 바닥을 포함해 유입 방향과 물의 무게가 드러나게 한다. 파손된 개구부를 온전한 유리로 다시 덮지 않으며, 사람 없이 실제 재난의 물리적인 상태만 표현한다."
          }
        ],
        "shot_ids": [
          "S37_Shot2",
          "S37_Shot6"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_2",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "Within number 2, west of number 7, facing east directly toward the exterior window.",
          "camera_height": "Standing eye level, approximately 1.6 m",
          "lens_hint": "28mm wide angle",
          "framing_notes": "Maintain the same window-facing camera for both disaster phases. In S37_Shot2, use number 13 beyond intact glazing and suppress numbers 14 and 15. In S37_Shot6, activate numbers 14 and 15 as the surge impacts; do not show fragments prematurely. Treat the surge as a physical disaster, not a dream or projection. This corridor-bay reference does not establish that the impact occurs inside the confinement room or on its floor: the scripted ascent to a higher floor remains off-plan."
        },
        "reference_decision": {
          "bg_id": "L44B02",
          "fp_id": "fp_miyeon_confinement_room",
          "node_index": 2,
          "mode": "same_physical_space_view",
          "is_dwelling_identity_anchor": false,
          "rationale": "Unit 2 is already exposed by L44B01's S34_Shot8 view and is L44B02's sole target unit, so L44B01 supplies same-physical-space continuity. Camera unit 2 looking toward marker 7 reveals a new fixed opening-facing slice for S37_Shot2 and S37_Shot6. The changed camera geometry and marker 14's structural damage require a new plate candidate rather than reuse.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L44B01.png"
          ],
          "source_bg_ids": [
            "L44B01"
          ],
          "fp_included": false,
          "reference_decision": {
            "selected_refs": [
              {
                "ref_bg_id": "L44B01",
                "physical_space_id": "fp_miyeon_confinement_room:unit_2",
                "space_description": "The portion of unit 2 visible through opening 4 in S34_Shot8; L44B02 extends coverage toward base opening 7."
              }
            ],
            "rejected_refs": [
              {
                "ref_bg_id": "L44B03",
                "reason": "Its selected view establishes units 1 and 3, not the unit-2 slice required here; L44B01 is the more direct physical-space reference."
              }
            ],
            "same_physical_space_dedup_decision": "single_reference_same_physical_space",
            "why_single_ref_or_two_refs": "Both consuming shots target unit 2 and opening 7. One reference establishes continuity for unit 2; no second distinct referenced space is required by their co-visibility.",
            "physical_space_id_per_ref": [
              "fp_miyeon_confinement_room:unit_2"
            ],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 2,
            "camera_cell": [
              7,
              5
            ],
            "look_at_unit": 2,
            "look_at_cell": [
              7,
              9
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad coverage within unit 2 toward opening 7. The available cells establish an opening-facing representative plate; they do not fully encode the oblique plane relationship, height changes, or screen-zone shifts of both consuming shots."
          },
          "render_guidance": {
            "visible_space_directive": "Show unit 2 toward base opening 7 at [7, 9], retaining interior context and the staged view through that opening. Keep the unit-2 structural relationships inherited from L44B01 and locate opening 7 according to the floor plan. This camera extends beyond the reference's previously visible slice; units 1, 3, and 9 and openings 4 and 8 are not required in this view.",
            "camera_framing_directive": "Use camera unit 2 at [7, 5], looking within unit 2 at [7, 9], with a wide lens and 90-degree FOV for broad opening-facing coverage. Preserve enough interior context for the wide consuming shots. S37_Shot6 requires opening 7 upper-right and the incoming effects middle-right; S37_Shot2 retains a narrow opening edge at left. Those differing compositions are shot-specific and must not be achieved by relocating opening 7 in the fixed layout.",
            "subject_position_directive": "S37_Shot2 explicitly leaves both people outside the frame; keep that view free of subjects. For S37_Shot6, reserve just left of center for two full, braced bodies embracing, with faces turned toward one another and the effect path from upper-right background toward their midground position. Do not carry those subjects into S37_Shot2.",
            "state_cue_directive": "Use base markers 2 and 7 and overlays 13, 14, and 15 in shot order. S37_Shot2 shows marker 7 intact, with marker 13 beyond it and the interior not yet overtaken. S37_Shot6 applies marker 14 at opening 7 and along the inward diagonal, with individual fragments small, and marker 15 entering toward the pair before fully obscuring them. Maintain staged nighttime tonal continuity without an added impact flash. Do not merge the intact and damaged states into one simultaneous depiction.",
            "negative_continuity_directive": "Exclude markers 11 and 12, including their state content from L44B01. Preserve unit 2's inherited structure and opening 7's fixed location while applying marker 14's committed damage. Avoid adding units 1, 3, or 9, importing openings 4 or 8 outside this view, or mixing the two shot states of markers 7, 13, 14, and 15."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L44B01' physical_space_id='fp_miyeon_confinement_room:unit_2'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [7, 5]\n  - look_at_unit: 2\n  - look_at_cell: [7, 9]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad coverage within unit 2 toward opening 7. The available cells establish an opening-facing representative plate; they do not fully encode the oblique plane relationship, height changes, or screen-zone shifts of both consuming shots.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 2 toward base opening 7 at [7, 9], retaining interior context and the staged view through that opening. Keep the unit-2 structural relationships inherited from L44B01 and locate opening 7 according to the floor plan. This camera extends beyond the reference's previously visible slice; units 1, 3, and 9 and openings 4 and 8 are not required in this view.\n  - camera_framing_directive: Use camera unit 2 at [7, 5], looking within unit 2 at [7, 9], with a wide lens and 90-degree FOV for broad opening-facing coverage. Preserve enough interior context for the wide consuming shots. S37_Shot6 requires opening 7 upper-right and the incoming effects middle-right; S37_Shot2 retains a narrow opening edge at left. Those differing compositions are shot-specific and must not be achieved by relocating opening 7 in the fixed layout.\n  - subject_position_directive: S37_Shot2 explicitly leaves both people outside the frame; keep that view free of subjects. For S37_Shot6, reserve just left of center for two full, braced bodies embracing, with faces turned toward one another and the effect path from upper-right background toward their midground position. Do not carry those subjects into S37_Shot2.\n  - state_cue_directive: Use base markers 2 and 7 and overlays 13, 14, and 15 in shot order. S37_Shot2 shows marker 7 intact, with marker 13 beyond it and the interior not yet overtaken. S37_Shot6 applies marker 14 at opening 7 and along the inward diagonal, with individual fragments small, and marker 15 entering toward the pair before fully obscuring them. Maintain staged nighttime tonal continuity without an added impact flash. Do not merge the intact and damaged states into one simultaneous depiction.\n  - negative_continuity_directive: Exclude markers 11 and 12, including their state content from L44B01. Preserve unit 2's inherited structure and opening 7's fixed location while applying marker 14's committed damage. Avoid adding units 1, 3, or 9, importing openings 4 or 8 outside this view, or mixing the two shot states of markers 7, 13, 14, and 15.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L44B01' physical_space_id='fp_miyeon_confinement_room:unit_2'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [7, 5]\n  - look_at_unit: 2\n  - look_at_cell: [7, 9]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad coverage within unit 2 toward opening 7. The available cells establish an opening-facing representative plate; they do not fully encode the oblique plane relationship, height changes, or screen-zone shifts of both consuming shots.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 2 toward base opening 7 at [7, 9], retaining interior context and the staged view through that opening. Keep the unit-2 structural relationships inherited from L44B01 and locate opening 7 according to the floor plan. This camera extends beyond the reference's previously visible slice; units 1, 3, and 9 and openings 4 and 8 are not required in this view.\n  - camera_framing_directive: Use camera unit 2 at [7, 5], looking within unit 2 at [7, 9], with a wide lens and 90-degree FOV for broad opening-facing coverage. Preserve enough interior context for the wide consuming shots. S37_Shot6 requires opening 7 upper-right and the incoming effects middle-right; S37_Shot2 retains a narrow opening edge at left. Those differing compositions are shot-specific and must not be achieved by relocating opening 7 in the fixed layout.\n  - subject_position_directive: S37_Shot2 explicitly leaves both people outside the frame; keep that view free of subjects. For S37_Shot6, reserve just left of center for two full, braced bodies embracing, with faces turned toward one another and the effect path from upper-right background toward their midground position. Do not carry those subjects into S37_Shot2.\n  - state_cue_directive: Use base markers 2 and 7 and overlays 13, 14, and 15 in shot order. S37_Shot2 shows marker 7 intact, with marker 13 beyond it and the interior not yet overtaken. S37_Shot6 applies marker 14 at opening 7 and along the inward diagonal, with individual fragments small, and marker 15 entering toward the pair before fully obscuring them. Maintain staged nighttime tonal continuity without an added impact flash. Do not merge the intact and damaged states into one simultaneous depiction.\n  - negative_continuity_directive: Exclude markers 11 and 12, including their state content from L44B01. Preserve unit 2's inherited structure and opening 7's fixed location while applying marker 14's committed damage. Avoid adding units 1, 3, or 9, importing openings 4 or 8 outside this view, or mixing the two shot states of markers 7, 13, 14, and 15.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L44B01' physical_space_id='fp_miyeon_confinement_room:unit_2'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [7, 5]\n  - look_at_unit: 2\n  - look_at_cell: [7, 9]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad coverage within unit 2 toward opening 7. The available cells establish an opening-facing representative plate; they do not fully encode the oblique plane relationship, height changes, or screen-zone shifts of both consuming shots.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 2 toward base opening 7 at [7, 9], retaining interior context and the staged view through that opening. Keep the unit-2 structural relationships inherited from L44B01 and locate opening 7 according to the floor plan. This camera extends beyond the reference's previously visible slice; units 1, 3, and 9 and openings 4 and 8 are not required in this view.\n  - camera_framing_directive: Use camera unit 2 at [7, 5], looking within unit 2 at [7, 9], with a wide lens and 90-degree FOV for broad opening-facing coverage. Preserve enough interior context for the wide consuming shots. S37_Shot6 requires opening 7 upper-right and the incoming effects middle-right; S37_Shot2 retains a narrow opening edge at left. Those differing compositions are shot-specific and must not be achieved by relocating opening 7 in the fixed layout.\n  - subject_position_directive: S37_Shot2 explicitly leaves both people outside the frame; keep that view free of subjects. For S37_Shot6, reserve just left of center for two full, braced bodies embracing, with faces turned toward one another and the effect path from upper-right background toward their midground position. Do not carry those subjects into S37_Shot2.\n  - state_cue_directive: Use base markers 2 and 7 and overlays 13, 14, and 15 in shot order. S37_Shot2 shows marker 7 intact, with marker 13 beyond it and the interior not yet overtaken. S37_Shot6 applies marker 14 at opening 7 and along the inward diagonal, with individual fragments small, and marker 15 entering toward the pair before fully obscuring them. Maintain staged nighttime tonal continuity without an added impact flash. Do not merge the intact and damaged states into one simultaneous depiction.\n  - negative_continuity_directive: Exclude markers 11 and 12, including their state content from L44B01. Preserve unit 2's inherited structure and opening 7's fixed location while applying marker 14's committed damage. Avoid adding units 1, 3, or 9, importing openings 4 or 8 outside this view, or mixing the two shot states of markers 7, 13, 14, and 15.\n\n2069년 대한민국의 오래 사용된 건물 내부, 방 남쪽을 따라 동서로 이어지며 동쪽 끝 외벽 창문에서 끝나는 복도와 창가 공간. 실제 카메라로 촬영한 다큐멘터리 풍 사진으로 표현한다. 평면도는 복도와 외벽 창문의 위치 관계를 확인하는 용도로만 사용한다. 카메라는 복도 안에서 창문 서쪽에 서서 동쪽 창문을 정면으로 바라본다. 높이는 약 1.6미터, 실제 미러리스 카메라의 35밀리미터 규격 촬상면과 28밀리미터 광각 렌즈를 사용한 시야다. 창문을 중심에 두고 양옆 벽과 창가 바닥이 함께 보여 바깥에서 안으로 향하는 물의 방향을 읽을 수 있게 한다. 수직선은 자연스럽게 유지하며 내려다보는 구도나 평면도식 시점은 사용하지 않는다.\n\n한국의 기존 건축물이 오래 유지되어 온 현실적인 공간으로, 실용적인 콘크리트 벽면 마감과 금속 창틀, 유리의 두께와 반사를 사실적으로 보여준다. 벽면의 생활 얼룩과 창틀 표면의 마모는 과장하지 않는다. 임의의 미래 장비나 장식, 가구를 추가하지 않는다. 창밖에서 들어오는 자연광을 주광원으로 하며, 짙은 해일이 외부 빛을 가리면서 창가와 복도 안쪽 사이에 실제 노출 차이가 생긴다. 재료 고유의 색과 자연스러운 피사계 심도를 유지하고 인위적인 색 보정 없이 실제 재난 현장의 장소 기록 사진처럼 보이게 한다.\n\n시간 단계는 반드시 구분한다. 접근 단계에서는 동쪽 창문 바깥으로 검고 육중한 해일이 높이 솟아 밀려오는 모습을 온전한 유리 너머로 보여준다. 유리 표면의 약한 실내 반사와 바깥 물결의 불규칙한 굴곡이 함께 보이며, 이 단계의 바닷물은 실외에 있다. 충돌 단계에서는 같은 창문의 유리가 수압에 깨져 창틀 주변과 바로 안쪽 창가 공간으로 파편이 튀고, 바닷물이 동쪽 창문을 통해 복도 안으로 거세게 들이닥친다. 깨진 유리의 날카로운 단면, 불규칙한 파편의 크기, 밀려드는 물의 무게와 흰 포말, 바닥으로 퍼지는 물의 반사를 실제 물리 현상으로 표현한다. 기본 이미지는 충돌 직후의 한순간으로 촬영하며, 접근용 이미지에는 접근 단계만 적용한다. 온전한 유리와 그 자리를 통과하는 파편·유입수를 한 시점에 겹치지 않고, 화면 분할이나 연속 장면 합성을 하지 않는다.\n\n사람, 얼굴, 인체 형태의 형상은 반사 속까지 일절 없다. 컴퓨터 생성 이미지나 삽화, 건축 시각화가 아닌 실제 장소에서 촬영한 사진의 질감과 공간감을 유지한다. 16:9 가로 비율, 실제 카메라 촬영본\n\nOne attached image is a PHOTOREAL RENDER of this SAME place — the same physical location, possibly seen from a different angle or at a different moment. Treat it as the PLACE IDENTITY reference. Keep this render consistent with it: the same spatial layout and architecture, the same surface materials and colors, and the same permanently installed fixtures and furniture. Lettering visible in the reference is reproduced EXACTLY — same characters, same mark, same position; never invent different wording from render to render. Camera angle, framing, lighting, time of day and weather follow THIS prompt — do NOT copy the reference's composition or mood; only the place's physical identity carries over.\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 2,
          "camera_cell": [
            7,
            5
          ],
          "look_at_unit": 2,
          "look_at_cell": [
            7,
            9
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad coverage within unit 2 toward opening 7. The available cells establish an opening-facing representative plate; they do not fully encode the oblique plane relationship, height changes, or screen-zone shifts of both consuming shots."
        },
        "shot_aware_plan_node_index": 2,
        "shot_aware_plan_mode": "same_physical_space_view",
        "render_guidance": {
          "visible_space_directive": "Show unit 2 toward base opening 7 at [7, 9], retaining interior context and the staged view through that opening. Keep the unit-2 structural relationships inherited from L44B01 and locate opening 7 according to the floor plan. This camera extends beyond the reference's previously visible slice; units 1, 3, and 9 and openings 4 and 8 are not required in this view.",
          "camera_framing_directive": "Use camera unit 2 at [7, 5], looking within unit 2 at [7, 9], with a wide lens and 90-degree FOV for broad opening-facing coverage. Preserve enough interior context for the wide consuming shots. S37_Shot6 requires opening 7 upper-right and the incoming effects middle-right; S37_Shot2 retains a narrow opening edge at left. Those differing compositions are shot-specific and must not be achieved by relocating opening 7 in the fixed layout.",
          "subject_position_directive": "S37_Shot2 explicitly leaves both people outside the frame; keep that view free of subjects. For S37_Shot6, reserve just left of center for two full, braced bodies embracing, with faces turned toward one another and the effect path from upper-right background toward their midground position. Do not carry those subjects into S37_Shot2.",
          "state_cue_directive": "Use base markers 2 and 7 and overlays 13, 14, and 15 in shot order. S37_Shot2 shows marker 7 intact, with marker 13 beyond it and the interior not yet overtaken. S37_Shot6 applies marker 14 at opening 7 and along the inward diagonal, with individual fragments small, and marker 15 entering toward the pair before fully obscuring them. Maintain staged nighttime tonal continuity without an added impact flash. Do not merge the intact and damaged states into one simultaneous depiction.",
          "negative_continuity_directive": "Exclude markers 11 and 12, including their state content from L44B01. Preserve unit 2's inherited structure and opening 7's fixed location while applying marker 14's committed damage. Avoid adding units 1, 3, or 9, importing openings 4 or 8 outside this view, or mixing the two shot states of markers 7, 13, 14, and 15."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_miyeon_confinement_room",
          "prior_bg_ids": [
            "L44B01"
          ],
          "attached_ref_labels": [
            "bg:L44B01",
            "same_loc_anchor:L44B03"
          ],
          "ref_used": "refs_2",
          "db_write_policy": "checkpoint_only"
        },
        "same_loc_anchor_ref": {
          "anchor_bg_id": "L44B03",
          "loc_id": "L44"
        }
      },
      "L48B01": {
        "status": "ok",
        "location_id": "L48",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L48B01.png",
        "t2i_prompt": "2069년 대한민국 해역의 동틀 무렵, 바다에 떠 있는 길쭉한 컨테이너 판자를 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 사람 없이 비어 있는 배경만 담는다. 판자는 하나로 이어진 지지 표면이며 모든 가장자리 바깥으로 해수가 이어진다. 참고 평면도는 판자의 형태와 주변 해수의 공간 관계만 확인하는 데 사용한다. 판자의 가까운 짧은 변 쪽에서 긴 축을 따라 먼 끝을 바라보며, 표면 위 약 1.6미터의 서 있는 눈높이와 35밀리미터 상당 렌즈로 촬영한다. 판자 상면과 양옆의 수면, 낮게 열린 먼 수평선이 함께 보이는 사선 구도이며 수직 하향 시점이나 도면 구도가 아니다.\n판자의 중앙 왼쪽에는 긴 축을 따라 성인이 누울 만큼 연속된 빈 공간을 확보한다. 머리 방향은 먼 끝, 발 방향은 가까운 끝에 대응한다. 그 자리의 상체 높이 바로 오른쪽에는 몸을 낮추고 왼쪽으로 기울일 수 있는 여유 공간을, 그보다 오른쪽에는 판자 경계 안에서 설 수 있는 공간을 남긴다. 이 배치는 빈 표면의 여유로만 드러내고 선, 구획, 기호, 신체 윤곽으로 표시하지 않는다. 복부 출혈은 인물에 속하는 일시적 부상 단서이므로 신체나 상처 자체를 배경에 그리지 않는다. 대신 중앙 왼쪽의 누울 자리에서 복부가 닿을 지점 바로 아래와 그 옆에만 작고 절제된 접촉 혈흔을 표현한다. 표면에 얇게 묻은 국소적인 혈흔으로 한정하고 판자 전체의 재질이나 무늬처럼 퍼뜨리지 않는다.\n자원이 부족한 시대의 재사용 자재답게 실제 판재의 결, 가장자리의 생활 마모, 소금기에 바랜 표면과 젖은 부분의 차이를 과장 없이 담는다. 새벽의 차가운 청회색 자연광이 상면과 잔물결에 함께 닿고, 수평선 가까이에는 옅은 따뜻한 빛이 스며든다. 판자 가장자리와 해수의 접점, 작은 물결의 반사와 젖은 표면의 광택을 물리적으로 자연스럽게 표현한다. 실제 장소 기록 사진처럼 자연스러운 노출과 심도를 유지하며 과도한 보정이나 광고 사진 같은 정돈을 피한다. 사람이든 얼굴이든 신체 형태의 형상이든 전혀 등장하지 않는다. 삽화나 건축 시각화가 아닌 실제 카메라 촬영 사진. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S38_Shot2",
            "guide_text": "판자의 가까운 끝에서 긴 축을 바라보는 기준 시선을 사용한다. 넓은 구도에서는 판자 둘레의 바다와 하나로 이어진 상면이 함께 읽히게 하고, 중앙 왼쪽과 그 오른쪽의 동작 여유를 모두 같은 지지 표면 안에 확보한다. 배경에는 인물이나 자리 표시를 그리지 않는다."
          },
          {
            "shot_id": "S38_Shot6",
            "guide_text": "기준 배경의 좌우 관계와 촬영 축을 유지한다. 좁게 잘라 사용할 때에도 중앙 왼쪽의 접촉 혈흔 위치를 옮기지 않으며, 인물에 속하는 복부 출혈은 배경의 독립된 물체로 표현하지 않는다. 젖은 판재의 질감과 새벽 자연광의 밝기를 기준 배경에 맞춘다."
          },
          {
            "shot_id": "S38_Shot12",
            "guide_text": "같은 판자와 같은 새벽 상태를 유지한다. 원경과 세부 구도 사이에서 바다의 색, 잔물결의 크기, 수평선 방향과 판자 가장자리의 수면 높이가 이어지게 한다. 오른쪽의 빈 공간을 별도 구조물로 나누지 않고, 접촉 혈흔의 범위와 위치도 그대로 유지한다."
          }
        ],
        "shot_ids": [
          "S38_Shot2",
          "S38_Shot6",
          "S38_Shot12"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "text_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "Just beyond the lower-right edge of number 1 over number 2, facing diagonally page-up and left toward number 3, with numbers 4 and 5 on the right side of the composition.",
          "camera_height": "Low standing viewpoint, approximately 1.2–1.6 m above the floating surface.",
          "lens_hint": "35mm equivalent for the shared establishing view; use tighter crops from the same viewing axis for close details.",
          "framing_notes": "Maintain one continuous supporting surface beneath all three blocking positions. Keep surrounding seawater visible in the wider framing and preserve the same sea level and dawn conditions in tighter crops. Numbers 3–5 are blocking metadata, not visible symbols or added floor zones. Apply numbers 6 and 7 only through the event overlay, maintaining their contact alignment; never bake them into the base plan. Do not introduce remote containers or their occupants into this footprint."
        },
        "reference_decision": {
          "mode": "camera_geometry_direct_plate",
          "surface_role": "exterior_plate",
          "fp_id": "",
          "source_bg_ids": []
        },
        "effective_render_prompt": "2069년 대한민국 해역의 동틀 무렵, 바다에 떠 있는 길쭉한 컨테이너 판자를 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 사람 없이 비어 있는 배경만 담는다. 판자는 하나로 이어진 지지 표면이며 모든 가장자리 바깥으로 해수가 이어진다. 참고 평면도는 판자의 형태와 주변 해수의 공간 관계만 확인하는 데 사용한다. 판자의 가까운 짧은 변 쪽에서 긴 축을 따라 먼 끝을 바라보며, 표면 위 약 1.6미터의 서 있는 눈높이와 35밀리미터 상당 렌즈로 촬영한다. 판자 상면과 양옆의 수면, 낮게 열린 먼 수평선이 함께 보이는 사선 구도이며 수직 하향 시점이나 도면 구도가 아니다.\n판자의 중앙 왼쪽에는 긴 축을 따라 성인이 누울 만큼 연속된 빈 공간을 확보한다. 머리 방향은 먼 끝, 발 방향은 가까운 끝에 대응한다. 그 자리의 상체 높이 바로 오른쪽에는 몸을 낮추고 왼쪽으로 기울일 수 있는 여유 공간을, 그보다 오른쪽에는 판자 경계 안에서 설 수 있는 공간을 남긴다. 이 배치는 빈 표면의 여유로만 드러내고 선, 구획, 기호, 신체 윤곽으로 표시하지 않는다. 복부 출혈은 인물에 속하는 일시적 부상 단서이므로 신체나 상처 자체를 배경에 그리지 않는다. 대신 중앙 왼쪽의 누울 자리에서 복부가 닿을 지점 바로 아래와 그 옆에만 작고 절제된 접촉 혈흔을 표현한다. 표면에 얇게 묻은 국소적인 혈흔으로 한정하고 판자 전체의 재질이나 무늬처럼 퍼뜨리지 않는다.\n자원이 부족한 시대의 재사용 자재답게 실제 판재의 결, 가장자리의 생활 마모, 소금기에 바랜 표면과 젖은 부분의 차이를 과장 없이 담는다. 새벽의 차가운 청회색 자연광이 상면과 잔물결에 함께 닿고, 수평선 가까이에는 옅은 따뜻한 빛이 스며든다. 판자 가장자리와 해수의 접점, 작은 물결의 반사와 젖은 표면의 광택을 물리적으로 자연스럽게 표현한다. 실제 장소 기록 사진처럼 자연스러운 노출과 심도를 유지하며 과도한 보정이나 광고 사진 같은 정돈을 피한다. 사람이든 얼굴이든 신체 형태의 형상이든 전혀 등장하지 않는다. 삽화나 건축 시각화가 아닌 실제 카메라 촬영 사진. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_aware_plan_mode": "camera_geometry_direct_plate",
        "attached_reference_lineage": {
          "fp_id": "",
          "prior_bg_ids": [],
          "attached_ref_labels": [],
          "ref_used": "text_only",
          "db_write_policy": "checkpoint_only"
        },
        "render_degraded": true,
        "fallback_reason": "no_viable_camera_look_at_pair",
        "source_fp_id": "fp_floating_container_plank"
      },
      "L50B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L50",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L50B01.png",
        "t2i_prompt": "2069년 대한민국의 자원이 부족한 외곽 지역, 난민촌과 도심을 잇는 도로 건너편 무인점포를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 미래에도 계속 사용되는 한국 외곽 소규모 상가의 소박한 콘크리트 외벽과 금속 테두리 유리 출입문, 전면 유리창을 현실적인 건축 재료로 표현한다. 새로 지은 미래 도시처럼 꾸미지 않고 기존 건축의 오래 사용된 재료감을 담는다.\n카메라는 점포 맞은편 보행 가장자리에 서서 약 1.6미터 높이에서 도로 너머 북쪽의 점포 전면을 바라본다. 35밀리미터 규격의 전면형 감지기를 갖춘 실제 미러리스 카메라와 28밀리미터 광각 렌즈로 촬영한 시야이며, 과도한 광각 왜곡 없이 수직선과 거리감을 자연스럽게 유지한다. 가까운 보행 가장자리가 화면 아래에서 좌우로 이어지고, 그 너머로 도로가 가로지르며, 건너편에는 점포 앞 여유 공간과 화면 중심보다 약간 오른쪽에 놓인 점포가 보인다. 도로를 향한 점포 벽의 왼쪽 부분에 출입문이 있고 그 오른쪽에 전면 유리창이 있다. 건너편에서도 출입문 위치와 형태를 알아볼 수 있게 담는다. 화면 왼쪽에는 난민촌 방향으로 이어지는 길의 열린 끝을, 오른쪽에는 도심 방향으로 이어지는 길의 열린 끝을 확보한다. 난민촌과 도심 자체는 화면 밖에 두고 양옆의 이동 공간을 충분히 남긴다.\n낮의 자연광이 도로와 점포 전면을 고르게 비추며, 실제 하늘빛과 부드러운 그림자, 유리에 비친 주변 밝기가 물리적으로 자연스럽다. 아스팔트의 입자, 콘크리트의 미세한 요철, 금속의 무광 표면과 일상적인 마모, 유리의 두께와 반사율을 사실적으로 담는다. 자연스러운 피사계 심도로 가까운 도로부터 건너편 출입문까지 공간 관계가 잘 읽힌다. 공간은 정돈된 평상시 상태다. 사람, 얼굴, 신체 형태의 형상은 반사면을 포함해 어디에도 표현하지 않는다. 인위적인 색 보정이나 과장된 조명 없이 실제 장소 답사 사진처럼 담으며, 광고용으로 매끈하게 정리된 사진이나 컴퓨터 합성 이미지, 삽화, 건축 시각화가 아니다. 내려다보는 시점이나 평면도, 건축 도해가 아닌 지상 눈높이의 사진이다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S40_Shot2",
            "guide_text": "공통 외부 구도를 사용한다. 도로 너머 점포 출입문을 알아볼 수 있게 유지하고, 화면 왼쪽의 난민촌 방향으로 시선을 돌리는 구성이 가능하도록 왼쪽 여백을 확보한다. 카메라는 약 1.6미터 눈높이를 유지하며 배경에는 인물이나 신체 형태의 형상을 넣지 않는다."
          },
          {
            "shot_id": "S40_Shot3",
            "guide_text": "앞 장면과 동일한 카메라 위치, 화각과 낮의 채광을 유지한다. 출입문과 유리창의 좌우 관계를 바꾸지 않고, 도로가 화면 오른쪽의 도심 방향으로 자연스럽게 이어지도록 이동 여백을 남긴다. 점포 외부 배경만 사용하며 인물이나 신체 형태의 형상을 넣지 않는다."
          }
        ],
        "shot_ids": [
          "S40_Shot2",
          "S40_Shot3"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_2",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Near number 2, opposite the store, facing north across number 1 toward numbers 9 and 5; retain number 7 on screen left and number 8 on screen right.",
          "camera_height": "eye-level standing, approximately 1.6 m",
          "lens_hint": "28mm wide angle",
          "framing_notes": "Use one shared exterior camera for both shots. Keep the store entrance recognizable across the road and preserve lateral space for a campward backward glance and cityward departure. Daytime background with no police. Do not import the later interior theft, damaged cash machine, scattered money, or merchandise into this exterior."
        },
        "reference_decision": {
          "bg_id": "L50B01",
          "fp_id": "fp_store_approach",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L50B01 is the sole eligible clean anchor and the only staged, renderable BG. Seed its identity directly from the floor plan without references. Camera unit 2 looking toward unit 9 provides a shared background across unit 1 toward units 3 and 9, supporting the established screen-right travel direction in S40_Shot3. Broad coverage supplies background context for both the close staging of S40_Shot2 and the medium staging of S40_Shot3; their differing subject poses and vertical framing remain shot-layer requirements.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/floor_plan/fp_store_approach.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The clean identity anchor is rendered fresh; the same-fp reference catalog is empty.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 2,
            "camera_cell": [
              7,
              5
            ],
            "look_at_unit": 9,
            "look_at_cell": [
              3,
              5
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad shared plate from unit 2 toward the marker-5 portion of unit 9. Preserve the eastward direction as screen right. The exact look-at cell is copied from unit 2's candidates; it targets an opening on unit 9 rather than the unit centroid. Shot-specific close and medium compositions do not require inventing another grid coordinate."
          },
          "render_guidance": {
            "visible_space_directive": "Show unit 1 between camera unit 2 and unit 3, with unit 9 and the exterior boundary of unit 4 beyond. Include openings 5 and 6 in their fixed positions, marker 5 west of marker 6. Use the base layout to preserve these relationships. Units 7 and 8 provide off-frame directional context, not mandatory visible endpoints. Visibility candidates are supersets; do not infer a visible interior or opening adjacency beyond the supplied base facts.",
            "camera_framing_directive": "Use broad wide-lens coverage at 90 degrees from camera unit 2, cell [7, 5], toward unit 9 at look-at cell [3, 5]. Keep increasing plan-column direction toward screen right. Supply a shared clean background for S40_Shot2's close composition and S40_Shot3's medium composition; their opposing vertical-angle descriptions are shot-specific, not an additional committed plate camera.",
            "subject_position_directive": "Keep this clean background plate free of rendered subjects while preserving space for the committed staging. S40_Shot2 places the halted subject's turned face and shoulders in the right half with gaze space left. S40_Shot3 places the forward-pulling subject on the right and the pulled subject on the left, with their joined hand and wrist across the lower center. Preserve the screen-right travel relationship; do not combine the two shot-specific arrangements into one subject tableau.",
            "state_cue_directive": "No committed state cue beyond \"clean residential space\" applies to this clean BG; no transient markers are listed. Maintain the consuming shots' daytime ambient treatment without a separate dramatic lighting change. Use structural markers 1 through 9 only as applicable to this view, and refrain from inventing additional state cues.",
            "negative_continuity_directive": "No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating openings 5 and 6, reversing the relationship of units 7 and 8, or altering the fixed alignment of units 1, 3, 4, and 9. Do not force units 7 and 8 into the selected view or turn visibility supersets into guaranteed interior visibility. Keep shot-specific subject and transient content out of the clean anchor."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [7, 5]\n  - look_at_unit: 9\n  - look_at_cell: [3, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad shared plate from unit 2 toward the marker-5 portion of unit 9. Preserve the eastward direction as screen right. The exact look-at cell is copied from unit 2's candidates; it targets an opening on unit 9 rather than the unit centroid. Shot-specific close and medium compositions do not require inventing another grid coordinate.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 1 between camera unit 2 and unit 3, with unit 9 and the exterior boundary of unit 4 beyond. Include openings 5 and 6 in their fixed positions, marker 5 west of marker 6. Use the base layout to preserve these relationships. Units 7 and 8 provide off-frame directional context, not mandatory visible endpoints. Visibility candidates are supersets; do not infer a visible interior or opening adjacency beyond the supplied base facts.\n  - camera_framing_directive: Use broad wide-lens coverage at 90 degrees from camera unit 2, cell [7, 5], toward unit 9 at look-at cell [3, 5]. Keep increasing plan-column direction toward screen right. Supply a shared clean background for S40_Shot2's close composition and S40_Shot3's medium composition; their opposing vertical-angle descriptions are shot-specific, not an additional committed plate camera.\n  - subject_position_directive: Keep this clean background plate free of rendered subjects while preserving space for the committed staging. S40_Shot2 places the halted subject's turned face and shoulders in the right half with gaze space left. S40_Shot3 places the forward-pulling subject on the right and the pulled subject on the left, with their joined hand and wrist across the lower center. Preserve the screen-right travel relationship; do not combine the two shot-specific arrangements into one subject tableau.\n  - state_cue_directive: No committed state cue beyond \"clean residential space\" applies to this clean BG; no transient markers are listed. Maintain the consuming shots' daytime ambient treatment without a separate dramatic lighting change. Use structural markers 1 through 9 only as applicable to this view, and refrain from inventing additional state cues.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating openings 5 and 6, reversing the relationship of units 7 and 8, or altering the fixed alignment of units 1, 3, 4, and 9. Do not force units 7 and 8 into the selected view or turn visibility supersets into guaranteed interior visibility. Keep shot-specific subject and transient content out of the clean anchor.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [7, 5]\n  - look_at_unit: 9\n  - look_at_cell: [3, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad shared plate from unit 2 toward the marker-5 portion of unit 9. Preserve the eastward direction as screen right. The exact look-at cell is copied from unit 2's candidates; it targets an opening on unit 9 rather than the unit centroid. Shot-specific close and medium compositions do not require inventing another grid coordinate.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 1 between camera unit 2 and unit 3, with unit 9 and the exterior boundary of unit 4 beyond. Include openings 5 and 6 in their fixed positions, marker 5 west of marker 6. Use the base layout to preserve these relationships. Units 7 and 8 provide off-frame directional context, not mandatory visible endpoints. Visibility candidates are supersets; do not infer a visible interior or opening adjacency beyond the supplied base facts.\n  - camera_framing_directive: Use broad wide-lens coverage at 90 degrees from camera unit 2, cell [7, 5], toward unit 9 at look-at cell [3, 5]. Keep increasing plan-column direction toward screen right. Supply a shared clean background for S40_Shot2's close composition and S40_Shot3's medium composition; their opposing vertical-angle descriptions are shot-specific, not an additional committed plate camera.\n  - subject_position_directive: Keep this clean background plate free of rendered subjects while preserving space for the committed staging. S40_Shot2 places the halted subject's turned face and shoulders in the right half with gaze space left. S40_Shot3 places the forward-pulling subject on the right and the pulled subject on the left, with their joined hand and wrist across the lower center. Preserve the screen-right travel relationship; do not combine the two shot-specific arrangements into one subject tableau.\n  - state_cue_directive: No committed state cue beyond \"clean residential space\" applies to this clean BG; no transient markers are listed. Maintain the consuming shots' daytime ambient treatment without a separate dramatic lighting change. Use structural markers 1 through 9 only as applicable to this view, and refrain from inventing additional state cues.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating openings 5 and 6, reversing the relationship of units 7 and 8, or altering the fixed alignment of units 1, 3, 4, and 9. Do not force units 7 and 8 into the selected view or turn visibility supersets into guaranteed interior visibility. Keep shot-specific subject and transient content out of the clean anchor.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [7, 5]\n  - look_at_unit: 9\n  - look_at_cell: [3, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad shared plate from unit 2 toward the marker-5 portion of unit 9. Preserve the eastward direction as screen right. The exact look-at cell is copied from unit 2's candidates; it targets an opening on unit 9 rather than the unit centroid. Shot-specific close and medium compositions do not require inventing another grid coordinate.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 1 between camera unit 2 and unit 3, with unit 9 and the exterior boundary of unit 4 beyond. Include openings 5 and 6 in their fixed positions, marker 5 west of marker 6. Use the base layout to preserve these relationships. Units 7 and 8 provide off-frame directional context, not mandatory visible endpoints. Visibility candidates are supersets; do not infer a visible interior or opening adjacency beyond the supplied base facts.\n  - camera_framing_directive: Use broad wide-lens coverage at 90 degrees from camera unit 2, cell [7, 5], toward unit 9 at look-at cell [3, 5]. Keep increasing plan-column direction toward screen right. Supply a shared clean background for S40_Shot2's close composition and S40_Shot3's medium composition; their opposing vertical-angle descriptions are shot-specific, not an additional committed plate camera.\n  - subject_position_directive: Keep this clean background plate free of rendered subjects while preserving space for the committed staging. S40_Shot2 places the halted subject's turned face and shoulders in the right half with gaze space left. S40_Shot3 places the forward-pulling subject on the right and the pulled subject on the left, with their joined hand and wrist across the lower center. Preserve the screen-right travel relationship; do not combine the two shot-specific arrangements into one subject tableau.\n  - state_cue_directive: No committed state cue beyond \"clean residential space\" applies to this clean BG; no transient markers are listed. Maintain the consuming shots' daytime ambient treatment without a separate dramatic lighting change. Use structural markers 1 through 9 only as applicable to this view, and refrain from inventing additional state cues.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating openings 5 and 6, reversing the relationship of units 7 and 8, or altering the fixed alignment of units 1, 3, 4, and 9. Do not force units 7 and 8 into the selected view or turn visibility supersets into guaranteed interior visibility. Keep shot-specific subject and transient content out of the clean anchor.\n\n2069년 대한민국의 자원이 부족한 외곽 지역, 난민촌과 도심을 잇는 도로 건너편 무인점포를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 미래에도 계속 사용되는 한국 외곽 소규모 상가의 소박한 콘크리트 외벽과 금속 테두리 유리 출입문, 전면 유리창을 현실적인 건축 재료로 표현한다. 새로 지은 미래 도시처럼 꾸미지 않고 기존 건축의 오래 사용된 재료감을 담는다.\n카메라는 점포 맞은편 보행 가장자리에 서서 약 1.6미터 높이에서 도로 너머 북쪽의 점포 전면을 바라본다. 35밀리미터 규격의 전면형 감지기를 갖춘 실제 미러리스 카메라와 28밀리미터 광각 렌즈로 촬영한 시야이며, 과도한 광각 왜곡 없이 수직선과 거리감을 자연스럽게 유지한다. 가까운 보행 가장자리가 화면 아래에서 좌우로 이어지고, 그 너머로 도로가 가로지르며, 건너편에는 점포 앞 여유 공간과 화면 중심보다 약간 오른쪽에 놓인 점포가 보인다. 도로를 향한 점포 벽의 왼쪽 부분에 출입문이 있고 그 오른쪽에 전면 유리창이 있다. 건너편에서도 출입문 위치와 형태를 알아볼 수 있게 담는다. 화면 왼쪽에는 난민촌 방향으로 이어지는 길의 열린 끝을, 오른쪽에는 도심 방향으로 이어지는 길의 열린 끝을 확보한다. 난민촌과 도심 자체는 화면 밖에 두고 양옆의 이동 공간을 충분히 남긴다.\n낮의 자연광이 도로와 점포 전면을 고르게 비추며, 실제 하늘빛과 부드러운 그림자, 유리에 비친 주변 밝기가 물리적으로 자연스럽다. 아스팔트의 입자, 콘크리트의 미세한 요철, 금속의 무광 표면과 일상적인 마모, 유리의 두께와 반사율을 사실적으로 담는다. 자연스러운 피사계 심도로 가까운 도로부터 건너편 출입문까지 공간 관계가 잘 읽힌다. 공간은 정돈된 평상시 상태다. 사람, 얼굴, 신체 형태의 형상은 반사면을 포함해 어디에도 표현하지 않는다. 인위적인 색 보정이나 과장된 조명 없이 실제 장소 답사 사진처럼 담으며, 광고용으로 매끈하게 정리된 사진이나 컴퓨터 합성 이미지, 삽화, 건축 시각화가 아니다. 내려다보는 시점이나 평면도, 건축 도해가 아닌 지상 눈높이의 사진이다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThe LAST attached image is a TOP-DOWN INTERIOR FLOOR PLAN of the building at this location — a STRUCTURAL REFERENCE ONLY, never content to draw. It defines the building's real scale: its footprint, room count, and the placement of its doors and windows. Render the scene so the building's exterior size, number of storeys, and the scale and placement of its doors and windows stay consistent with that plan. Do NOT draw the floor plan itself, its lines, text or numbers anywhere in the image.",
        "camera_decision": {
          "camera_unit": 2,
          "camera_cell": [
            7,
            5
          ],
          "look_at_unit": 9,
          "look_at_cell": [
            3,
            5
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad shared plate from unit 2 toward the marker-5 portion of unit 9. Preserve the eastward direction as screen right. The exact look-at cell is copied from unit 2's candidates; it targets an opening on unit 9 rather than the unit centroid. Shot-specific close and medium compositions do not require inventing another grid coordinate."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Show unit 1 between camera unit 2 and unit 3, with unit 9 and the exterior boundary of unit 4 beyond. Include openings 5 and 6 in their fixed positions, marker 5 west of marker 6. Use the base layout to preserve these relationships. Units 7 and 8 provide off-frame directional context, not mandatory visible endpoints. Visibility candidates are supersets; do not infer a visible interior or opening adjacency beyond the supplied base facts.",
          "camera_framing_directive": "Use broad wide-lens coverage at 90 degrees from camera unit 2, cell [7, 5], toward unit 9 at look-at cell [3, 5]. Keep increasing plan-column direction toward screen right. Supply a shared clean background for S40_Shot2's close composition and S40_Shot3's medium composition; their opposing vertical-angle descriptions are shot-specific, not an additional committed plate camera.",
          "subject_position_directive": "Keep this clean background plate free of rendered subjects while preserving space for the committed staging. S40_Shot2 places the halted subject's turned face and shoulders in the right half with gaze space left. S40_Shot3 places the forward-pulling subject on the right and the pulled subject on the left, with their joined hand and wrist across the lower center. Preserve the screen-right travel relationship; do not combine the two shot-specific arrangements into one subject tableau.",
          "state_cue_directive": "No committed state cue beyond \"clean residential space\" applies to this clean BG; no transient markers are listed. Maintain the consuming shots' daytime ambient treatment without a separate dramatic lighting change. Use structural markers 1 through 9 only as applicable to this view, and refrain from inventing additional state cues.",
          "negative_continuity_directive": "No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating openings 5 and 6, reversing the relationship of units 7 and 8, or altering the fixed alignment of units 1, 3, 4, and 9. Do not force units 7 and 8 into the selected view or turn visibility supersets into guaranteed interior visibility. Keep shot-specific subject and transient content out of the clean anchor."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_store_approach",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_store_approach",
            "building_fp:fp_unattended_store"
          ],
          "ref_used": "refs_2",
          "db_write_policy": "checkpoint_only"
        },
        "building_fp_ref": {
          "fp_id": "fp_unattended_store",
          "indoor_loc_sid": "L51",
          "group_id": "bg_unattended_store",
          "fp_asset_id": "2fce8b79-d5e0-4b3a-a8dc-4e380d0cdf3b"
        }
      },
      "L51B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L51",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L51B01.png",
        "t2i_prompt": "2069년 대한민국의 생활형 무인점포 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 자원이 넉넉하지 않은 환경에서 기존 매장 설비와 생활용품을 계속 사용하는 실용적인 공간이다. 과장된 미래 장식 대신 국내 소규모 점포의 금속 진열대, 한글 상품 분류표, 포장 생필품과 현금인출기가 자연스럽게 공존한다. 사람이 없는 실제 장소 기록 사진처럼 보이게 한다.\n\n첨부 평면도는 공간 구성과 기존 집기의 위치를 파악하는 자료로만 사용한다. 카메라는 중앙 판매 공간의 남동쪽 가장자리, 가방·생활용품 진열대 남쪽에 놓고 북서쪽 현금인출기와 서쪽 통로를 향한다. 높이는 서 있는 사람의 눈높이인 약 1.6미터. 35밀리미터 풀프레임 미러리스 카메라에 24밀리미터 광각 렌즈를 장착해 촬영한 자연스러운 원근감이며, 가장자리 왜곡은 절제한다. 위에서 내려다보거나 평면도처럼 펼친 구도가 아니다.\n\n남쪽 벽의 남서쪽 출입문과 그 안쪽 문턱이 화면 왼쪽 가장자리에 보인다. 출입문 가까운 서쪽 벽에는 문이 움직이는 범위 밖으로 신발 진열대가 있다. 동서 방향으로 긴 가방·생활용품 진열대가 전경을, 그 북쪽에 평행하게 놓인 식품·완구 진열대가 중경을 형성한다. 서쪽 통로 너머 북서쪽 벽에 놓인 현금인출기의 남향 조작부와 그 앞 바닥이 읽히도록 구성한다. 현금인출기 바로 동쪽 북쪽 벽에는 모포 진열대가 있으며, 기기 앞 이용 공간을 침범하지 않는다. 북동쪽 벽의 의약품 진열대는 화면 먼 오른쪽에 위치한다. 북쪽 진열대 뒤의 후면 통로와 안쪽 공간은 실제 진열대에 가려진 만큼만 보이며, 선반을 투시하거나 시야 확보를 위해 집기를 옮기지 않는다.\n\n현금인출기의 남쪽 전면 패널에는 외장 일부가 뚫린 국소적인 관통 파손이 있다. 벌어진 금속 가장자리와 개구부 안쪽이 실제 기계 외장의 두께와 깊이로 보이되, 손상은 기기 자체에만 한정된다. 개구부에 남은 지폐 일부와 기기 바로 앞 인접 바닥에 놓인 소량의 지폐를 보여준다. 신발, 가방·생활용품, 식품·완구, 의약품, 모포 진열대에는 물품 일부를 가져가 생긴 국소적인 재고 빈자리가 각각 있고, 남은 상품과 진열대 구조는 그대로 서 있다. 벽과 출입문, 주변 매장 구조는 유지되어 있으며 점포 전체가 파괴된 모습이 아니다.\n\n낮의 출입구 쪽에서 들어오는 자연광이 바닥과 진열대에 퍼지고, 안쪽으로 갈수록 완만하게 어두워진다. 현금인출기 파손부와 남은 지폐는 그 빛으로 식별 가능하게 한다. 금속 선반 도장의 일상적인 마모, 기기 외장의 손때, 바닥의 옅은 생활 얼룩, 포장재의 반사, 접힌 모포의 실제 직물 조직을 사실적으로 기록한다. 과도한 보정 없이 자연스러운 색과 노출, 실제 렌즈의 심도를 유지한다. 깨끗하게 연출한 상품 홍보 사진이나 컴퓨터 합성 이미지, 삽화, 건축 시각화가 아니라 실제 현장 사진이어야 한다. 사람, 얼굴, 사람 형태의 형상은 반사면과 상품 이미지에도 나타나지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S41_Shot11",
            "guide_text": "지정된 남동쪽 눈높이 구도를 사용한다. 관통 파손이 발생한 뒤의 정적인 배경으로, 서쪽 통로 너머 현금인출기 전면의 국소 개구부와 인접한 지폐 흔적을 읽을 수 있게 한다. 파손이 일어나는 동작이나 인물은 그리지 않는다. 진열대의 부분적인 재고 빈자리와 주변 구조의 온전함을 함께 유지한다."
          },
          {
            "shot_id": "S41_Shot22",
            "guide_text": "동일한 카메라 위치와 높이, 화각, 낮 자연광을 유지한다. 재회 대화용 배경에서도 현금인출기 전면 파손, 개구부와 인접 바닥의 지폐 위치, 진열대 재고 빈자리가 이어져야 한다. 전경·중경 진열대에 가려진 후면 공간을 추가로 드러내지 않으며 인물 없이 빈 공간만 제공한다."
          },
          {
            "shot_id": "S41_Shot27",
            "guide_text": "동일한 고정 구도에서 왼쪽 가장자리 출입문과 매장 통로의 연결이 보이게 유지한다. 출발 대화 시점에도 현금인출기 파손과 남은 지폐, 각 진열대의 빈자리를 복구하거나 이동시키지 않는다. 조명과 주변 구조 상태는 앞선 배경과 동일하게 유지하며 인물이나 추가 파손을 넣지 않는다."
          }
        ],
        "shot_ids": [
          "S41_Shot11",
          "S41_Shot22",
          "S41_Shot27"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Near the southeast edge of number 1, south of shelf 7, facing northwest toward number 10 and the west circulation lane; number 12 falls at the left side and number 9 toward the far right.",
          "camera_height": "eye-level standing, approximately 1.6 m",
          "lens_hint": "24mm wide angle",
          "framing_notes": "Use the same camera for all listed shots. Keep the south-facing ATM panel readable through the west circulation lane, with shelves 7 and 8 establishing foreground and midground concealment. Include the entrance at the left edge and preserve actual shelf occlusion of recess 5; do not expose hidden occupants through shelving. The referenced background carries localized panel breach 13, remaining cash 14, and merchandise gaps 15 through the reunion and departure dialogue, without implying store-wide destruction. These states are added separately, never drawn into the floor plan."
        },
        "reference_decision": {
          "bg_id": "L51B01",
          "fp_id": "fp_unattended_store",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L51B01 is the sole ready BG and the sole supplied anchor candidate. Use the explicitly widened fallback candidate despite clean_background_expected=false, retaining its committed overlays rather than treating it as clean. With no reference catalog, establish identity directly from the base plan. Camera unit 1 looking toward marker 10 in unit 4 provides an oblique structural view for S41_Shot11 with nearby marker 8 supplying context shared with S41_Shot22 and S41_Shot27. This is a representative background view; the three shots' different heights, movements and crops are not a single committed camera setup.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/floor_plan/fp_unattended_store.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The catalog is empty and this is the first and only node; the anchor is seeded from the floor plan without references.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 1,
            "camera_cell": [
              5,
              4
            ],
            "look_at_unit": 4,
            "look_at_cell": [
              1,
              1
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad diagonal coverage from unit 1 toward marker 10 in unit 4, using exact listed coordinate candidates. Marker 10's south-facing panel is viewed obliquely; markers 11 and 8 provide surrounding structural context where unobstructed. Unit 4 has no enumerated camera candidate, so do not place the camera there. Shot-specific close and medium framings remain distinct from this representative plate."
          },
          "render_guidance": {
            "visible_space_directive": "Show the northwest-facing portion of unit 1 toward marker 10 in unit 4. Keep marker 10 against the north wall with its operating face southward, marker 11 immediately east of it, and marker 8 in its northern-central position. Include only portions inside the chosen cone and actually unobstructed. The visible-unit and opening lists are supersets, not proof of visibility; opening 12 is behind this view and must not be forced into frame.",
            "camera_framing_directive": "Use camera unit 1 at [5, 4], looking toward unit 4 at the exact target cell [1, 1], with wide lens coverage of 90 degrees. Establish broad oblique coverage of marker 10 and adjacent fixed context. Do not interpret this representative framing as simultaneously realizing the distinct close and medium shot setups; preserve their stated composition cues for shot-specific staging.",
            "subject_position_directive": "Keep the consuming shots' subject cues separate rather than combining their actions into one background. S41_Shot11 places the impact at center-left, the driving forearm and cropped torso on the right, and the head beyond the upper edge. S41_Shot22 places the approaching back and turning cheek on the left and the receiving figure at center-right. S41_Shot27 places a near shoulder and head sliver at the left foreground edge and the addressed figure right of center. These are screen-relative cues only; no subject grid cells are committed, so invent no additional subjects or fixed subject locations.",
            "state_cue_directive": "This BG is not marked clean. Retain overlays 13, 14 and 15 as committed: Localized ATM panel breach, Remaining cash traces, and Picked-over merchandise gaps, restricted to their applicable visible elements. S41_Shot11 specifies the instant of penetration, so marker 14 must not become premature falling money. Keep the neutral interior ambient treatment consistent across the surfaced shots; the later contact and redirected attention do not introduce a lighting change. Do not expand the localized state into additional damage.",
            "negative_continuity_directive": "The ignore and ignored-overlay lists are empty; do not discard overlays 13–15 wholesale. Avoid moving fixed markers 8, 10 or 11 to improve framing, duplicating marker 10, forcing opening 12 or units outside the selected cone into view, or treating visibility supersets as guaranteed sightlines. Avoid combining the three shots' transient subject states into a persistent background feature."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [5, 4]\n  - look_at_unit: 4\n  - look_at_cell: [1, 1]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad diagonal coverage from unit 1 toward marker 10 in unit 4, using exact listed coordinate candidates. Marker 10's south-facing panel is viewed obliquely; markers 11 and 8 provide surrounding structural context where unobstructed. Unit 4 has no enumerated camera candidate, so do not place the camera there. Shot-specific close and medium framings remain distinct from this representative plate.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the northwest-facing portion of unit 1 toward marker 10 in unit 4. Keep marker 10 against the north wall with its operating face southward, marker 11 immediately east of it, and marker 8 in its northern-central position. Include only portions inside the chosen cone and actually unobstructed. The visible-unit and opening lists are supersets, not proof of visibility; opening 12 is behind this view and must not be forced into frame.\n  - camera_framing_directive: Use camera unit 1 at [5, 4], looking toward unit 4 at the exact target cell [1, 1], with wide lens coverage of 90 degrees. Establish broad oblique coverage of marker 10 and adjacent fixed context. Do not interpret this representative framing as simultaneously realizing the distinct close and medium shot setups; preserve their stated composition cues for shot-specific staging.\n  - subject_position_directive: Keep the consuming shots' subject cues separate rather than combining their actions into one background. S41_Shot11 places the impact at center-left, the driving forearm and cropped torso on the right, and the head beyond the upper edge. S41_Shot22 places the approaching back and turning cheek on the left and the receiving figure at center-right. S41_Shot27 places a near shoulder and head sliver at the left foreground edge and the addressed figure right of center. These are screen-relative cues only; no subject grid cells are committed, so invent no additional subjects or fixed subject locations.\n  - state_cue_directive: This BG is not marked clean. Retain overlays 13, 14 and 15 as committed: Localized ATM panel breach, Remaining cash traces, and Picked-over merchandise gaps, restricted to their applicable visible elements. S41_Shot11 specifies the instant of penetration, so marker 14 must not become premature falling money. Keep the neutral interior ambient treatment consistent across the surfaced shots; the later contact and redirected attention do not introduce a lighting change. Do not expand the localized state into additional damage.\n  - negative_continuity_directive: The ignore and ignored-overlay lists are empty; do not discard overlays 13–15 wholesale. Avoid moving fixed markers 8, 10 or 11 to improve framing, duplicating marker 10, forcing opening 12 or units outside the selected cone into view, or treating visibility supersets as guaranteed sightlines. Avoid combining the three shots' transient subject states into a persistent background feature.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [5, 4]\n  - look_at_unit: 4\n  - look_at_cell: [1, 1]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad diagonal coverage from unit 1 toward marker 10 in unit 4, using exact listed coordinate candidates. Marker 10's south-facing panel is viewed obliquely; markers 11 and 8 provide surrounding structural context where unobstructed. Unit 4 has no enumerated camera candidate, so do not place the camera there. Shot-specific close and medium framings remain distinct from this representative plate.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the northwest-facing portion of unit 1 toward marker 10 in unit 4. Keep marker 10 against the north wall with its operating face southward, marker 11 immediately east of it, and marker 8 in its northern-central position. Include only portions inside the chosen cone and actually unobstructed. The visible-unit and opening lists are supersets, not proof of visibility; opening 12 is behind this view and must not be forced into frame.\n  - camera_framing_directive: Use camera unit 1 at [5, 4], looking toward unit 4 at the exact target cell [1, 1], with wide lens coverage of 90 degrees. Establish broad oblique coverage of marker 10 and adjacent fixed context. Do not interpret this representative framing as simultaneously realizing the distinct close and medium shot setups; preserve their stated composition cues for shot-specific staging.\n  - subject_position_directive: Keep the consuming shots' subject cues separate rather than combining their actions into one background. S41_Shot11 places the impact at center-left, the driving forearm and cropped torso on the right, and the head beyond the upper edge. S41_Shot22 places the approaching back and turning cheek on the left and the receiving figure at center-right. S41_Shot27 places a near shoulder and head sliver at the left foreground edge and the addressed figure right of center. These are screen-relative cues only; no subject grid cells are committed, so invent no additional subjects or fixed subject locations.\n  - state_cue_directive: This BG is not marked clean. Retain overlays 13, 14 and 15 as committed: Localized ATM panel breach, Remaining cash traces, and Picked-over merchandise gaps, restricted to their applicable visible elements. S41_Shot11 specifies the instant of penetration, so marker 14 must not become premature falling money. Keep the neutral interior ambient treatment consistent across the surfaced shots; the later contact and redirected attention do not introduce a lighting change. Do not expand the localized state into additional damage.\n  - negative_continuity_directive: The ignore and ignored-overlay lists are empty; do not discard overlays 13–15 wholesale. Avoid moving fixed markers 8, 10 or 11 to improve framing, duplicating marker 10, forcing opening 12 or units outside the selected cone into view, or treating visibility supersets as guaranteed sightlines. Avoid combining the three shots' transient subject states into a persistent background feature.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [5, 4]\n  - look_at_unit: 4\n  - look_at_cell: [1, 1]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad diagonal coverage from unit 1 toward marker 10 in unit 4, using exact listed coordinate candidates. Marker 10's south-facing panel is viewed obliquely; markers 11 and 8 provide surrounding structural context where unobstructed. Unit 4 has no enumerated camera candidate, so do not place the camera there. Shot-specific close and medium framings remain distinct from this representative plate.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the northwest-facing portion of unit 1 toward marker 10 in unit 4. Keep marker 10 against the north wall with its operating face southward, marker 11 immediately east of it, and marker 8 in its northern-central position. Include only portions inside the chosen cone and actually unobstructed. The visible-unit and opening lists are supersets, not proof of visibility; opening 12 is behind this view and must not be forced into frame.\n  - camera_framing_directive: Use camera unit 1 at [5, 4], looking toward unit 4 at the exact target cell [1, 1], with wide lens coverage of 90 degrees. Establish broad oblique coverage of marker 10 and adjacent fixed context. Do not interpret this representative framing as simultaneously realizing the distinct close and medium shot setups; preserve their stated composition cues for shot-specific staging.\n  - subject_position_directive: Keep the consuming shots' subject cues separate rather than combining their actions into one background. S41_Shot11 places the impact at center-left, the driving forearm and cropped torso on the right, and the head beyond the upper edge. S41_Shot22 places the approaching back and turning cheek on the left and the receiving figure at center-right. S41_Shot27 places a near shoulder and head sliver at the left foreground edge and the addressed figure right of center. These are screen-relative cues only; no subject grid cells are committed, so invent no additional subjects or fixed subject locations.\n  - state_cue_directive: This BG is not marked clean. Retain overlays 13, 14 and 15 as committed: Localized ATM panel breach, Remaining cash traces, and Picked-over merchandise gaps, restricted to their applicable visible elements. S41_Shot11 specifies the instant of penetration, so marker 14 must not become premature falling money. Keep the neutral interior ambient treatment consistent across the surfaced shots; the later contact and redirected attention do not introduce a lighting change. Do not expand the localized state into additional damage.\n  - negative_continuity_directive: The ignore and ignored-overlay lists are empty; do not discard overlays 13–15 wholesale. Avoid moving fixed markers 8, 10 or 11 to improve framing, duplicating marker 10, forcing opening 12 or units outside the selected cone into view, or treating visibility supersets as guaranteed sightlines. Avoid combining the three shots' transient subject states into a persistent background feature.\n\n2069년 대한민국의 생활형 무인점포 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 자원이 넉넉하지 않은 환경에서 기존 매장 설비와 생활용품을 계속 사용하는 실용적인 공간이다. 과장된 미래 장식 대신 국내 소규모 점포의 금속 진열대, 한글 상품 분류표, 포장 생필품과 현금인출기가 자연스럽게 공존한다. 사람이 없는 실제 장소 기록 사진처럼 보이게 한다.\n\n첨부 평면도는 공간 구성과 기존 집기의 위치를 파악하는 자료로만 사용한다. 카메라는 중앙 판매 공간의 남동쪽 가장자리, 가방·생활용품 진열대 남쪽에 놓고 북서쪽 현금인출기와 서쪽 통로를 향한다. 높이는 서 있는 사람의 눈높이인 약 1.6미터. 35밀리미터 풀프레임 미러리스 카메라에 24밀리미터 광각 렌즈를 장착해 촬영한 자연스러운 원근감이며, 가장자리 왜곡은 절제한다. 위에서 내려다보거나 평면도처럼 펼친 구도가 아니다.\n\n남쪽 벽의 남서쪽 출입문과 그 안쪽 문턱이 화면 왼쪽 가장자리에 보인다. 출입문 가까운 서쪽 벽에는 문이 움직이는 범위 밖으로 신발 진열대가 있다. 동서 방향으로 긴 가방·생활용품 진열대가 전경을, 그 북쪽에 평행하게 놓인 식품·완구 진열대가 중경을 형성한다. 서쪽 통로 너머 북서쪽 벽에 놓인 현금인출기의 남향 조작부와 그 앞 바닥이 읽히도록 구성한다. 현금인출기 바로 동쪽 북쪽 벽에는 모포 진열대가 있으며, 기기 앞 이용 공간을 침범하지 않는다. 북동쪽 벽의 의약품 진열대는 화면 먼 오른쪽에 위치한다. 북쪽 진열대 뒤의 후면 통로와 안쪽 공간은 실제 진열대에 가려진 만큼만 보이며, 선반을 투시하거나 시야 확보를 위해 집기를 옮기지 않는다.\n\n현금인출기의 남쪽 전면 패널에는 외장 일부가 뚫린 국소적인 관통 파손이 있다. 벌어진 금속 가장자리와 개구부 안쪽이 실제 기계 외장의 두께와 깊이로 보이되, 손상은 기기 자체에만 한정된다. 개구부에 남은 지폐 일부와 기기 바로 앞 인접 바닥에 놓인 소량의 지폐를 보여준다. 신발, 가방·생활용품, 식품·완구, 의약품, 모포 진열대에는 물품 일부를 가져가 생긴 국소적인 재고 빈자리가 각각 있고, 남은 상품과 진열대 구조는 그대로 서 있다. 벽과 출입문, 주변 매장 구조는 유지되어 있으며 점포 전체가 파괴된 모습이 아니다.\n\n낮의 출입구 쪽에서 들어오는 자연광이 바닥과 진열대에 퍼지고, 안쪽으로 갈수록 완만하게 어두워진다. 현금인출기 파손부와 남은 지폐는 그 빛으로 식별 가능하게 한다. 금속 선반 도장의 일상적인 마모, 기기 외장의 손때, 바닥의 옅은 생활 얼룩, 포장재의 반사, 접힌 모포의 실제 직물 조직을 사실적으로 기록한다. 과도한 보정 없이 자연스러운 색과 노출, 실제 렌즈의 심도를 유지한다. 깨끗하게 연출한 상품 홍보 사진이나 컴퓨터 합성 이미지, 삽화, 건축 시각화가 아니라 실제 현장 사진이어야 한다. 사람, 얼굴, 사람 형태의 형상은 반사면과 상품 이미지에도 나타나지 않는다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 1,
          "camera_cell": [
            5,
            4
          ],
          "look_at_unit": 4,
          "look_at_cell": [
            1,
            1
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad diagonal coverage from unit 1 toward marker 10 in unit 4, using exact listed coordinate candidates. Marker 10's south-facing panel is viewed obliquely; markers 11 and 8 provide surrounding structural context where unobstructed. Unit 4 has no enumerated camera candidate, so do not place the camera there. Shot-specific close and medium framings remain distinct from this representative plate."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Show the northwest-facing portion of unit 1 toward marker 10 in unit 4. Keep marker 10 against the north wall with its operating face southward, marker 11 immediately east of it, and marker 8 in its northern-central position. Include only portions inside the chosen cone and actually unobstructed. The visible-unit and opening lists are supersets, not proof of visibility; opening 12 is behind this view and must not be forced into frame.",
          "camera_framing_directive": "Use camera unit 1 at [5, 4], looking toward unit 4 at the exact target cell [1, 1], with wide lens coverage of 90 degrees. Establish broad oblique coverage of marker 10 and adjacent fixed context. Do not interpret this representative framing as simultaneously realizing the distinct close and medium shot setups; preserve their stated composition cues for shot-specific staging.",
          "subject_position_directive": "Keep the consuming shots' subject cues separate rather than combining their actions into one background. S41_Shot11 places the impact at center-left, the driving forearm and cropped torso on the right, and the head beyond the upper edge. S41_Shot22 places the approaching back and turning cheek on the left and the receiving figure at center-right. S41_Shot27 places a near shoulder and head sliver at the left foreground edge and the addressed figure right of center. These are screen-relative cues only; no subject grid cells are committed, so invent no additional subjects or fixed subject locations.",
          "state_cue_directive": "This BG is not marked clean. Retain overlays 13, 14 and 15 as committed: Localized ATM panel breach, Remaining cash traces, and Picked-over merchandise gaps, restricted to their applicable visible elements. S41_Shot11 specifies the instant of penetration, so marker 14 must not become premature falling money. Keep the neutral interior ambient treatment consistent across the surfaced shots; the later contact and redirected attention do not introduce a lighting change. Do not expand the localized state into additional damage.",
          "negative_continuity_directive": "The ignore and ignored-overlay lists are empty; do not discard overlays 13–15 wholesale. Avoid moving fixed markers 8, 10 or 11 to improve framing, duplicating marker 10, forcing opening 12 or units outside the selected cone into view, or treating visibility supersets as guaranteed sightlines. Avoid combining the three shots' transient subject states into a persistent background feature."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_unattended_store",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_unattended_store"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L52B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L52",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L52B01.png",
        "t2i_prompt": "2069년 대한민국의 고위 국방 관료 집무실을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 낮의 실내로, 한국 중앙행정기관의 격식 있는 집무 공간을 바탕으로 고급 자재와 정밀한 가구 마감에서 권위와 풍요로움이 드러난다. 미래의 공간이지만 현실적인 건축 재료와 익숙한 사무 가구로 구성한다. 직사각형 방의 북쪽에는 개인 업무 영역이, 책상 남쪽의 중앙과 남동쪽에는 방문객 영역이 있으며 서쪽에는 통행 공간이 이어진다. 북쪽 절반에 동서로 긴 대형 집무 책상이 놓이고, 그 북쪽의 집무 의자는 남쪽을 향한다. 북쪽 벽 중앙의 넓은 창이 집무 의자 뒤에 놓인다. 책상 남쪽에는 방문객 의자 두 개가 각각 책상의 서쪽과 동쪽 절반을 마주 보며 북쪽을 향한다. 북동쪽 업무 영역의 동쪽 벽에는 낮은 수납장이 자리한다. 가구 사이의 거리와 방향은 제공된 배치 자료에서 읽은 관계를 따른다.\n카메라는 방 서쪽 통행 공간의 남쪽 끝에서 북동쪽을 바라본다. 약 1.6미터의 서 있는 사람 눈높이에서 실제 디지털 일안 반사식 카메라와 35밀리미터 환산 렌즈로 촬영한다. 두 방문객 의자를 화면 중간 전경에 두고, 그 너머로 책상과 집무 의자가 뚜렷하게 보이며 수납장은 화면 오른쪽에 걸린다. 넓은 창과 책상 뒤 공간까지 함께 담되 광각 왜곡은 절제하고 수직선은 자연스럽게 유지한다.\n넓은 창으로 들어오는 밝은 낮의 자연광이 책상과 의자의 윤곽을 비추고 실내 반사광이 그늘의 세부를 부드럽게 드러낸다. 짙은 목재 책상과 수납장의 실제 나뭇결, 의자 가죽의 미세한 결, 금속 부속의 차분한 광택, 벽과 바닥 마감의 실제 표면 질감을 구체적으로 담는다. 잘 관리된 재료의 자연스러운 사용감과 현실적인 접합부가 보이게 하되 과도하게 새것처럼 매끈하게 만들지 않는다. 화려함은 추가 장식물보다 넉넉한 공간 비례와 깊이 있는 목재 색, 정교한 마감으로 표현한다. 공간은 깨끗하고 정돈된 평상시 상태다. 사람, 얼굴, 인체 형태의 형상은 반사면을 포함해 어디에도 나타내지 않는다. 실제 장소 기록 사진처럼 자연스러운 피사계 심도와 노출을 유지하고 인위적인 색 보정이나 과장된 광택을 피한다. 컴퓨터 합성 이미지나 삽화, 건축 시각화가 아닌 실제 사진이며, 위에서 내려다보는 시점이나 평면도 구도가 아니다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S43_Shot1",
            "guide_text": "서쪽 통행 공간 남단에서 북동쪽을 바라보는 기본 구도를 사용한다. 두 방문객 의자 너머로 집무 책상과 집무 의자, 뒤쪽 넓은 창을 보여주고 오른쪽에 수납장을 유지한다. 낮의 정돈된 빈 집무실로 제작한다."
          },
          {
            "shot_id": "S43_Shot5",
            "guide_text": "현재 지정된 고위 관료 집무실 배경을 유지한다. 다른 사무실을 가리키는 설명과 장소 배정이 충돌하므로 제작 전 확인이 필요하다. 확인 전에는 다른 장소의 구조나 가구를 섞지 말고 기본 구도와 낮의 채광을 그대로 사용한다."
          },
          {
            "shot_id": "S43_Shot10",
            "guide_text": "현재 집무실 배정을 유지하되 다른 사무실을 가리키는 설명과의 충돌을 제작 전에 확인한다. 별도 확인 없이 공간을 변경하거나 두 장소를 합치지 않는다. 책상, 의자 세 개, 북쪽 창과 동쪽 수납장의 위치 및 평상시 낮의 상태를 유지한다."
          },
          {
            "shot_id": "S54_Shot5",
            "guide_text": "동일한 눈높이의 기본 배경을 사용하고 책상 남쪽의 방문객 영역과 북쪽 업무 영역의 관계를 명확히 유지한다. 대화나 행동을 배경 변화로 표현하지 않으며 인물이나 추가 소품 없이 같은 낮의 채광과 정돈 상태를 이어간다."
          },
          {
            "shot_id": "S54_Shot6",
            "guide_text": "앞선 숏과 가구 위치, 창에서 들어오는 빛의 방향, 목재와 가죽의 색 및 질감을 일치시킨다. 책상과 방문객 의자의 간격을 유지하며 인물의 표정이나 자세 변화에 해당하는 요소는 빈 배경에 반영하지 않는다."
          }
        ],
        "shot_ids": [
          "S43_Shot1",
          "S43_Shot5",
          "S43_Shot10",
          "S54_Shot5",
          "S54_Shot6"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Near number 4 (entry threshold), at the southern end of number 12 (circulation strip), facing northeast toward number 7 (executive desk), number 8 (executive chair), and number 6 (broad window).",
          "camera_height": "Standing eye level, approximately 1.6 m.",
          "lens_hint": "28–35mm equivalent wide angle with restrained distortion.",
          "framing_notes": "Include numbers 7 and 8 prominently, numbers 9 and 10 in the middle foreground, and number 11 along the right side. The entrance is behind the camera. Maintain the same normal office layout for telephone conversation and face-to-face negotiation; no character-action overlays are needed. Retain this background assignment for S43_Shot5 and S43_Shot10, but flag their conflicting other-office descriptions for production confirmation rather than merging the two locations."
        },
        "reference_decision": {
          "bg_id": "L52B01",
          "fp_id": "fp_defense_minister_office",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L52B01 is the sole clean anchor candidate and the only readiness-ok BG. Seed its identity directly from the floor plan; no reference catalog entries are available. Camera unit 4 looking toward marker 7 in unit 2 with wide coverage establishes the fixed arrangement across target units 1, 2, 3 and 12 and provides negative space relevant to S43_Shot5. This is a representative background view, not a claim that the differing medium, close and reverse shot stagings share one camera angle.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/floor_plan/fp_defense_minister_office.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The clean identity anchor is seeded fresh without references; the supplied same-fp catalog is empty.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 4,
            "camera_cell": [
              7,
              1
            ],
            "look_at_unit": 2,
            "look_at_cell": [
              3,
              5
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad oblique coverage from unit 4 toward marker 7 in unit 2, retaining unit 3 in the foreground and the visible portion of unit 12 at the western edge. Establish a representative fixed-layout plate; shot-specific heights, movements and the reverse view are not encoded by this single camera decision."
          },
          "render_guidance": {
            "visible_space_directive": "Establish the visible interior of unit 1 from unit 4 toward unit 2, with unit 3 in the foreground and the visible portion of unit 12 along the west. Keep marker 7 in the northern half with its east-west long axis, marker 8 north of 7, markers 9 and 10 south of 7, marker 11 against the east wall, and opening 6 on the north wall. Use base markers 1, 2, 3, 6, 7, 8, 9, 10, 11 and 12 as the identity commitments. Visibility supersets do not establish additional spaces or opening adjacency.",
            "camera_framing_directive": "Use camera unit 4 at [7, 1], looking toward unit 2 at [3, 5], with a wide lens and 90-degree field of view. Provide broad oblique coverage and readable foreground floor space rather than compressed close framing. Treat this as the representative anchor composition; do not combine opposing shot viewpoints into one image.",
            "subject_position_directive": "Keep this clean background plate subject-free while preserving composition room for the committed shot layers. S43_Shot1 places its waist-up subject right of center; S43_Shot5 places the deeply bowed subject just right of center with surrounding floor visible; S43_Shot10 needs central placement and lateral room for both arms. S54_Shot5 places the seated face right of center with looking room left, while S54_Shot6 requires a separate reverse close view with the face left of center and looking room right. Staging supplies no exact subject grid cells; do not invent them or combine these subjects into the anchor.",
            "state_cue_directive": "No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Preserve the consuming shots' neutral ambient illumination and restrained contrast without adding a specified source or color; keep shot-specific actions in their shot layers.",
            "negative_continuity_directive": "No ignored numbered elements or ignored state-overlay markers are supplied. Avoid relocating markers 6, 7, 8, 9, 10 or 11 between consuming shots. Do not force marker 5 into this forward-facing composition, infer connected spaces from visibility supersets, or add unlisted markers. Do not bake shot-specific subjects or temporary states into L52B01, and do not represent the reverse shot as an identical camera view."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [7, 1]\n  - look_at_unit: 2\n  - look_at_cell: [3, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad oblique coverage from unit 4 toward marker 7 in unit 2, retaining unit 3 in the foreground and the visible portion of unit 12 at the western edge. Establish a representative fixed-layout plate; shot-specific heights, movements and the reverse view are not encoded by this single camera decision.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish the visible interior of unit 1 from unit 4 toward unit 2, with unit 3 in the foreground and the visible portion of unit 12 along the west. Keep marker 7 in the northern half with its east-west long axis, marker 8 north of 7, markers 9 and 10 south of 7, marker 11 against the east wall, and opening 6 on the north wall. Use base markers 1, 2, 3, 6, 7, 8, 9, 10, 11 and 12 as the identity commitments. Visibility supersets do not establish additional spaces or opening adjacency.\n  - camera_framing_directive: Use camera unit 4 at [7, 1], looking toward unit 2 at [3, 5], with a wide lens and 90-degree field of view. Provide broad oblique coverage and readable foreground floor space rather than compressed close framing. Treat this as the representative anchor composition; do not combine opposing shot viewpoints into one image.\n  - subject_position_directive: Keep this clean background plate subject-free while preserving composition room for the committed shot layers. S43_Shot1 places its waist-up subject right of center; S43_Shot5 places the deeply bowed subject just right of center with surrounding floor visible; S43_Shot10 needs central placement and lateral room for both arms. S54_Shot5 places the seated face right of center with looking room left, while S54_Shot6 requires a separate reverse close view with the face left of center and looking room right. Staging supplies no exact subject grid cells; do not invent them or combine these subjects into the anchor.\n  - state_cue_directive: No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Preserve the consuming shots' neutral ambient illumination and restrained contrast without adding a specified source or color; keep shot-specific actions in their shot layers.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are supplied. Avoid relocating markers 6, 7, 8, 9, 10 or 11 between consuming shots. Do not force marker 5 into this forward-facing composition, infer connected spaces from visibility supersets, or add unlisted markers. Do not bake shot-specific subjects or temporary states into L52B01, and do not represent the reverse shot as an identical camera view.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [7, 1]\n  - look_at_unit: 2\n  - look_at_cell: [3, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad oblique coverage from unit 4 toward marker 7 in unit 2, retaining unit 3 in the foreground and the visible portion of unit 12 at the western edge. Establish a representative fixed-layout plate; shot-specific heights, movements and the reverse view are not encoded by this single camera decision.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish the visible interior of unit 1 from unit 4 toward unit 2, with unit 3 in the foreground and the visible portion of unit 12 along the west. Keep marker 7 in the northern half with its east-west long axis, marker 8 north of 7, markers 9 and 10 south of 7, marker 11 against the east wall, and opening 6 on the north wall. Use base markers 1, 2, 3, 6, 7, 8, 9, 10, 11 and 12 as the identity commitments. Visibility supersets do not establish additional spaces or opening adjacency.\n  - camera_framing_directive: Use camera unit 4 at [7, 1], looking toward unit 2 at [3, 5], with a wide lens and 90-degree field of view. Provide broad oblique coverage and readable foreground floor space rather than compressed close framing. Treat this as the representative anchor composition; do not combine opposing shot viewpoints into one image.\n  - subject_position_directive: Keep this clean background plate subject-free while preserving composition room for the committed shot layers. S43_Shot1 places its waist-up subject right of center; S43_Shot5 places the deeply bowed subject just right of center with surrounding floor visible; S43_Shot10 needs central placement and lateral room for both arms. S54_Shot5 places the seated face right of center with looking room left, while S54_Shot6 requires a separate reverse close view with the face left of center and looking room right. Staging supplies no exact subject grid cells; do not invent them or combine these subjects into the anchor.\n  - state_cue_directive: No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Preserve the consuming shots' neutral ambient illumination and restrained contrast without adding a specified source or color; keep shot-specific actions in their shot layers.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are supplied. Avoid relocating markers 6, 7, 8, 9, 10 or 11 between consuming shots. Do not force marker 5 into this forward-facing composition, infer connected spaces from visibility supersets, or add unlisted markers. Do not bake shot-specific subjects or temporary states into L52B01, and do not represent the reverse shot as an identical camera view.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [7, 1]\n  - look_at_unit: 2\n  - look_at_cell: [3, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad oblique coverage from unit 4 toward marker 7 in unit 2, retaining unit 3 in the foreground and the visible portion of unit 12 at the western edge. Establish a representative fixed-layout plate; shot-specific heights, movements and the reverse view are not encoded by this single camera decision.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish the visible interior of unit 1 from unit 4 toward unit 2, with unit 3 in the foreground and the visible portion of unit 12 along the west. Keep marker 7 in the northern half with its east-west long axis, marker 8 north of 7, markers 9 and 10 south of 7, marker 11 against the east wall, and opening 6 on the north wall. Use base markers 1, 2, 3, 6, 7, 8, 9, 10, 11 and 12 as the identity commitments. Visibility supersets do not establish additional spaces or opening adjacency.\n  - camera_framing_directive: Use camera unit 4 at [7, 1], looking toward unit 2 at [3, 5], with a wide lens and 90-degree field of view. Provide broad oblique coverage and readable foreground floor space rather than compressed close framing. Treat this as the representative anchor composition; do not combine opposing shot viewpoints into one image.\n  - subject_position_directive: Keep this clean background plate subject-free while preserving composition room for the committed shot layers. S43_Shot1 places its waist-up subject right of center; S43_Shot5 places the deeply bowed subject just right of center with surrounding floor visible; S43_Shot10 needs central placement and lateral room for both arms. S54_Shot5 places the seated face right of center with looking room left, while S54_Shot6 requires a separate reverse close view with the face left of center and looking room right. Staging supplies no exact subject grid cells; do not invent them or combine these subjects into the anchor.\n  - state_cue_directive: No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Preserve the consuming shots' neutral ambient illumination and restrained contrast without adding a specified source or color; keep shot-specific actions in their shot layers.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are supplied. Avoid relocating markers 6, 7, 8, 9, 10 or 11 between consuming shots. Do not force marker 5 into this forward-facing composition, infer connected spaces from visibility supersets, or add unlisted markers. Do not bake shot-specific subjects or temporary states into L52B01, and do not represent the reverse shot as an identical camera view.\n\n2069년 대한민국의 고위 국방 관료 집무실을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 낮의 실내로, 한국 중앙행정기관의 격식 있는 집무 공간을 바탕으로 고급 자재와 정밀한 가구 마감에서 권위와 풍요로움이 드러난다. 미래의 공간이지만 현실적인 건축 재료와 익숙한 사무 가구로 구성한다. 직사각형 방의 북쪽에는 개인 업무 영역이, 책상 남쪽의 중앙과 남동쪽에는 방문객 영역이 있으며 서쪽에는 통행 공간이 이어진다. 북쪽 절반에 동서로 긴 대형 집무 책상이 놓이고, 그 북쪽의 집무 의자는 남쪽을 향한다. 북쪽 벽 중앙의 넓은 창이 집무 의자 뒤에 놓인다. 책상 남쪽에는 방문객 의자 두 개가 각각 책상의 서쪽과 동쪽 절반을 마주 보며 북쪽을 향한다. 북동쪽 업무 영역의 동쪽 벽에는 낮은 수납장이 자리한다. 가구 사이의 거리와 방향은 제공된 배치 자료에서 읽은 관계를 따른다.\n카메라는 방 서쪽 통행 공간의 남쪽 끝에서 북동쪽을 바라본다. 약 1.6미터의 서 있는 사람 눈높이에서 실제 디지털 일안 반사식 카메라와 35밀리미터 환산 렌즈로 촬영한다. 두 방문객 의자를 화면 중간 전경에 두고, 그 너머로 책상과 집무 의자가 뚜렷하게 보이며 수납장은 화면 오른쪽에 걸린다. 넓은 창과 책상 뒤 공간까지 함께 담되 광각 왜곡은 절제하고 수직선은 자연스럽게 유지한다.\n넓은 창으로 들어오는 밝은 낮의 자연광이 책상과 의자의 윤곽을 비추고 실내 반사광이 그늘의 세부를 부드럽게 드러낸다. 짙은 목재 책상과 수납장의 실제 나뭇결, 의자 가죽의 미세한 결, 금속 부속의 차분한 광택, 벽과 바닥 마감의 실제 표면 질감을 구체적으로 담는다. 잘 관리된 재료의 자연스러운 사용감과 현실적인 접합부가 보이게 하되 과도하게 새것처럼 매끈하게 만들지 않는다. 화려함은 추가 장식물보다 넉넉한 공간 비례와 깊이 있는 목재 색, 정교한 마감으로 표현한다. 공간은 깨끗하고 정돈된 평상시 상태다. 사람, 얼굴, 인체 형태의 형상은 반사면을 포함해 어디에도 나타내지 않는다. 실제 장소 기록 사진처럼 자연스러운 피사계 심도와 노출을 유지하고 인위적인 색 보정이나 과장된 광택을 피한다. 컴퓨터 합성 이미지나 삽화, 건축 시각화가 아닌 실제 사진이며, 위에서 내려다보는 시점이나 평면도 구도가 아니다. 16:9 가로 비율, 실제 카메라 촬영본",
        "camera_decision": {
          "camera_unit": 4,
          "camera_cell": [
            7,
            1
          ],
          "look_at_unit": 2,
          "look_at_cell": [
            3,
            5
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad oblique coverage from unit 4 toward marker 7 in unit 2, retaining unit 3 in the foreground and the visible portion of unit 12 at the western edge. Establish a representative fixed-layout plate; shot-specific heights, movements and the reverse view are not encoded by this single camera decision."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Establish the visible interior of unit 1 from unit 4 toward unit 2, with unit 3 in the foreground and the visible portion of unit 12 along the west. Keep marker 7 in the northern half with its east-west long axis, marker 8 north of 7, markers 9 and 10 south of 7, marker 11 against the east wall, and opening 6 on the north wall. Use base markers 1, 2, 3, 6, 7, 8, 9, 10, 11 and 12 as the identity commitments. Visibility supersets do not establish additional spaces or opening adjacency.",
          "camera_framing_directive": "Use camera unit 4 at [7, 1], looking toward unit 2 at [3, 5], with a wide lens and 90-degree field of view. Provide broad oblique coverage and readable foreground floor space rather than compressed close framing. Treat this as the representative anchor composition; do not combine opposing shot viewpoints into one image.",
          "subject_position_directive": "Keep this clean background plate subject-free while preserving composition room for the committed shot layers. S43_Shot1 places its waist-up subject right of center; S43_Shot5 places the deeply bowed subject just right of center with surrounding floor visible; S43_Shot10 needs central placement and lateral room for both arms. S54_Shot5 places the seated face right of center with looking room left, while S54_Shot6 requires a separate reverse close view with the face left of center and looking room right. Staging supplies no exact subject grid cells; do not invent them or combine these subjects into the anchor.",
          "state_cue_directive": "No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Preserve the consuming shots' neutral ambient illumination and restrained contrast without adding a specified source or color; keep shot-specific actions in their shot layers.",
          "negative_continuity_directive": "No ignored numbered elements or ignored state-overlay markers are supplied. Avoid relocating markers 6, 7, 8, 9, 10 or 11 between consuming shots. Do not force marker 5 into this forward-facing composition, infer connected spaces from visibility supersets, or add unlisted markers. Do not bake shot-specific subjects or temporary states into L52B01, and do not represent the reverse shot as an identical camera view."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_defense_minister_office",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_defense_minister_office"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L54B02": {
        "status": "ok",
        "location_id": "L54",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L54B02.png",
        "t2i_prompt": "2069년 대한민국의 도시 외곽, 비가 내리는 한적한 야간 도로를 달리는 낡은 캠핑카의 외관을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람 없이 차량과 도로, 주변 환경만 담는다. 도로 옆 안전한 노견에서 지면 위 약 1.6미터의 서 있는 사람 눈높이로, 실제 미러리스 카메라의 35밀리미터급 렌즈를 사용해 접근하는 캠핑카의 전면과 한쪽 측면이 함께 보이는 사선 방향으로 촬영한다. 차량 전체와 바퀴 아래 노면을 화면에 포함하고, 뒤로 이어지는 빈 도로를 충분히 남긴다. 내려다보는 시점이나 평면도 구도가 아니다.\n캠핑카는 오래 사용하고 수리하며 버텨 온 실물 차량으로, 바랜 회백색 차체와 이음매의 실란트 보수 흔적, 금속 테두리의 작은 녹 자국, 하부에 쌓인 흙탕물 얼룩, 빗방울이 맺힌 유리와 고무 몰딩의 질감이 선명하다. 측면 출입문과 작은 생활실 창문이 보이며 실내는 어둡다. 앞유리에는 빗물이 흐르고 주변 어둠이 반사되어 탑승자나 얼굴, 사람 형상이 전혀 보이지 않는다. 전면 헤드라이트는 확실히 꺼져 있으며 등 내부에 발광점이 없고, 차량 앞 도로에도 헤드라이트 빛줄기나 조명 웅덩이가 없다. 회전하는 타이어가 젖은 아스팔트의 얕은 고인 물을 밀어내면서 접지 부근에서 뒤와 바깥쪽으로 낮고 불규칙한 물보라를 튀긴다. 차체의 형태는 알아볼 수 있게 유지하고 바퀴와 물방울에만 실제 주행 촬영에서 생기는 약한 움직임 흐림을 허용한다.\n대한민국 외곽 왕복 이차로의 낡은 아스팔트, 닳은 황색 중앙선과 백색 가장자리선, 도로변 금속 가드레일, 콘크리트 배수로와 비에 젖은 풀숲을 배치한다. 먼 곳에 드문드문 있는 가로등의 약한 빛과 흐린 밤하늘의 미세한 주변광만으로 차량 윤곽과 물보라가 겨우 읽히는 현실적인 야간 노출이다. 비가 내리는 하늘에 달이나 강한 달빛은 보이지 않는다. 젖은 노면에는 실제 광원에 대응하는 희미하고 끊어진 반사만 있으며, 화면 전체를 밝히는 촬영 조명이나 과도한 푸른빛은 없다. 미래에도 남아 있는 오래된 차량과 보수된 도로 시설로 자원 접근이 제한된 생활 환경을 드러내되, 불필요한 첨단 장치나 공중 정보창, 네온 장식은 추가하지 않는다. 실제 금속의 부식, 고무의 마모, 거친 아스팔트 골재와 젖은 콘크리트를 사실적으로 기록한다. 자연스러운 광학적 피사계 심도와 어두운 영역의 디테일 손실을 유지하며, 과도한 보정 없이 실제 현장 기록 사진과 구별되지 않게 한다. 광고용으로 깨끗하게 정돈된 사진, 컴퓨터 생성 이미지, 삽화, 건축 시각화가 아니다. 다른 차량, 보행자, 인물, 얼굴, 시신, 혈흔은 없다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S45_Shot1",
            "guide_text": "노견 쪽 약 1.6미터 눈높이에서 35밀리미터급 렌즈로 주행 중인 캠핑카를 전면 사선 구도로 잡는다. 차체 전체와 앞뒤 바퀴의 접지부, 물보라, 뒤로 이어지는 빈 도로가 보이도록 여백을 확보한다. 꺼진 헤드라이트와 그 앞에 빛줄기가 없는 노면을 분명히 유지한다. 비와 바퀴에서 뒤로 튀는 낮은 물보라로 주행을 전달하되 차체를 과도하게 흐리지 않는다. 창문 안쪽은 어둡고 빗물 반사로 가려져 사람이나 얼굴이 보이지 않는다."
          }
        ],
        "shot_ids": [
          "S45_Shot1"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "text_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {},
        "reference_decision": {
          "mode": "surface_role_direct_plate",
          "surface_role": "exterior_plate",
          "fp_id": "",
          "source_bg_ids": []
        },
        "effective_render_prompt": "2069년 대한민국의 도시 외곽, 비가 내리는 한적한 야간 도로를 달리는 낡은 캠핑카의 외관을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람 없이 차량과 도로, 주변 환경만 담는다. 도로 옆 안전한 노견에서 지면 위 약 1.6미터의 서 있는 사람 눈높이로, 실제 미러리스 카메라의 35밀리미터급 렌즈를 사용해 접근하는 캠핑카의 전면과 한쪽 측면이 함께 보이는 사선 방향으로 촬영한다. 차량 전체와 바퀴 아래 노면을 화면에 포함하고, 뒤로 이어지는 빈 도로를 충분히 남긴다. 내려다보는 시점이나 평면도 구도가 아니다.\n캠핑카는 오래 사용하고 수리하며 버텨 온 실물 차량으로, 바랜 회백색 차체와 이음매의 실란트 보수 흔적, 금속 테두리의 작은 녹 자국, 하부에 쌓인 흙탕물 얼룩, 빗방울이 맺힌 유리와 고무 몰딩의 질감이 선명하다. 측면 출입문과 작은 생활실 창문이 보이며 실내는 어둡다. 앞유리에는 빗물이 흐르고 주변 어둠이 반사되어 탑승자나 얼굴, 사람 형상이 전혀 보이지 않는다. 전면 헤드라이트는 확실히 꺼져 있으며 등 내부에 발광점이 없고, 차량 앞 도로에도 헤드라이트 빛줄기나 조명 웅덩이가 없다. 회전하는 타이어가 젖은 아스팔트의 얕은 고인 물을 밀어내면서 접지 부근에서 뒤와 바깥쪽으로 낮고 불규칙한 물보라를 튀긴다. 차체의 형태는 알아볼 수 있게 유지하고 바퀴와 물방울에만 실제 주행 촬영에서 생기는 약한 움직임 흐림을 허용한다.\n대한민국 외곽 왕복 이차로의 낡은 아스팔트, 닳은 황색 중앙선과 백색 가장자리선, 도로변 금속 가드레일, 콘크리트 배수로와 비에 젖은 풀숲을 배치한다. 먼 곳에 드문드문 있는 가로등의 약한 빛과 흐린 밤하늘의 미세한 주변광만으로 차량 윤곽과 물보라가 겨우 읽히는 현실적인 야간 노출이다. 비가 내리는 하늘에 달이나 강한 달빛은 보이지 않는다. 젖은 노면에는 실제 광원에 대응하는 희미하고 끊어진 반사만 있으며, 화면 전체를 밝히는 촬영 조명이나 과도한 푸른빛은 없다. 미래에도 남아 있는 오래된 차량과 보수된 도로 시설로 자원 접근이 제한된 생활 환경을 드러내되, 불필요한 첨단 장치나 공중 정보창, 네온 장식은 추가하지 않는다. 실제 금속의 부식, 고무의 마모, 거친 아스팔트 골재와 젖은 콘크리트를 사실적으로 기록한다. 자연스러운 광학적 피사계 심도와 어두운 영역의 디테일 손실을 유지하며, 과도한 보정 없이 실제 현장 기록 사진과 구별되지 않게 한다. 광고용으로 깨끗하게 정돈된 사진, 컴퓨터 생성 이미지, 삽화, 건축 시각화가 아니다. 다른 차량, 보행자, 인물, 얼굴, 시신, 혈흔은 없다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_aware_plan_mode": "surface_role_direct_plate",
        "attached_reference_lineage": {
          "fp_id": "",
          "prior_bg_ids": [],
          "attached_ref_labels": [],
          "ref_used": "text_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L54B03": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L54",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L54B03.png",
        "t2i_prompt": "2069년 대한민국에서 오래 사용하며 유지해 온 캠핑카의 빈 실내를 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 실제 장소 기록 사진과 구별할 수 없는 재질과 노출로 표현한다. 후방 벤치 오른쪽 끝 부근에서 앞쪽 왼편의 운전석과 운전대를 대각선으로 바라본다. 카메라는 바닥에서 약 1.6미터인 서 있는 사람의 눈높이이며, 35밀리미터급 렌즈로 어안 왜곡 없이 좁고 긴 실내의 깊이를 담는다. 내려다보는 평면 구도가 아니라 실내에 서서 보는 수평에 가까운 시선이다.\n참조 평면도는 구조와 고정 가구의 상대 위치를 파악하는 용도로만 사용한다. 후방 공용 좌석 공간에서 전방 운전 공간까지 시야가 연속해서 이어진다. 전경 아래에 후방 벤치의 가장자리를 걸치고, 왼쪽 앞에는 운전석과 그 앞 운전대, 오른쪽에는 조수석을 둔다. 두 앞좌석 너머로 대시보드와 전면 유리창이 보인다. 앞좌석 양옆의 차문과 차문 유리, 후방 왼쪽 측면 창문은 원래 구조에 맞게 보인다. 후방 벤치 왼쪽 끝 바로 앞 바닥에는 들고 온 짐가방들이 놓여 있다. 중간 실내에서 손이 닿을 만한 자리이며, 수납장에 붙어 있는 형태가 아니라 바닥에 각각 내려놓은 부드러운 가방이다.\n후방 벤치 바로 앞 통로 위의 작은 천장 전등 하나만 켜져 있다. 가능하면 전등을 화면 위쪽 가장자리에 포함한다. 그 작은 전등의 약한 따뜻한 빛이 가까운 좌석과 짐가방 표면에만 닿고, 멀리 있는 운전석과 대시보드는 윤곽을 알아볼 수 있을 정도의 깊은 어둠에 잠긴다. 창밖은 어둡고 유리에는 실내 전등의 미약한 반사만 남는다. 별도의 보조광 없이 실제 현장광의 거리별 감쇠와 자연스러운 그림자를 유지한다. 비어 있는 좌석 사이의 거리와 어두운 통로에서 긴 침묵과 무거운 슬픔이 느껴진다.\n자원과 전력이 넉넉하지 않은 생활 공간의 현실감을 오래된 차량 내장재로 드러낸다. 좌석 천의 실제 직조와 눌린 사용감, 손이 자주 닿아 매끈해진 운전대, 대시보드 플라스틱의 잔흠집, 금속 테두리의 미세한 산화와 일상적인 옅은 얼룩을 과장 없이 담는다. 미래라는 이유로 새 첨단 설비를 추가하지 않는다. 자연스러운 광학적 피사계 심도와 사실적인 저조도 노출을 유지하고, 과도한 보정이나 광고 사진 같은 정돈된 광택을 피한다. 사람이 전혀 없는 배경이며 얼굴, 인체 형태의 형상, 유리 속 사람 반사도 없다. 삽화나 컴퓨터 합성 이미지, 건축 시각화가 아닌 실제 촬영 사진이다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S45_Shot8",
            "guide_text": "후방 좌석에서 운전석까지 이어지는 막힘없는 시선을 중심으로 잡는다. 전경에는 벤치 가장자리와 왼쪽 바닥의 짐가방을 남기고, 앞쪽 왼편에는 빈 운전석과 운전대, 오른편에는 빈 조수석이 읽히게 한다. 작은 후방 전등의 가까운 빛과 운전석 쪽의 어둠을 유지하여 공간 사이의 거리와 긴 침묵을 전달한다. 인물이나 인체 형태의 형상은 배경에 포함하지 않는다."
          }
        ],
        "shot_ids": [
          "S45_Shot8"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Near the right end of number 6, facing diagonally forward-left toward number 4 and number 8, with number 5 to the right and the rear seating edge in the foreground.",
          "camera_height": "Seated eye-level, approximately 1.1-1.3 m above the cabin floor.",
          "lens_hint": "24-28mm wide angle, avoiding fisheye distortion.",
          "framing_notes": "Maintain the open rear-to-driver sightline for the confrontation. Include the rear seating edge and luggage area as foreground anchors, and retain number 16 near the upper frame if possible. In the downstream background only, the single rear lamp is on and the cabin is otherwise dark; no active interior leakage or leak-blocking clothing yet. Do not place characters or illumination effects on the floor plan."
        },
        "reference_decision": {
          "bg_id": "L54B03",
          "fp_id": "fp_camper_cabin",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L54B03 is the sole supplied anchor candidate and is staged for S45_Shot8. Use the explicitly authorized minimum-transient fallback: this BG is not marked clean and carries marker 17. A unit 1 camera looking rearward into unit 2 establishes the fixed background behind the close subject framing. Broad background coverage supports the shot-specific crop without requiring every referenced base marker to appear.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/floor_plan/fp_camper_cabin.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The first node establishes identity directly from the supplied base plan; no earlier reference is available or required.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 1,
            "camera_cell": [
              2,
              5
            ],
            "look_at_unit": 2,
            "look_at_cell": [
              8,
              5
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad rearward background coverage centered on base marker 6 in unit 2. S45_Shot8 uses a close subject framing within this background envelope. The grid does not encode camera height or establish visibility of the requested extreme foreground edge."
          },
          "render_guidance": {
            "visible_space_directive": "From unit 1, show the rearward portion of unit 2 centered on base marker 6, with unit 3 toward the left. Base markers 14 and 16 lie within the broad rearward coverage. Preserve the supplied positions of base markers 4, 5, 6 and 16 even where cropped. Treat visible-opening lists as supersets, not a requirement to display all openings; no opening-to-unit adjacency is established.",
            "camera_framing_directive": "Use camera_unit 1 at [2, 5], looking into look_at_unit 2 at [8, 5], with wide 90-degree background coverage. Reserve the center-right for the committed close framing and looking room on the left. Follow the staged seated-eye-height relationship without inventing a different grid position or moving fixed elements to force foreground visibility.",
            "subject_position_directive": "For S45_Shot8, reserve center-right for 앰버 seated with chin lifted, in three_quarter_left orientation, looking off-screen toward the left. Only a narrow portion of 이현우's rear shoulder is committed at the left foreground, with his face beyond the edge and his posture leaning forward while steering. Keep this foreground cue peripheral; the grid does not independently resolve its occlusion.",
            "state_cue_directive": "This fallback anchor is not a clean-background BG. Carry transient marker 17 where visible. Preserve the staged dark nighttime interior and restrained visibility from the small rear-seat light associated with base marker 16, without adding a color or another source. Exclude overlay markers 18, 19, 20 and 21.",
            "negative_continuity_directive": "Avoid overlay markers 18, 19, 20 and 21. Do not force base markers 7 through 13 into the rearward frame solely because they occur in the reference inventory. Avoid relocating base markers 4, 5 or 6 to satisfy a crop, and do not convert visibility supersets into guaranteed visibility."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [2, 5]\n  - look_at_unit: 2\n  - look_at_cell: [8, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad rearward background coverage centered on base marker 6 in unit 2. S45_Shot8 uses a close subject framing within this background envelope. The grid does not encode camera height or establish visibility of the requested extreme foreground edge.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 1, show the rearward portion of unit 2 centered on base marker 6, with unit 3 toward the left. Base markers 14 and 16 lie within the broad rearward coverage. Preserve the supplied positions of base markers 4, 5, 6 and 16 even where cropped. Treat visible-opening lists as supersets, not a requirement to display all openings; no opening-to-unit adjacency is established.\n  - camera_framing_directive: Use camera_unit 1 at [2, 5], looking into look_at_unit 2 at [8, 5], with wide 90-degree background coverage. Reserve the center-right for the committed close framing and looking room on the left. Follow the staged seated-eye-height relationship without inventing a different grid position or moving fixed elements to force foreground visibility.\n  - subject_position_directive: For S45_Shot8, reserve center-right for 앰버 seated with chin lifted, in three_quarter_left orientation, looking off-screen toward the left. Only a narrow portion of 이현우's rear shoulder is committed at the left foreground, with his face beyond the edge and his posture leaning forward while steering. Keep this foreground cue peripheral; the grid does not independently resolve its occlusion.\n  - state_cue_directive: This fallback anchor is not a clean-background BG. Carry transient marker 17 where visible. Preserve the staged dark nighttime interior and restrained visibility from the small rear-seat light associated with base marker 16, without adding a color or another source. Exclude overlay markers 18, 19, 20 and 21.\n  - negative_continuity_directive: Avoid overlay markers 18, 19, 20 and 21. Do not force base markers 7 through 13 into the rearward frame solely because they occur in the reference inventory. Avoid relocating base markers 4, 5 or 6 to satisfy a crop, and do not convert visibility supersets into guaranteed visibility.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [2, 5]\n  - look_at_unit: 2\n  - look_at_cell: [8, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad rearward background coverage centered on base marker 6 in unit 2. S45_Shot8 uses a close subject framing within this background envelope. The grid does not encode camera height or establish visibility of the requested extreme foreground edge.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 1, show the rearward portion of unit 2 centered on base marker 6, with unit 3 toward the left. Base markers 14 and 16 lie within the broad rearward coverage. Preserve the supplied positions of base markers 4, 5, 6 and 16 even where cropped. Treat visible-opening lists as supersets, not a requirement to display all openings; no opening-to-unit adjacency is established.\n  - camera_framing_directive: Use camera_unit 1 at [2, 5], looking into look_at_unit 2 at [8, 5], with wide 90-degree background coverage. Reserve the center-right for the committed close framing and looking room on the left. Follow the staged seated-eye-height relationship without inventing a different grid position or moving fixed elements to force foreground visibility.\n  - subject_position_directive: For S45_Shot8, reserve center-right for 앰버 seated with chin lifted, in three_quarter_left orientation, looking off-screen toward the left. Only a narrow portion of 이현우's rear shoulder is committed at the left foreground, with his face beyond the edge and his posture leaning forward while steering. Keep this foreground cue peripheral; the grid does not independently resolve its occlusion.\n  - state_cue_directive: This fallback anchor is not a clean-background BG. Carry transient marker 17 where visible. Preserve the staged dark nighttime interior and restrained visibility from the small rear-seat light associated with base marker 16, without adding a color or another source. Exclude overlay markers 18, 19, 20 and 21.\n  - negative_continuity_directive: Avoid overlay markers 18, 19, 20 and 21. Do not force base markers 7 through 13 into the rearward frame solely because they occur in the reference inventory. Avoid relocating base markers 4, 5 or 6 to satisfy a crop, and do not convert visibility supersets into guaranteed visibility.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [2, 5]\n  - look_at_unit: 2\n  - look_at_cell: [8, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad rearward background coverage centered on base marker 6 in unit 2. S45_Shot8 uses a close subject framing within this background envelope. The grid does not encode camera height or establish visibility of the requested extreme foreground edge.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 1, show the rearward portion of unit 2 centered on base marker 6, with unit 3 toward the left. Base markers 14 and 16 lie within the broad rearward coverage. Preserve the supplied positions of base markers 4, 5, 6 and 16 even where cropped. Treat visible-opening lists as supersets, not a requirement to display all openings; no opening-to-unit adjacency is established.\n  - camera_framing_directive: Use camera_unit 1 at [2, 5], looking into look_at_unit 2 at [8, 5], with wide 90-degree background coverage. Reserve the center-right for the committed close framing and looking room on the left. Follow the staged seated-eye-height relationship without inventing a different grid position or moving fixed elements to force foreground visibility.\n  - subject_position_directive: For S45_Shot8, reserve center-right for 앰버 seated with chin lifted, in three_quarter_left orientation, looking off-screen toward the left. Only a narrow portion of 이현우's rear shoulder is committed at the left foreground, with his face beyond the edge and his posture leaning forward while steering. Keep this foreground cue peripheral; the grid does not independently resolve its occlusion.\n  - state_cue_directive: This fallback anchor is not a clean-background BG. Carry transient marker 17 where visible. Preserve the staged dark nighttime interior and restrained visibility from the small rear-seat light associated with base marker 16, without adding a color or another source. Exclude overlay markers 18, 19, 20 and 21.\n  - negative_continuity_directive: Avoid overlay markers 18, 19, 20 and 21. Do not force base markers 7 through 13 into the rearward frame solely because they occur in the reference inventory. Avoid relocating base markers 4, 5 or 6 to satisfy a crop, and do not convert visibility supersets into guaranteed visibility.\n\n2069년 대한민국에서 오래 사용하며 유지해 온 캠핑카의 빈 실내를 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 실제 장소 기록 사진과 구별할 수 없는 재질과 노출로 표현한다. 후방 벤치 오른쪽 끝 부근에서 앞쪽 왼편의 운전석과 운전대를 대각선으로 바라본다. 카메라는 바닥에서 약 1.6미터인 서 있는 사람의 눈높이이며, 35밀리미터급 렌즈로 어안 왜곡 없이 좁고 긴 실내의 깊이를 담는다. 내려다보는 평면 구도가 아니라 실내에 서서 보는 수평에 가까운 시선이다.\n참조 평면도는 구조와 고정 가구의 상대 위치를 파악하는 용도로만 사용한다. 후방 공용 좌석 공간에서 전방 운전 공간까지 시야가 연속해서 이어진다. 전경 아래에 후방 벤치의 가장자리를 걸치고, 왼쪽 앞에는 운전석과 그 앞 운전대, 오른쪽에는 조수석을 둔다. 두 앞좌석 너머로 대시보드와 전면 유리창이 보인다. 앞좌석 양옆의 차문과 차문 유리, 후방 왼쪽 측면 창문은 원래 구조에 맞게 보인다. 후방 벤치 왼쪽 끝 바로 앞 바닥에는 들고 온 짐가방들이 놓여 있다. 중간 실내에서 손이 닿을 만한 자리이며, 수납장에 붙어 있는 형태가 아니라 바닥에 각각 내려놓은 부드러운 가방이다.\n후방 벤치 바로 앞 통로 위의 작은 천장 전등 하나만 켜져 있다. 가능하면 전등을 화면 위쪽 가장자리에 포함한다. 그 작은 전등의 약한 따뜻한 빛이 가까운 좌석과 짐가방 표면에만 닿고, 멀리 있는 운전석과 대시보드는 윤곽을 알아볼 수 있을 정도의 깊은 어둠에 잠긴다. 창밖은 어둡고 유리에는 실내 전등의 미약한 반사만 남는다. 별도의 보조광 없이 실제 현장광의 거리별 감쇠와 자연스러운 그림자를 유지한다. 비어 있는 좌석 사이의 거리와 어두운 통로에서 긴 침묵과 무거운 슬픔이 느껴진다.\n자원과 전력이 넉넉하지 않은 생활 공간의 현실감을 오래된 차량 내장재로 드러낸다. 좌석 천의 실제 직조와 눌린 사용감, 손이 자주 닿아 매끈해진 운전대, 대시보드 플라스틱의 잔흠집, 금속 테두리의 미세한 산화와 일상적인 옅은 얼룩을 과장 없이 담는다. 미래라는 이유로 새 첨단 설비를 추가하지 않는다. 자연스러운 광학적 피사계 심도와 사실적인 저조도 노출을 유지하고, 과도한 보정이나 광고 사진 같은 정돈된 광택을 피한다. 사람이 전혀 없는 배경이며 얼굴, 인체 형태의 형상, 유리 속 사람 반사도 없다. 삽화나 컴퓨터 합성 이미지, 건축 시각화가 아닌 실제 촬영 사진이다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 1,
          "camera_cell": [
            2,
            5
          ],
          "look_at_unit": 2,
          "look_at_cell": [
            8,
            5
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad rearward background coverage centered on base marker 6 in unit 2. S45_Shot8 uses a close subject framing within this background envelope. The grid does not encode camera height or establish visibility of the requested extreme foreground edge."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "From unit 1, show the rearward portion of unit 2 centered on base marker 6, with unit 3 toward the left. Base markers 14 and 16 lie within the broad rearward coverage. Preserve the supplied positions of base markers 4, 5, 6 and 16 even where cropped. Treat visible-opening lists as supersets, not a requirement to display all openings; no opening-to-unit adjacency is established.",
          "camera_framing_directive": "Use camera_unit 1 at [2, 5], looking into look_at_unit 2 at [8, 5], with wide 90-degree background coverage. Reserve the center-right for the committed close framing and looking room on the left. Follow the staged seated-eye-height relationship without inventing a different grid position or moving fixed elements to force foreground visibility.",
          "subject_position_directive": "For S45_Shot8, reserve center-right for 앰버 seated with chin lifted, in three_quarter_left orientation, looking off-screen toward the left. Only a narrow portion of 이현우's rear shoulder is committed at the left foreground, with his face beyond the edge and his posture leaning forward while steering. Keep this foreground cue peripheral; the grid does not independently resolve its occlusion.",
          "state_cue_directive": "This fallback anchor is not a clean-background BG. Carry transient marker 17 where visible. Preserve the staged dark nighttime interior and restrained visibility from the small rear-seat light associated with base marker 16, without adding a color or another source. Exclude overlay markers 18, 19, 20 and 21.",
          "negative_continuity_directive": "Avoid overlay markers 18, 19, 20 and 21. Do not force base markers 7 through 13 into the rearward frame solely because they occur in the reference inventory. Avoid relocating base markers 4, 5 or 6 to satisfy a crop, and do not convert visibility supersets into guaranteed visibility."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_camper_cabin",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_camper_cabin"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L54B01": {
        "status": "ok",
        "is_reuse": true,
        "render_action": "reuse_existing_plate",
        "reuse_target_bg_id": "L54B03",
        "reused_from_bg_id": "L54B03",
        "location_id": "L54",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L54B03.png",
        "t2i_prompt": "대한민국을 중심으로 한 2069년의 자원 부족 사회에서 오래 사용해 온 캠핑카의 비어 있는 실내를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 새 미래형 설비 대신 기존 차량의 생활 공간을 계속 사용하는 현실적인 모습이다. 실제 미러리스 카메라와 35밀리미터급 렌즈로, 바닥에서 약 1.6미터 높이의 서 있는 사람 눈높이에서 촬영한다. 앞쪽 실내와 뒤쪽 공용 좌석 구역이 이어지는 지점에서 오른쪽 뒤를 대각선으로 바라본다. 조수석 일부가 오른쪽 전경 가장자리에 걸리고, 앞을 향한 뒤쪽 벤치와 오른쪽 뒤 측면 창틀, 천장 누수 지점이 함께 보이도록 수평에 가까운 시선을 약간 위로 조절한다. 어안 왜곡 없이 실제 차량 내부의 좁은 폭과 깊이를 보여준다.\n\n참고 평면도는 좌석과 창, 통로, 전등의 위치 관계만 파악하는 데 사용한다. 뒤쪽 벤치는 공용 좌석 구역의 맨 뒤에 가로로 놓이고, 왼쪽 뒤 측면 창 아래이자 벤치 왼쪽 끝 바로 앞 바닥에는 휴대용 짐가방들이 놓여 있다. 가방은 붙박이 수납시설이 아니라 이동 가능한 개인 짐이다. 반대편 오른쪽 뒤 측면 창은 열린 통로에서 가까이 접근할 수 있다. 벤치 바로 앞 통로 위의 작은 천장 전등이 켜져 있다.\n\n소나기가 내리는 동안 중간과 뒤쪽 천장 여러 이음부에서 물방울이 맺혀 연속해서 떨어진다. 조수석 바로 뒤, 손이 닿을 만한 천장 지점에서도 누수가 이어진다. 양쪽 뒤 측면 창틀의 안쪽 접합부에는 빗물이 스며들어 가는 물줄기를 만들며 흘러내린다. 특히 오른쪽 창틀 안쪽의 누수 부분이 잘 보인다. 짐가방에서 꺼낸 옷가지 하나가 조수석 뒤 천장의 새는 부분에 접혀 밀착되어 있고, 다른 옷가지는 오른쪽 뒤 창틀 안쪽의 누수 부분에 눌려 붙어 있다. 옷가지는 물을 흡수해 짙어진 납작한 천 덩어리로만 보이며, 표면에 닿은 부분과 중력 방향으로 처진 주름을 사실적으로 표현한다. 이를 받치는 손이나 팔, 사람의 몸은 묘사하지 않는다.\n\n비구름을 통과해 창으로 들어오는 흐린 자연광과 작은 전등의 국소적인 따뜻한 빛이 섞인다. 실제 금속 창틀의 산화와 마모, 낡은 밀폐재, 천장 내장재의 이음선, 좌석 직물의 짜임과 눌린 흔적, 가방과 젖은 옷감의 섬유 질감을 세밀하게 보여준다. 물방울의 크기와 반사는 작고 현실적이며, 어두운 부분에도 재료의 결이 남는다. 자연스러운 피사계 심도와 현장 그대로의 노출을 사용하고 과장된 보정은 하지 않는다. 사람, 얼굴, 신체 형태의 형상, 사람의 반사상은 전혀 없는 배경 사진이다. 실제 장소 기록 사진처럼 보이며, 삽화나 컴퓨터 그래픽 이미지, 건축 시각화, 내려다본 평면도 구도가 아니다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S45_Shot14",
            "guide_text": "조수석을 오른쪽 전경 가장자리에 두고 뒤쪽 벤치와 오른쪽 창틀을 대각선으로 바라보는 빈 실내 구도를 사용한다. 조수석 뒤 천장에 밀착된 옷가지와 오른쪽 창틀에 눌린 옷가지가 서로 구별되도록 하고, 왼쪽 바닥의 짐가방과 양쪽 창틀 및 여러 천장 지점의 물방울도 공간 안에서 읽히게 한다. 작은 천장 전등의 따뜻한 빛과 비 오는 날의 흐린 창빛을 유지한다. 천장과 창틀 주변의 시야를 확보하되 사람, 손, 팔이나 인체를 닮은 옷의 형태는 넣지 않는다."
          }
        ],
        "shot_ids": [
          "S45_Shot14"
        ],
        "scenes": [],
        "parent_id": "L54B03",
        "ref_used": "reused_plate",
        "render_attempts": 0,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "At the inner rear edge of number 4, facing diagonally rearward-right through number 2 toward number 15 and number 6, with number 5 at the right foreground edge.",
          "camera_height": "Approximately 1.2-1.4 m above the cabin floor, low enough to include the ceiling reach and window frames.",
          "lens_hint": "24mm wide angle, avoiding fisheye distortion.",
          "framing_notes": "Include number 3 and its bags toward the left, number 16 overhead, and number 15 prominently on the right. Preserve space behind number 5 for an upward reach toward number 18 and beside number 15 for window blocking. The downstream overlay depicts multiple roof and frame leaks plus clothing taken from the bags; the single rear lamp remains the interior light source. Leak points are overhead or at frames, never permanent holes drawn on the plan."
        },
        "reference_decision": {
          "mode": "reference_derived",
          "render_action": "reuse_existing_plate",
          "reuse_target_bg_id": "L54B03",
          "selected_refs": [
            {
              "ref_bg_id": "L54B03",
              "physical_space_id": "fp_camper_cabin_space_01",
              "space_description": "Connected rearward view of units 2 and 3 from unit 1."
            }
          ]
        },
        "shot_aware_plan_node_index": 1,
        "shot_aware_plan_mode": "reference_derived",
        "render_guidance": {
          "visible_space_directive": "Show unit 2 rearward from unit 1, with unit 3 toward the left, base marker 6 at the rear, base marker 16 overhead, and side openings 14 and 15 within broad coverage. Keep the positions of base markers 5, 6, 14, 15 and 16 fixed to the base plan and L54B03 wherever established. Opening 15 retains its base-plan position even though L54B03 did not require it as a render element.",
          "camera_framing_directive": "Use camera_unit 1 at [2, 5], looking into look_at_unit 2 at [8, 5], with wide 90-degree broad coverage matching L54B03. Apply the staged low-height and upward emphasis within this grid framing, preserving upper-left and upper-right space for the two committed background constraints and medium framing for the raised-arm actions.",
          "subject_position_directive": "For S45_Shot14, place 라울 on the left in three_quarter_left orientation, stretching both arms overhead and looking upward. Place 앰버 on the right in profile_right orientation, bracing clothing against the adjacent window frame and concentrating above her hands. Keep their elbow heights distinct and their strained faces readable, with the committed background targets in the upper-left and upper-right midground respectively.",
          "state_cue_directive": "Carry transient marker 17 and the committed active cues 18 and 19, with transient objects 20 and 21 pressed against their respective staged surfaces. Show entering rainwater between the distinct efforts. Maintain the small rear-seat light associated with marker 16 within the dark interior, with enough contrast for the staged faces and raised arms. Treat these overlays as transient rather than as permission to redesign the fixed structure.",
          "negative_continuity_directive": "No explicit ignore markers are supplied. Avoid moving base markers 5, 6, 14, 15 or 16 relative to L54B03 and the base plan. Do not inherit L54B03's subject arrangement or its exclusion of overlays 18 through 21. Avoid duplicating marker 17 when adapting the reference, and do not introduce units or openings outside the rearward coverage."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_camper_cabin",
          "prior_bg_ids": [
            "L54B03"
          ],
          "attached_ref_labels": [
            "bg:L54B03"
          ],
          "ref_used": "reused_plate",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L57B01": {
        "status": "ok",
        "location_id": "L57",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L57B01.png",
        "t2i_prompt": "2069년 대한민국 수도권의 오래된 공공도서관 정면 외벽과 차량 정차 공간을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 비가 내리는 밤, 수십 년 동안 보수를 충분히 받지 못한 공공건물이 남아 있는 현장을 담는다. 실제 디지털 미러리스 카메라의 35밀리미터 렌즈를 사용하고, 건물 앞 진입로의 지면에서 약 1.6미터 높이에 서서 정면 외벽을 약간 비스듬히 바라본다. 화면 위쪽과 중간에는 도서관 외벽과 간판, 아래쪽에는 캠핑카 한 대가 정차할 수 있는 넓이의 빈 아스팔트 공간을 함께 담는다. 차량 자체는 배치하지 않는다.\n낡은 철근콘크리트 외벽에는 굵고 불규칙한 균열과 빗물이 흘러내린 검은 얼룩, 부분적으로 벗겨진 표면이 보인다. 잎이 떨어진 마른 넝쿨 줄기가 외벽에 달라붙어 있고, 비에 젖었어도 죽은 줄기의 거칠고 메마른 형태가 분명하다. 외벽의 오래된 금속 간판에는 고유 지명 없이 ‘공공도서관’이라는 한글이 남아 있다. 글자의 퇴색, 도장 박리, 녹슨 고정부가 실제 재료처럼 보이게 한다. 낡은 금속 창틀의 어두운 창문과 유리 출입문은 한국의 기존 공공시설에서 볼 수 있는 실용적인 형태이며, 내부는 밝게 노출하지 않는다. 전경에는 닳은 경계석, 희미한 주차 구획선, 얕은 물웅덩이가 있는 젖은 아스팔트가 이어진다.\n흐린 밤하늘의 극히 약한 자연 산란광과 진입로 가로등 한 개의 제한적인 생활 조명만 사용한다. 가까운 빗줄기와 물웅덩이의 잔물결, 젖은 노면의 끊어진 반사가 실제 야간 노출처럼 나타난다. 과장된 푸른 조명이나 번쩍이는 미래 장치 없이, 콘크리트 입자와 금속 부식, 유리의 물방울, 아스팔트 골재의 질감이 자연스럽게 드러난다. 자연스러운 심도와 현실적인 명암으로 외벽의 손상과 정차 공간을 읽을 수 있게 한다. 인물, 얼굴, 사람의 반사상, 시신, 혈흔은 없다. 실제 장소 기록 사진과 구별되지 않는 결과로, 인위적인 색 보정이나 미화 없이 촬영한다. 삽화, 컴퓨터 합성 이미지, 건축 시각화, 조감도, 평면도가 아니다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S46_Shot1",
            "guide_text": "도착 장소를 확인할 수 있는 눈높이의 넓은 외관 구도. 약 1.6미터 높이에서 35밀리미터 렌즈로 정면 외벽을 약간 비스듬히 바라보고, 낡은 도서관 간판과 굵은 균열, 마른 넝쿨을 함께 보여준다. 화면 아래쪽에는 캠핑카가 정차할 수 있는 빈 노면을 충분히 확보하되 차량이나 인물은 그리지 않는다. 빗줄기와 젖은 바닥의 반사로 밤의 강우 상태를 드러내고, 외벽의 핵심 흔적이 암부에 완전히 묻히지 않도록 한다."
          }
        ],
        "shot_ids": [
          "S46_Shot1"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "text_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {},
        "reference_decision": {
          "mode": "surface_role_direct_plate",
          "surface_role": "exterior_plate",
          "fp_id": "",
          "source_bg_ids": []
        },
        "effective_render_prompt": "2069년 대한민국 수도권의 오래된 공공도서관 정면 외벽과 차량 정차 공간을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 비가 내리는 밤, 수십 년 동안 보수를 충분히 받지 못한 공공건물이 남아 있는 현장을 담는다. 실제 디지털 미러리스 카메라의 35밀리미터 렌즈를 사용하고, 건물 앞 진입로의 지면에서 약 1.6미터 높이에 서서 정면 외벽을 약간 비스듬히 바라본다. 화면 위쪽과 중간에는 도서관 외벽과 간판, 아래쪽에는 캠핑카 한 대가 정차할 수 있는 넓이의 빈 아스팔트 공간을 함께 담는다. 차량 자체는 배치하지 않는다.\n낡은 철근콘크리트 외벽에는 굵고 불규칙한 균열과 빗물이 흘러내린 검은 얼룩, 부분적으로 벗겨진 표면이 보인다. 잎이 떨어진 마른 넝쿨 줄기가 외벽에 달라붙어 있고, 비에 젖었어도 죽은 줄기의 거칠고 메마른 형태가 분명하다. 외벽의 오래된 금속 간판에는 고유 지명 없이 ‘공공도서관’이라는 한글이 남아 있다. 글자의 퇴색, 도장 박리, 녹슨 고정부가 실제 재료처럼 보이게 한다. 낡은 금속 창틀의 어두운 창문과 유리 출입문은 한국의 기존 공공시설에서 볼 수 있는 실용적인 형태이며, 내부는 밝게 노출하지 않는다. 전경에는 닳은 경계석, 희미한 주차 구획선, 얕은 물웅덩이가 있는 젖은 아스팔트가 이어진다.\n흐린 밤하늘의 극히 약한 자연 산란광과 진입로 가로등 한 개의 제한적인 생활 조명만 사용한다. 가까운 빗줄기와 물웅덩이의 잔물결, 젖은 노면의 끊어진 반사가 실제 야간 노출처럼 나타난다. 과장된 푸른 조명이나 번쩍이는 미래 장치 없이, 콘크리트 입자와 금속 부식, 유리의 물방울, 아스팔트 골재의 질감이 자연스럽게 드러난다. 자연스러운 심도와 현실적인 명암으로 외벽의 손상과 정차 공간을 읽을 수 있게 한다. 인물, 얼굴, 사람의 반사상, 시신, 혈흔은 없다. 실제 장소 기록 사진과 구별되지 않는 결과로, 인위적인 색 보정이나 미화 없이 촬영한다. 삽화, 컴퓨터 합성 이미지, 건축 시각화, 조감도, 평면도가 아니다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_aware_plan_mode": "surface_role_direct_plate",
        "attached_reference_lineage": {
          "fp_id": "",
          "prior_bg_ids": [],
          "attached_ref_labels": [],
          "ref_used": "text_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L57B02": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L57",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L57B02.png",
        "t2i_prompt": "2069년 대한민국의 오래 방치된 도서관 열람실 내부를 실제 미러리스 카메라와 35밀리미터 광각 렌즈로 촬영한 다큐멘터리 풍 사진. 사람이 없는 밤의 임시 식사 자리이며, 실제 장소를 기록한 사진처럼 자연스러운 원근과 피사계 심도를 유지한다. 열람 공간의 남서쪽에서 북동쪽 책장 구역을 바라보되, 권장된 앉은 눈높이 약 1.1미터에서 바닥의 식사 자리와 그 뒤 책장의 관계가 함께 보이도록 촬영한다. 위에서 내려다본 배치도 구도가 아니다.\n참조 평면도는 공간 배치의 근거로만 사용한다. 방 중앙과 남서쪽의 공용 열람 바닥이 전경을 이루고, 북쪽 중앙과 동쪽 중앙에는 남북 방향으로 나란히 놓인 세 책장이 이어진다. 책장 사이 통로와 동쪽 벽 옆 통로의 깊이가 자연스럽게 드러난다. 남쪽 벽 서단의 안으로 열리는 출입문과 그 안쪽 진입 바닥은 가능한 범위에서 화면 맨 왼쪽 가장자리에 둔다. 책장 서쪽의 북서쪽 구석은 주변 공간과 이어지는 빈 여백으로 남긴다.\n책장 끝에서 남서쪽으로 떨어진 공용 바닥에 소박한 식사 용기와 그릇을 소량 모아 임시 식사 자리를 만든다. 출입문에서 이어지는 통행 경로는 비워 두고, 식사 도구는 바닥에 안정적으로 놓여 있다. 오래된 한국 공공 열람실에서 볼 법한 실용적인 마감과 기존 책장의 비례를 유지하며, 자원 부족 속에서 오래 사용된 공간의 현실감을 담는다. 책장 표면의 묵은 먼지, 모서리의 가느다란 거미줄, 선반 안에 불균일하게 꽂힌 책들은 오랜 방치 상태로 표현한다. 새로 파손된 흔적은 만들지 않는다. 벽과 바닥의 오래된 얼룩, 책장 표면의 마모와 목재 결, 책등의 바랜 종이 질감을 세밀하게 기록한다.\n밤의 약한 주변광이 바닥과 책장 앞면을 부드럽게 밝히고 책장 사이 안쪽은 자연스럽게 어두워진다. 광원의 밝기와 그림자 감쇠는 실제 저조도 실내 촬영처럼 물리적으로 타당하며, 과장된 발광이나 인위적인 색 보정 없이 식사 용기와 공간 구조를 식별할 수 있는 노출을 유지한다. 사람, 얼굴, 사람 형태의 형상은 전혀 없다. 삽화나 컴퓨터 합성 이미지, 건축 시각화가 아닌 실제 현장 기록 사진이며, 지나치게 말끔한 홍보 사진처럼 꾸미지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S46_Shot21",
            "guide_text": "앉은 눈높이 약 1.1미터의 낮은 수평 시점에서 임시 식사 자리를 전경에, 평행한 책장과 통로를 중경 및 후경에 함께 담는다. 출입문과 진입 바닥은 가능한 한 왼쪽 끝에 남겨 식사 자리까지의 동선이 읽히게 한다. 식사 용품 주변에 충분한 빈 바닥을 확보하고, 대치의 배경이 되는 정적인 밤 공간만 보여준다. 사람이나 사람 형태의 그림자는 넣지 않는다. 묵은 먼지와 거미줄은 기존 상태이며 새 파손을 추가하지 않는다."
          }
        ],
        "shot_ids": [
          "S46_Shot21"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Near the southeast edge of number 1, facing northwest across number 13 toward number 4, with the south ends of numbers 7, 8, and 9 to the right.",
          "camera_height": "seated eye-level, approximately 1.1 m",
          "lens_hint": "28–35mm wide angle",
          "framing_notes": "Prioritize the temporary meal position and its spatial relationship to the stacks. Keep numbers 2 and 6 at the far left edge where practical. Retain established dust, cobwebs, and shelf disorder without adding fresh destruction. Do not introduce sleeping bedding, localized blue reading light, or the later mural."
        },
        "reference_decision": {
          "bg_id": "L57B02",
          "fp_id": "fp_l57_reading_room_stacks",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L57B02 is the sole authorized anchor candidate and is staged for S46_Shot21. The supplied fallback explicitly admits it despite clean_background_expected=false and transient marker 13. Establish the fixed identity fresh from the floor plan. Camera unit 1 looking toward unit 3 at marker 7 with telephoto coverage supports the close over-shoulder staging and indistinct structural background rather than forcing every target unit into view.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/floor_plan/fp_l57_reading_room_stacks.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_reference_anchor",
            "why_single_ref_or_two_refs": "The first node establishes dwelling identity without a prior background reference; the candidate catalog is empty.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 1,
            "camera_cell": [
              7,
              3
            ],
            "look_at_unit": 3,
            "look_at_cell": [
              2,
              3
            ],
            "lens_enum": "telephoto",
            "fov_deg": 25,
            "framing_notes": "Use narrow, compressed coverage toward marker 7 in unit 3. Both coordinates are copied from the candidate arrays for camera unit 1. Preserve the staged close over-shoulder composition without treating the visible-unit supersets as a panoramic visibility requirement."
          },
          "render_guidance": {
            "visible_space_directive": "From unit 1 at [7, 3], show the narrow portion of unit 3 centered on base marker 7 at [2, 3]. Establish its fixed position from the floor plan. The target list [1, 2, 3, 4] does not require all four units to appear in this close view; opening 6 is not in the selected forward framing.",
            "camera_framing_directive": "Use camera_unit 1, camera_cell [7, 3], look_at_unit 3, look_at_cell [2, 3], and telephoto coverage at 25 degrees. Keep the background narrow and compressed, supporting S46_Shot21's close oblique over-shoulder framing with only indistinct portions of the fixed background behind the center-right subject.",
            "subject_position_directive": "Honor S46_Shot21's seated-eye-height staging: the forward-leaning subject occupies center-right, both clenched fists enter the lower edge, and a thin soft shoulder portion occupies the left foreground without masking the face. The center-right subject addresses the other subject beyond the left edge rather than the lens; the foreground subject remains seated and turned toward that position.",
            "state_cue_directive": "clean_background_expected is false. Marker 13 is the only permitted transient overlay, but its position is not committed, so do not invent a prominent placement within this close frame. Retain the staged disordered and dust-covered background appearance with restrained ambient illumination and no invented source or hue.",
            "negative_continuity_directive": "Exclude markers 14, 15, and 16. Do not force opening 6 or units outside the selected narrow view into the frame. Preserve base marker 7's floor-plan position; do not reinterpret the staged surface state as permission to rearrange fixed markers 7, 8, or 9."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [7, 3]\n  - look_at_unit: 3\n  - look_at_cell: [2, 3]\n  - lens_enum: 'telephoto'\n  - fov_deg: 25\n  - framing_notes: 'Use narrow, compressed coverage toward marker 7 in unit 3. Both coordinates are copied from the candidate arrays for camera unit 1. Preserve the staged close over-shoulder composition without treating the visible-unit supersets as a panoramic visibility requirement.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 1 at [7, 3], show the narrow portion of unit 3 centered on base marker 7 at [2, 3]. Establish its fixed position from the floor plan. The target list [1, 2, 3, 4] does not require all four units to appear in this close view; opening 6 is not in the selected forward framing.\n  - camera_framing_directive: Use camera_unit 1, camera_cell [7, 3], look_at_unit 3, look_at_cell [2, 3], and telephoto coverage at 25 degrees. Keep the background narrow and compressed, supporting S46_Shot21's close oblique over-shoulder framing with only indistinct portions of the fixed background behind the center-right subject.\n  - subject_position_directive: Honor S46_Shot21's seated-eye-height staging: the forward-leaning subject occupies center-right, both clenched fists enter the lower edge, and a thin soft shoulder portion occupies the left foreground without masking the face. The center-right subject addresses the other subject beyond the left edge rather than the lens; the foreground subject remains seated and turned toward that position.\n  - state_cue_directive: clean_background_expected is false. Marker 13 is the only permitted transient overlay, but its position is not committed, so do not invent a prominent placement within this close frame. Retain the staged disordered and dust-covered background appearance with restrained ambient illumination and no invented source or hue.\n  - negative_continuity_directive: Exclude markers 14, 15, and 16. Do not force opening 6 or units outside the selected narrow view into the frame. Preserve base marker 7's floor-plan position; do not reinterpret the staged surface state as permission to rearrange fixed markers 7, 8, or 9.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [7, 3]\n  - look_at_unit: 3\n  - look_at_cell: [2, 3]\n  - lens_enum: 'telephoto'\n  - fov_deg: 25\n  - framing_notes: 'Use narrow, compressed coverage toward marker 7 in unit 3. Both coordinates are copied from the candidate arrays for camera unit 1. Preserve the staged close over-shoulder composition without treating the visible-unit supersets as a panoramic visibility requirement.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 1 at [7, 3], show the narrow portion of unit 3 centered on base marker 7 at [2, 3]. Establish its fixed position from the floor plan. The target list [1, 2, 3, 4] does not require all four units to appear in this close view; opening 6 is not in the selected forward framing.\n  - camera_framing_directive: Use camera_unit 1, camera_cell [7, 3], look_at_unit 3, look_at_cell [2, 3], and telephoto coverage at 25 degrees. Keep the background narrow and compressed, supporting S46_Shot21's close oblique over-shoulder framing with only indistinct portions of the fixed background behind the center-right subject.\n  - subject_position_directive: Honor S46_Shot21's seated-eye-height staging: the forward-leaning subject occupies center-right, both clenched fists enter the lower edge, and a thin soft shoulder portion occupies the left foreground without masking the face. The center-right subject addresses the other subject beyond the left edge rather than the lens; the foreground subject remains seated and turned toward that position.\n  - state_cue_directive: clean_background_expected is false. Marker 13 is the only permitted transient overlay, but its position is not committed, so do not invent a prominent placement within this close frame. Retain the staged disordered and dust-covered background appearance with restrained ambient illumination and no invented source or hue.\n  - negative_continuity_directive: Exclude markers 14, 15, and 16. Do not force opening 6 or units outside the selected narrow view into the frame. Preserve base marker 7's floor-plan position; do not reinterpret the staged surface state as permission to rearrange fixed markers 7, 8, or 9.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [7, 3]\n  - look_at_unit: 3\n  - look_at_cell: [2, 3]\n  - lens_enum: 'telephoto'\n  - fov_deg: 25\n  - framing_notes: 'Use narrow, compressed coverage toward marker 7 in unit 3. Both coordinates are copied from the candidate arrays for camera unit 1. Preserve the staged close over-shoulder composition without treating the visible-unit supersets as a panoramic visibility requirement.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 1 at [7, 3], show the narrow portion of unit 3 centered on base marker 7 at [2, 3]. Establish its fixed position from the floor plan. The target list [1, 2, 3, 4] does not require all four units to appear in this close view; opening 6 is not in the selected forward framing.\n  - camera_framing_directive: Use camera_unit 1, camera_cell [7, 3], look_at_unit 3, look_at_cell [2, 3], and telephoto coverage at 25 degrees. Keep the background narrow and compressed, supporting S46_Shot21's close oblique over-shoulder framing with only indistinct portions of the fixed background behind the center-right subject.\n  - subject_position_directive: Honor S46_Shot21's seated-eye-height staging: the forward-leaning subject occupies center-right, both clenched fists enter the lower edge, and a thin soft shoulder portion occupies the left foreground without masking the face. The center-right subject addresses the other subject beyond the left edge rather than the lens; the foreground subject remains seated and turned toward that position.\n  - state_cue_directive: clean_background_expected is false. Marker 13 is the only permitted transient overlay, but its position is not committed, so do not invent a prominent placement within this close frame. Retain the staged disordered and dust-covered background appearance with restrained ambient illumination and no invented source or hue.\n  - negative_continuity_directive: Exclude markers 14, 15, and 16. Do not force opening 6 or units outside the selected narrow view into the frame. Preserve base marker 7's floor-plan position; do not reinterpret the staged surface state as permission to rearrange fixed markers 7, 8, or 9.\n\n2069년 대한민국의 오래 방치된 도서관 열람실 내부를 실제 미러리스 카메라와 35밀리미터 광각 렌즈로 촬영한 다큐멘터리 풍 사진. 사람이 없는 밤의 임시 식사 자리이며, 실제 장소를 기록한 사진처럼 자연스러운 원근과 피사계 심도를 유지한다. 열람 공간의 남서쪽에서 북동쪽 책장 구역을 바라보되, 권장된 앉은 눈높이 약 1.1미터에서 바닥의 식사 자리와 그 뒤 책장의 관계가 함께 보이도록 촬영한다. 위에서 내려다본 배치도 구도가 아니다.\n참조 평면도는 공간 배치의 근거로만 사용한다. 방 중앙과 남서쪽의 공용 열람 바닥이 전경을 이루고, 북쪽 중앙과 동쪽 중앙에는 남북 방향으로 나란히 놓인 세 책장이 이어진다. 책장 사이 통로와 동쪽 벽 옆 통로의 깊이가 자연스럽게 드러난다. 남쪽 벽 서단의 안으로 열리는 출입문과 그 안쪽 진입 바닥은 가능한 범위에서 화면 맨 왼쪽 가장자리에 둔다. 책장 서쪽의 북서쪽 구석은 주변 공간과 이어지는 빈 여백으로 남긴다.\n책장 끝에서 남서쪽으로 떨어진 공용 바닥에 소박한 식사 용기와 그릇을 소량 모아 임시 식사 자리를 만든다. 출입문에서 이어지는 통행 경로는 비워 두고, 식사 도구는 바닥에 안정적으로 놓여 있다. 오래된 한국 공공 열람실에서 볼 법한 실용적인 마감과 기존 책장의 비례를 유지하며, 자원 부족 속에서 오래 사용된 공간의 현실감을 담는다. 책장 표면의 묵은 먼지, 모서리의 가느다란 거미줄, 선반 안에 불균일하게 꽂힌 책들은 오랜 방치 상태로 표현한다. 새로 파손된 흔적은 만들지 않는다. 벽과 바닥의 오래된 얼룩, 책장 표면의 마모와 목재 결, 책등의 바랜 종이 질감을 세밀하게 기록한다.\n밤의 약한 주변광이 바닥과 책장 앞면을 부드럽게 밝히고 책장 사이 안쪽은 자연스럽게 어두워진다. 광원의 밝기와 그림자 감쇠는 실제 저조도 실내 촬영처럼 물리적으로 타당하며, 과장된 발광이나 인위적인 색 보정 없이 식사 용기와 공간 구조를 식별할 수 있는 노출을 유지한다. 사람, 얼굴, 사람 형태의 형상은 전혀 없다. 삽화나 컴퓨터 합성 이미지, 건축 시각화가 아닌 실제 현장 기록 사진이며, 지나치게 말끔한 홍보 사진처럼 꾸미지 않는다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 1,
          "camera_cell": [
            7,
            3
          ],
          "look_at_unit": 3,
          "look_at_cell": [
            2,
            3
          ],
          "lens_enum": "telephoto",
          "fov_deg": 25,
          "framing_notes": "Use narrow, compressed coverage toward marker 7 in unit 3. Both coordinates are copied from the candidate arrays for camera unit 1. Preserve the staged close over-shoulder composition without treating the visible-unit supersets as a panoramic visibility requirement."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "From unit 1 at [7, 3], show the narrow portion of unit 3 centered on base marker 7 at [2, 3]. Establish its fixed position from the floor plan. The target list [1, 2, 3, 4] does not require all four units to appear in this close view; opening 6 is not in the selected forward framing.",
          "camera_framing_directive": "Use camera_unit 1, camera_cell [7, 3], look_at_unit 3, look_at_cell [2, 3], and telephoto coverage at 25 degrees. Keep the background narrow and compressed, supporting S46_Shot21's close oblique over-shoulder framing with only indistinct portions of the fixed background behind the center-right subject.",
          "subject_position_directive": "Honor S46_Shot21's seated-eye-height staging: the forward-leaning subject occupies center-right, both clenched fists enter the lower edge, and a thin soft shoulder portion occupies the left foreground without masking the face. The center-right subject addresses the other subject beyond the left edge rather than the lens; the foreground subject remains seated and turned toward that position.",
          "state_cue_directive": "clean_background_expected is false. Marker 13 is the only permitted transient overlay, but its position is not committed, so do not invent a prominent placement within this close frame. Retain the staged disordered and dust-covered background appearance with restrained ambient illumination and no invented source or hue.",
          "negative_continuity_directive": "Exclude markers 14, 15, and 16. Do not force opening 6 or units outside the selected narrow view into the frame. Preserve base marker 7's floor-plan position; do not reinterpret the staged surface state as permission to rearrange fixed markers 7, 8, or 9."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_l57_reading_room_stacks",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_l57_reading_room_stacks"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L57B03": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L57",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L57B03.png",
        "t2i_prompt": "대한민국의 오래된 열람실에 이어진 서가를 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 2069년에도 이전 시대의 책장과 구형 컴퓨터를 계속 사용하는 자원 부족 공간으로, 과장된 미래 장식 없이 오래된 공공 열람 공간의 실용적인 재료와 생활 흔적을 보여준다. 사람, 얼굴, 신체 형태의 형상 없이 공간과 물건만 담는다.\n\n참조 평면도는 공간 구성과 고정 가구의 상대 위치를 파악하는 용도로만 사용한다. 중앙과 남서쪽의 공용 열람 공간에서 북쪽 서가를 바라보며, 중앙 책장과 동쪽 책장 사이 통로의 남쪽 끝이 화면 앞쪽에 놓이도록 촬영한다. 카메라는 약 1.3미터의 낮은 기립 눈높이, 광각 28밀리미터 렌즈를 사용하며 수평에 가까운 시선과 자연스러운 원근을 유지한다. 위에서 내려다보는 시점이나 도면 구도가 아니다. 남북 방향으로 평행하게 놓인 서쪽·중앙·동쪽 책장과 그 사이의 통로가 깊이를 만든다. 동쪽 책장과 동쪽 벽 사이 통로는 비워 둔다. 책장 줄 서쪽의 북서 모서리는 조용한 휴식 공간이며, 북동쪽에는 북쪽 벽에 붙인 컴퓨터 책상, 그 위의 구형 데스크톱 컴퓨터, 책상 바로 남쪽의 작업용 의자가 자리한다.\n\n책장 선반에 가라앉은 기존 먼지와 고르지 않게 꽂힌 책들의 흐트러짐을 유지한다. 북서쪽 휴식 공간에는 상자와 책을 낮게 모아 만든 임시 잠자리가 놓여 있으며, 물건 각각의 형태가 구분되고 신체 같은 윤곽을 만들지 않는다. 중앙 책장과 동쪽 책장 사이 통로의 남쪽 끝에는 펼친 책 한 권이 놓여 있다. 푸른빛은 이 책의 펼쳐진 종이 면에만 국소적으로 닿아, 페이지의 결과 접힌 가운데 부분을 드러낸다. 광원 자체는 화면에 보이지 않으며 푸른빛이 주변 바닥이나 책장, 방 전체로 번지지 않는다.\n\n깊은 정적 속에서 주변은 어둡고, 아주 약한 자연스러운 환경광으로 책장과 통로의 윤곽만 읽힌다. 그 어둠과 책 페이지의 제한적인 푸른 밝기가 대비된다. 낡은 책장 목재의 나뭇결, 금속 부속의 산화와 마모, 책상 표면의 사용 얼룩, 상자의 종이 섬유, 책등과 페이지에 쌓인 먼지를 실제 재료처럼 기록한다. 가까운 펼친 책은 선명하고 먼 책장은 조금 부드러워지는 자연스러운 피사계 심도. 후처리 없이 실제 장소를 기록한 사진처럼 보이며, 광고용으로 정돈된 사진이나 컴퓨터 생성 이미지, 삽화, 건축 시각화가 아니다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S46_Shot26",
            "guide_text": "중앙 책장과 동쪽 책장 사이 통로의 남쪽 끝에 놓인 펼친 책을 전경의 시선 중심으로 두고, 약 1.3미터 높이의 28밀리미터 광각 시점으로 어두운 서가의 깊이를 함께 담는다. 북서쪽 상자와 책의 잠자리와 북동쪽 컴퓨터 구역은 책장에 의한 자연스러운 가림을 허용한다. 기존 먼지와 책의 흐트러짐을 유지하며, 푸른 조명은 펼쳐진 페이지 안에만 제한한다. 사람이나 신체 형태의 실루엣 없이 정적에 잠긴 배경만 보여준다."
          }
        ],
        "shot_ids": [
          "S46_Shot26"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "In the cross-aisle just southeast of number 9, facing northwest toward number 15 between numbers 8 and 9, with number 4 in the left background and numbers 10, 11, and 12 at the far right.",
          "camera_height": "low standing eye-level, approximately 1.3 m",
          "lens_hint": "28mm wide angle",
          "framing_notes": "Use bookcase ends as foreground framing while maintaining a view into the reading aisle. Show number 14 in the distant northwest corner where not occluded. Number 16 is a narrowly localized blue eye-light effect on number 15, not general room illumination. The old computer remains present but is not yet shown actively browsing. Preserve existing neglect and disorder; do not stage another meal or introduce the morning mural."
        },
        "reference_decision": {
          "bg_id": "L57B03",
          "fp_id": "fp_l57_reading_room_stacks",
          "node_index": 1,
          "mode": "same_physical_space_view",
          "is_dwelling_identity_anchor": false,
          "rationale": "S46_Shot26 depicts the same connected physical space as L57B02, sharing target units 1, 3, and 4 and fixed markers 7, 8, and 9. Reference L57B02 for committed structural identity while moving the camera to unit 4 and looking across unit 3 toward marker 8. This genuinely different view exposes additional fixed markers toward unit 5 that the anchor's narrow view does not establish visually, so the scene-layer changes alone do not justify low-delta reuse.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L57B02.png"
          ],
          "source_bg_ids": [
            "L57B02"
          ],
          "fp_included": false,
          "reference_decision": {
            "selected_refs": [
              {
                "ref_bg_id": "L57B02",
                "physical_space_id": "fp_l57_reading_room_stacks:connected_space_1",
                "space_description": "The connected physical space containing shared target units 1, 3, and 4 and fixed markers 7, 8, and 9."
              }
            ],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "single_same_physical_space_reference",
            "why_single_ref_or_two_refs": "L57B02 supplies the shared physical-space identity. S46_Shot26 needs a new view of that space, not two references to distinct spaces; additional visible fixed elements are located by the supplied floor plan.",
            "physical_space_id_per_ref": [
              "fp_l57_reading_room_stacks:connected_space_1"
            ],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 4,
            "camera_cell": [
              2,
              1
            ],
            "look_at_unit": 3,
            "look_at_cell": [
              2,
              5
            ],
            "lens_enum": "normal",
            "fov_deg": 50,
            "framing_notes": "Use neutral coverage from unit 4 toward marker 8 in unit 3. Both coordinates are copied from camera unit 4's candidate arrays. This changes the structural viewing direction from the anchor and supports the staged medium three-quarter composition with fixed-marker edges providing depth."
          },
          "render_guidance": {
            "visible_space_directive": "From unit 4 at [2, 1], look toward unit 3 at [2, 5], retaining visible portions of markers 7, 8, and 9 in their reference-committed positions. Markers 10, 11, and 12 toward unit 5 fall within the angular coverage but should appear only where fixed geometry permits, since occlusion is not resolved by this readback. Keep those markers at their supplied floor-plan locations rather than moving them to ensure visibility.",
            "camera_framing_directive": "Use camera_unit 4, camera_cell [2, 1], look_at_unit 3, look_at_cell [2, 5], and normal coverage at 50 degrees. Maintain neutral medium framing for S46_Shot26, with fixed-marker fronts and side edges providing narrow depth brackets around the staged subject. Treat the supplied supersets as visibility candidates, not guaranteed visible sets.",
            "subject_position_directive": "Honor S46_Shot26's direct three-quarter side staging: place the inclined face upper-right, retain the torso as a scale reference, and place marker 15 across the lower center occupying less than one-third of the image. The subject is hunched with gaze directed down toward marker 15; preserve the committed camera height between that marker and the eyes and the gentle downward framing.",
            "state_cue_directive": "clean_background_expected is false. Permit transient markers 14, 15, and 16 only: marker 15 carries the committed open, actively read state with no specified wording or illustration, and marker 16 provides the staged selective blue illumination on its visible surface. Marker 14 has no committed in-frame placement, so do not invent one to force its inclusion. Retain dust-covered fixed surfaces and restrained, otherwise unspecified ambient illumination.",
            "negative_continuity_directive": "Exclude marker 13, including any carryover from L57B02. Preserve the positions and relationships of shared fixed markers 7, 8, and 9 while changing the camera; locate markers 10, 11, and 12 from the base geometry. Do not force opening 6 or units 1 and 2 into this eastward framing, and do not treat angular inclusion as proof of unobstructed visibility."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L57B02' physical_space_id='fp_l57_reading_room_stacks:connected_space_1'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [2, 1]\n  - look_at_unit: 3\n  - look_at_cell: [2, 5]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: \"Use neutral coverage from unit 4 toward marker 8 in unit 3. Both coordinates are copied from camera unit 4's candidate arrays. This changes the structural viewing direction from the anchor and supports the staged medium three-quarter composition with fixed-marker edges providing depth.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 4 at [2, 1], look toward unit 3 at [2, 5], retaining visible portions of markers 7, 8, and 9 in their reference-committed positions. Markers 10, 11, and 12 toward unit 5 fall within the angular coverage but should appear only where fixed geometry permits, since occlusion is not resolved by this readback. Keep those markers at their supplied floor-plan locations rather than moving them to ensure visibility.\n  - camera_framing_directive: Use camera_unit 4, camera_cell [2, 1], look_at_unit 3, look_at_cell [2, 5], and normal coverage at 50 degrees. Maintain neutral medium framing for S46_Shot26, with fixed-marker fronts and side edges providing narrow depth brackets around the staged subject. Treat the supplied supersets as visibility candidates, not guaranteed visible sets.\n  - subject_position_directive: Honor S46_Shot26's direct three-quarter side staging: place the inclined face upper-right, retain the torso as a scale reference, and place marker 15 across the lower center occupying less than one-third of the image. The subject is hunched with gaze directed down toward marker 15; preserve the committed camera height between that marker and the eyes and the gentle downward framing.\n  - state_cue_directive: clean_background_expected is false. Permit transient markers 14, 15, and 16 only: marker 15 carries the committed open, actively read state with no specified wording or illustration, and marker 16 provides the staged selective blue illumination on its visible surface. Marker 14 has no committed in-frame placement, so do not invent one to force its inclusion. Retain dust-covered fixed surfaces and restrained, otherwise unspecified ambient illumination.\n  - negative_continuity_directive: Exclude marker 13, including any carryover from L57B02. Preserve the positions and relationships of shared fixed markers 7, 8, and 9 while changing the camera; locate markers 10, 11, and 12 from the base geometry. Do not force opening 6 or units 1 and 2 into this eastward framing, and do not treat angular inclusion as proof of unobstructed visibility.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L57B02' physical_space_id='fp_l57_reading_room_stacks:connected_space_1'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [2, 1]\n  - look_at_unit: 3\n  - look_at_cell: [2, 5]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: \"Use neutral coverage from unit 4 toward marker 8 in unit 3. Both coordinates are copied from camera unit 4's candidate arrays. This changes the structural viewing direction from the anchor and supports the staged medium three-quarter composition with fixed-marker edges providing depth.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 4 at [2, 1], look toward unit 3 at [2, 5], retaining visible portions of markers 7, 8, and 9 in their reference-committed positions. Markers 10, 11, and 12 toward unit 5 fall within the angular coverage but should appear only where fixed geometry permits, since occlusion is not resolved by this readback. Keep those markers at their supplied floor-plan locations rather than moving them to ensure visibility.\n  - camera_framing_directive: Use camera_unit 4, camera_cell [2, 1], look_at_unit 3, look_at_cell [2, 5], and normal coverage at 50 degrees. Maintain neutral medium framing for S46_Shot26, with fixed-marker fronts and side edges providing narrow depth brackets around the staged subject. Treat the supplied supersets as visibility candidates, not guaranteed visible sets.\n  - subject_position_directive: Honor S46_Shot26's direct three-quarter side staging: place the inclined face upper-right, retain the torso as a scale reference, and place marker 15 across the lower center occupying less than one-third of the image. The subject is hunched with gaze directed down toward marker 15; preserve the committed camera height between that marker and the eyes and the gentle downward framing.\n  - state_cue_directive: clean_background_expected is false. Permit transient markers 14, 15, and 16 only: marker 15 carries the committed open, actively read state with no specified wording or illustration, and marker 16 provides the staged selective blue illumination on its visible surface. Marker 14 has no committed in-frame placement, so do not invent one to force its inclusion. Retain dust-covered fixed surfaces and restrained, otherwise unspecified ambient illumination.\n  - negative_continuity_directive: Exclude marker 13, including any carryover from L57B02. Preserve the positions and relationships of shared fixed markers 7, 8, and 9 while changing the camera; locate markers 10, 11, and 12 from the base geometry. Do not force opening 6 or units 1 and 2 into this eastward framing, and do not treat angular inclusion as proof of unobstructed visibility.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L57B02' physical_space_id='fp_l57_reading_room_stacks:connected_space_1'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [2, 1]\n  - look_at_unit: 3\n  - look_at_cell: [2, 5]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: \"Use neutral coverage from unit 4 toward marker 8 in unit 3. Both coordinates are copied from camera unit 4's candidate arrays. This changes the structural viewing direction from the anchor and supports the staged medium three-quarter composition with fixed-marker edges providing depth.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 4 at [2, 1], look toward unit 3 at [2, 5], retaining visible portions of markers 7, 8, and 9 in their reference-committed positions. Markers 10, 11, and 12 toward unit 5 fall within the angular coverage but should appear only where fixed geometry permits, since occlusion is not resolved by this readback. Keep those markers at their supplied floor-plan locations rather than moving them to ensure visibility.\n  - camera_framing_directive: Use camera_unit 4, camera_cell [2, 1], look_at_unit 3, look_at_cell [2, 5], and normal coverage at 50 degrees. Maintain neutral medium framing for S46_Shot26, with fixed-marker fronts and side edges providing narrow depth brackets around the staged subject. Treat the supplied supersets as visibility candidates, not guaranteed visible sets.\n  - subject_position_directive: Honor S46_Shot26's direct three-quarter side staging: place the inclined face upper-right, retain the torso as a scale reference, and place marker 15 across the lower center occupying less than one-third of the image. The subject is hunched with gaze directed down toward marker 15; preserve the committed camera height between that marker and the eyes and the gentle downward framing.\n  - state_cue_directive: clean_background_expected is false. Permit transient markers 14, 15, and 16 only: marker 15 carries the committed open, actively read state with no specified wording or illustration, and marker 16 provides the staged selective blue illumination on its visible surface. Marker 14 has no committed in-frame placement, so do not invent one to force its inclusion. Retain dust-covered fixed surfaces and restrained, otherwise unspecified ambient illumination.\n  - negative_continuity_directive: Exclude marker 13, including any carryover from L57B02. Preserve the positions and relationships of shared fixed markers 7, 8, and 9 while changing the camera; locate markers 10, 11, and 12 from the base geometry. Do not force opening 6 or units 1 and 2 into this eastward framing, and do not treat angular inclusion as proof of unobstructed visibility.\n\n대한민국의 오래된 열람실에 이어진 서가를 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 2069년에도 이전 시대의 책장과 구형 컴퓨터를 계속 사용하는 자원 부족 공간으로, 과장된 미래 장식 없이 오래된 공공 열람 공간의 실용적인 재료와 생활 흔적을 보여준다. 사람, 얼굴, 신체 형태의 형상 없이 공간과 물건만 담는다.\n\n참조 평면도는 공간 구성과 고정 가구의 상대 위치를 파악하는 용도로만 사용한다. 중앙과 남서쪽의 공용 열람 공간에서 북쪽 서가를 바라보며, 중앙 책장과 동쪽 책장 사이 통로의 남쪽 끝이 화면 앞쪽에 놓이도록 촬영한다. 카메라는 약 1.3미터의 낮은 기립 눈높이, 광각 28밀리미터 렌즈를 사용하며 수평에 가까운 시선과 자연스러운 원근을 유지한다. 위에서 내려다보는 시점이나 도면 구도가 아니다. 남북 방향으로 평행하게 놓인 서쪽·중앙·동쪽 책장과 그 사이의 통로가 깊이를 만든다. 동쪽 책장과 동쪽 벽 사이 통로는 비워 둔다. 책장 줄 서쪽의 북서 모서리는 조용한 휴식 공간이며, 북동쪽에는 북쪽 벽에 붙인 컴퓨터 책상, 그 위의 구형 데스크톱 컴퓨터, 책상 바로 남쪽의 작업용 의자가 자리한다.\n\n책장 선반에 가라앉은 기존 먼지와 고르지 않게 꽂힌 책들의 흐트러짐을 유지한다. 북서쪽 휴식 공간에는 상자와 책을 낮게 모아 만든 임시 잠자리가 놓여 있으며, 물건 각각의 형태가 구분되고 신체 같은 윤곽을 만들지 않는다. 중앙 책장과 동쪽 책장 사이 통로의 남쪽 끝에는 펼친 책 한 권이 놓여 있다. 푸른빛은 이 책의 펼쳐진 종이 면에만 국소적으로 닿아, 페이지의 결과 접힌 가운데 부분을 드러낸다. 광원 자체는 화면에 보이지 않으며 푸른빛이 주변 바닥이나 책장, 방 전체로 번지지 않는다.\n\n깊은 정적 속에서 주변은 어둡고, 아주 약한 자연스러운 환경광으로 책장과 통로의 윤곽만 읽힌다. 그 어둠과 책 페이지의 제한적인 푸른 밝기가 대비된다. 낡은 책장 목재의 나뭇결, 금속 부속의 산화와 마모, 책상 표면의 사용 얼룩, 상자의 종이 섬유, 책등과 페이지에 쌓인 먼지를 실제 재료처럼 기록한다. 가까운 펼친 책은 선명하고 먼 책장은 조금 부드러워지는 자연스러운 피사계 심도. 후처리 없이 실제 장소를 기록한 사진처럼 보이며, 광고용으로 정돈된 사진이나 컴퓨터 생성 이미지, 삽화, 건축 시각화가 아니다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 4,
          "camera_cell": [
            2,
            1
          ],
          "look_at_unit": 3,
          "look_at_cell": [
            2,
            5
          ],
          "lens_enum": "normal",
          "fov_deg": 50,
          "framing_notes": "Use neutral coverage from unit 4 toward marker 8 in unit 3. Both coordinates are copied from camera unit 4's candidate arrays. This changes the structural viewing direction from the anchor and supports the staged medium three-quarter composition with fixed-marker edges providing depth."
        },
        "shot_aware_plan_node_index": 1,
        "shot_aware_plan_mode": "same_physical_space_view",
        "render_guidance": {
          "visible_space_directive": "From unit 4 at [2, 1], look toward unit 3 at [2, 5], retaining visible portions of markers 7, 8, and 9 in their reference-committed positions. Markers 10, 11, and 12 toward unit 5 fall within the angular coverage but should appear only where fixed geometry permits, since occlusion is not resolved by this readback. Keep those markers at their supplied floor-plan locations rather than moving them to ensure visibility.",
          "camera_framing_directive": "Use camera_unit 4, camera_cell [2, 1], look_at_unit 3, look_at_cell [2, 5], and normal coverage at 50 degrees. Maintain neutral medium framing for S46_Shot26, with fixed-marker fronts and side edges providing narrow depth brackets around the staged subject. Treat the supplied supersets as visibility candidates, not guaranteed visible sets.",
          "subject_position_directive": "Honor S46_Shot26's direct three-quarter side staging: place the inclined face upper-right, retain the torso as a scale reference, and place marker 15 across the lower center occupying less than one-third of the image. The subject is hunched with gaze directed down toward marker 15; preserve the committed camera height between that marker and the eyes and the gentle downward framing.",
          "state_cue_directive": "clean_background_expected is false. Permit transient markers 14, 15, and 16 only: marker 15 carries the committed open, actively read state with no specified wording or illustration, and marker 16 provides the staged selective blue illumination on its visible surface. Marker 14 has no committed in-frame placement, so do not invent one to force its inclusion. Retain dust-covered fixed surfaces and restrained, otherwise unspecified ambient illumination.",
          "negative_continuity_directive": "Exclude marker 13, including any carryover from L57B02. Preserve the positions and relationships of shared fixed markers 7, 8, and 9 while changing the camera; locate markers 10, 11, and 12 from the base geometry. Do not force opening 6 or units 1 and 2 into this eastward framing, and do not treat angular inclusion as proof of unobstructed visibility."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_l57_reading_room_stacks",
          "prior_bg_ids": [
            "L57B02"
          ],
          "attached_ref_labels": [
            "bg:L57B02"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L58B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L58",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L58B01.png",
        "t2i_prompt": "2069년 한국의 오래 사용된 생활 시설 내부, 이른 아침의 조용하고 비어 있는 복도를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 미래에도 계속 사용되는 소박한 콘크리트 건물의 현실적인 실내로 표현한다. 도장된 벽의 미세한 요철과 오래된 도막, 바닥의 가벼운 마모와 자연스러운 생활 얼룩을 담되 과도하게 폐허로 만들지 않는다. 화면 밖에서 들어오는 이른 아침의 부드러운 자연광이 복도 안쪽으로 약해지며, 외진 구석에도 벽과 바닥의 경계를 읽을 수 있는 은은한 반사광이 남는다. 차가운 아침빛과 크레파스 고유의 색을 인위적인 색 보정 없이 기록한다.\n\n참조 평면도는 공간의 배치만 파악하는 데 사용한다. 동서로 길게 이어진 주 복도의 남쪽 가장자리 가까이 서서 동쪽 끝을 바라본다. 촬영 높이는 약 1.6미터이며, 35밀리미터 규격의 실제 디지털 카메라에 24~28밀리미터 광각 렌즈를 사용한 자연스러운 원근감으로 담는다. 북쪽의 끊김 없는 긴 벽은 화면 왼쪽을 따라 멀어지고, 오른쪽 먼 끝에는 남쪽으로 들어간 외진 구석의 넓고 문짝 없는 입구가 보인다. 그 구석의 서쪽 되돌이벽이 복도 남쪽 벽과 이어지는 관계를 읽을 수 있게 한다. 복도 바닥에서 구석 입구로 이어지는 접근 동선과 시야를 충분히 남겨, 구석이 별도 방처럼 단절되어 보이지 않게 한다. 위에서 내려다본 구도나 도면이 아니라 서 있는 사람의 눈높이에서 본 실제 실내 사진이다.\n\n왼쪽 긴 벽의 복도를 향한 표면에는 아직 작업 중인 실제 크레파스 벽화가 있다. 파란 바다 선이 동쪽으로 길게 이어지다가 캠핑 차량, 해양 생물, 야자수가 모인 더 풍성한 그림으로 연결된다. 가족과 친구에 대한 부분은 사람이나 얼굴, 인체형 형상을 그리지 않고 서로 모인 비인체형 색채와 추상적인 선의 조합으로만 표현한다. 듬성듬성 남은 채색과 미완성 선, 벽 요철에 걸린 크레파스의 왁스 입자와 겹쳐 칠한 자국이 가까운 부분에서 분명히 보인다. 모든 그림 소재는 벽 표면 안에만 머물며, 투사 영상이나 실제 풍경 또는 복도에 놓인 실물로 바뀌지 않는다. 실제 크레파스 그림이 있는 장소를 촬영한 사진이지 사진 전체가 그림처럼 보이는 표현이 아니다. 공간과 벽화 어디에도 사람, 얼굴, 인체형 형상을 넣지 않는다. 자연스러운 피사계 심도로 가까운 벽의 질감과 먼 구석의 연결 구조를 함께 읽을 수 있게 하고, 지나치게 말끔한 광고 사진이나 컴퓨터로 합성한 건축 이미지가 아닌 실제 장소 기록 사진으로 표현한다. 16:9 가로 비율, 실제 카메라 촬영본.",
        "shot_guides": [
          {
            "shot_id": "S47_Shot5",
            "guide_text": "공통 공간 소개 구도를 사용한다. 약 1.6미터 눈높이에서 복도 동쪽을 바라보며, 왼쪽 긴 벽의 파란 바다 선부터 먼 벽화까지 이어지는 흐름과 오른쪽 끝의 구석 입구를 함께 보여준다. 비어 있는 접근 동선을 넓게 확보한다."
          },
          {
            "shot_id": "S47_Shot15",
            "guide_text": "앞선 배경과 동일한 카메라 위치, 광각 범위, 이른 아침 자연광을 유지한다. 구석 입구와 되돌이벽의 접합을 알아볼 수 있게 하여 외진 구석이 같은 복도에 연결되어 있음을 명확히 한다. 벽화의 진행 상태와 위치를 바꾸지 않는다."
          },
          {
            "shot_id": "S47_Shot17",
            "guide_text": "동일한 공간 소개 시점을 유지하며 주 복도에서 구석 입구로 이어지는 바닥과 시야를 가리지 않는다. 왼쪽 벽화는 벽 표면의 크레파스 질감으로 남기고, 오른쪽 구석에는 별도 소품이나 형상을 추가하지 않는다. 인물 없이 공간만 촬영한 배경으로 유지한다."
          }
        ],
        "shot_ids": [
          "S47_Shot5",
          "S47_Shot15",
          "S47_Shot17"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Within number 1, just east of number 4 and close to the south corridor edge, facing east along number 2 toward number 5 and number 3.",
          "camera_height": "eye-level standing, approximately 1.6 m",
          "lens_hint": "24–28mm wide angle",
          "framing_notes": "Use the same establishing camera across the referenced shots. Keep the long wall and overlay 7 readable on the left, with the recessed corner entrance on the right at the far end. Preserve visible approach space through number 1 and number 5; the corner must not read as a disconnected room. The mural is actual crayon drawing on the wall, not a projection, separate landscape, or physical collection of its depicted subjects. Do not add a fixed telephone or draw marker numbers into the background."
        },
        "reference_decision": {
          "bg_id": "L58B01",
          "fp_id": "fp_l58_corridor_corner",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L58B01 is the sole ready BG and sole listed anchor candidate. Seed it directly from the floor plan without references. The supplied fallback metadata admits this anchor despite clean_background_expected=false and transient marker 7; retain that explicit state rather than treating it as a clean plate. A wide view from unit 1 toward unit 3 through opening 5 prioritizes the shared spatial context required by S47_Shot17 while establishing the fixed boundaries used by S47_Shot5 and S47_Shot15. Those shots' different subject arrangements remain shot-specific, not simultaneous.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/floor_plan/fp_l58_corridor_corner.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_reference_anchor",
            "why_single_ref_or_two_refs": "No earlier node or catalog reference exists. The sole eligible anchor must establish the dwelling identity directly from base markers 1, 2, 3, 5 and 6.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 1,
            "camera_cell": [
              3,
              5
            ],
            "look_at_unit": 3,
            "look_at_cell": [
              4,
              8
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad coverage from unit 1 toward the entrance to unit 3, aiming at the permitted cell occupied by opening 5. Both coordinates are exact copies from unit 1's candidate arrays. The look-at cell is an opening-directed aim, not unit 3's marker center. Prioritize the wide spatial relationship in S47_Shot17; the medium and close consuming shots do not establish additional camera coordinates for this BG."
          },
          "render_guidance": {
            "visible_space_directive": "Establish the eastward portion of unit 1 and the entrance into unit 3 through base opening 5. Preserve base marker 2 as the north boundary of unit 1 and base marker 6 as the western return of unit 3, showing only portions intersecting the chosen wide framing. Keep marker 7 on its drawing-bearing support at marker 2. The visibility arrays are supersets, not proof that every listed unit or opening appears; opening 4 is not a required visible element for this eastward aim.",
            "camera_framing_directive": "Use camera unit 1 at [3, 5], looking toward unit 3 at the opening-directed candidate [4, 8], with wide lens and 90-degree field of view. Provide broad coverage of the entrance and depth into unit 3, with readable boundary and floor relationships for the foreground/background separation in S47_Shot17. Treat this as a single background framing, not a simultaneous recreation of all three shot cameras.",
            "subject_position_directive": "Keep subject cues specific to their consuming shots rather than combining them into one tableau. S47_Shot5 commits 찰리 crouched with his back in the left half and drawing arm extending toward the wall at center-right, with 앰버 outside the frame. S47_Shot15 commits 이현우 centrally in close framing, with the corner behind his phone-side shoulder. S47_Shot17 commits 이현우 in the left foreground and 찰리 unobstructed at center-right behind him within the same corner, with floor visible between them. Preserve spatial capacity for these arrangements without adding subjects or assigning unsupported grid positions.",
            "state_cue_directive": "Carry transient marker 7, In-progress crayon mural, on the drawing-bearing wall. S47_Shot5 specifies crayon drawings with a blue line being added and quiet early-morning ambient illumination without a visible light source. S47_Shot15 and S47_Shot17 require restrained ambient illumination, held consistent across their corner views without a dramatic lighting change. clean_background_expected is false; retain the committed overlay rather than substituting a generic clean state. Drawing contact and the call action belong to their respective shots, not permanent fixtures.",
            "negative_continuity_directive": "No ignore_numbered_elements or ignored_state_overlay_marker_numbers are supplied. Avoid moving markers 2, 5 or 6, relocating marker 7 away from marker 2, or separating the foreground and background positions of S47_Shot17 into different units. Do not force opening 4 or every visibility-superset entry into this view. Do not infer additional fixed fixtures from shot-specific actions or merge the three consuming shots' subject states."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [3, 5]\n  - look_at_unit: 3\n  - look_at_cell: [4, 8]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad coverage from unit 1 toward the entrance to unit 3, aiming at the permitted cell occupied by opening 5. Both coordinates are exact copies from unit 1's candidate arrays. The look-at cell is an opening-directed aim, not unit 3's marker center. Prioritize the wide spatial relationship in S47_Shot17; the medium and close consuming shots do not establish additional camera coordinates for this BG.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish the eastward portion of unit 1 and the entrance into unit 3 through base opening 5. Preserve base marker 2 as the north boundary of unit 1 and base marker 6 as the western return of unit 3, showing only portions intersecting the chosen wide framing. Keep marker 7 on its drawing-bearing support at marker 2. The visibility arrays are supersets, not proof that every listed unit or opening appears; opening 4 is not a required visible element for this eastward aim.\n  - camera_framing_directive: Use camera unit 1 at [3, 5], looking toward unit 3 at the opening-directed candidate [4, 8], with wide lens and 90-degree field of view. Provide broad coverage of the entrance and depth into unit 3, with readable boundary and floor relationships for the foreground/background separation in S47_Shot17. Treat this as a single background framing, not a simultaneous recreation of all three shot cameras.\n  - subject_position_directive: Keep subject cues specific to their consuming shots rather than combining them into one tableau. S47_Shot5 commits 찰리 crouched with his back in the left half and drawing arm extending toward the wall at center-right, with 앰버 outside the frame. S47_Shot15 commits 이현우 centrally in close framing, with the corner behind his phone-side shoulder. S47_Shot17 commits 이현우 in the left foreground and 찰리 unobstructed at center-right behind him within the same corner, with floor visible between them. Preserve spatial capacity for these arrangements without adding subjects or assigning unsupported grid positions.\n  - state_cue_directive: Carry transient marker 7, In-progress crayon mural, on the drawing-bearing wall. S47_Shot5 specifies crayon drawings with a blue line being added and quiet early-morning ambient illumination without a visible light source. S47_Shot15 and S47_Shot17 require restrained ambient illumination, held consistent across their corner views without a dramatic lighting change. clean_background_expected is false; retain the committed overlay rather than substituting a generic clean state. Drawing contact and the call action belong to their respective shots, not permanent fixtures.\n  - negative_continuity_directive: No ignore_numbered_elements or ignored_state_overlay_marker_numbers are supplied. Avoid moving markers 2, 5 or 6, relocating marker 7 away from marker 2, or separating the foreground and background positions of S47_Shot17 into different units. Do not force opening 4 or every visibility-superset entry into this view. Do not infer additional fixed fixtures from shot-specific actions or merge the three consuming shots' subject states.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [3, 5]\n  - look_at_unit: 3\n  - look_at_cell: [4, 8]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad coverage from unit 1 toward the entrance to unit 3, aiming at the permitted cell occupied by opening 5. Both coordinates are exact copies from unit 1's candidate arrays. The look-at cell is an opening-directed aim, not unit 3's marker center. Prioritize the wide spatial relationship in S47_Shot17; the medium and close consuming shots do not establish additional camera coordinates for this BG.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish the eastward portion of unit 1 and the entrance into unit 3 through base opening 5. Preserve base marker 2 as the north boundary of unit 1 and base marker 6 as the western return of unit 3, showing only portions intersecting the chosen wide framing. Keep marker 7 on its drawing-bearing support at marker 2. The visibility arrays are supersets, not proof that every listed unit or opening appears; opening 4 is not a required visible element for this eastward aim.\n  - camera_framing_directive: Use camera unit 1 at [3, 5], looking toward unit 3 at the opening-directed candidate [4, 8], with wide lens and 90-degree field of view. Provide broad coverage of the entrance and depth into unit 3, with readable boundary and floor relationships for the foreground/background separation in S47_Shot17. Treat this as a single background framing, not a simultaneous recreation of all three shot cameras.\n  - subject_position_directive: Keep subject cues specific to their consuming shots rather than combining them into one tableau. S47_Shot5 commits 찰리 crouched with his back in the left half and drawing arm extending toward the wall at center-right, with 앰버 outside the frame. S47_Shot15 commits 이현우 centrally in close framing, with the corner behind his phone-side shoulder. S47_Shot17 commits 이현우 in the left foreground and 찰리 unobstructed at center-right behind him within the same corner, with floor visible between them. Preserve spatial capacity for these arrangements without adding subjects or assigning unsupported grid positions.\n  - state_cue_directive: Carry transient marker 7, In-progress crayon mural, on the drawing-bearing wall. S47_Shot5 specifies crayon drawings with a blue line being added and quiet early-morning ambient illumination without a visible light source. S47_Shot15 and S47_Shot17 require restrained ambient illumination, held consistent across their corner views without a dramatic lighting change. clean_background_expected is false; retain the committed overlay rather than substituting a generic clean state. Drawing contact and the call action belong to their respective shots, not permanent fixtures.\n  - negative_continuity_directive: No ignore_numbered_elements or ignored_state_overlay_marker_numbers are supplied. Avoid moving markers 2, 5 or 6, relocating marker 7 away from marker 2, or separating the foreground and background positions of S47_Shot17 into different units. Do not force opening 4 or every visibility-superset entry into this view. Do not infer additional fixed fixtures from shot-specific actions or merge the three consuming shots' subject states.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [3, 5]\n  - look_at_unit: 3\n  - look_at_cell: [4, 8]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad coverage from unit 1 toward the entrance to unit 3, aiming at the permitted cell occupied by opening 5. Both coordinates are exact copies from unit 1's candidate arrays. The look-at cell is an opening-directed aim, not unit 3's marker center. Prioritize the wide spatial relationship in S47_Shot17; the medium and close consuming shots do not establish additional camera coordinates for this BG.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish the eastward portion of unit 1 and the entrance into unit 3 through base opening 5. Preserve base marker 2 as the north boundary of unit 1 and base marker 6 as the western return of unit 3, showing only portions intersecting the chosen wide framing. Keep marker 7 on its drawing-bearing support at marker 2. The visibility arrays are supersets, not proof that every listed unit or opening appears; opening 4 is not a required visible element for this eastward aim.\n  - camera_framing_directive: Use camera unit 1 at [3, 5], looking toward unit 3 at the opening-directed candidate [4, 8], with wide lens and 90-degree field of view. Provide broad coverage of the entrance and depth into unit 3, with readable boundary and floor relationships for the foreground/background separation in S47_Shot17. Treat this as a single background framing, not a simultaneous recreation of all three shot cameras.\n  - subject_position_directive: Keep subject cues specific to their consuming shots rather than combining them into one tableau. S47_Shot5 commits 찰리 crouched with his back in the left half and drawing arm extending toward the wall at center-right, with 앰버 outside the frame. S47_Shot15 commits 이현우 centrally in close framing, with the corner behind his phone-side shoulder. S47_Shot17 commits 이현우 in the left foreground and 찰리 unobstructed at center-right behind him within the same corner, with floor visible between them. Preserve spatial capacity for these arrangements without adding subjects or assigning unsupported grid positions.\n  - state_cue_directive: Carry transient marker 7, In-progress crayon mural, on the drawing-bearing wall. S47_Shot5 specifies crayon drawings with a blue line being added and quiet early-morning ambient illumination without a visible light source. S47_Shot15 and S47_Shot17 require restrained ambient illumination, held consistent across their corner views without a dramatic lighting change. clean_background_expected is false; retain the committed overlay rather than substituting a generic clean state. Drawing contact and the call action belong to their respective shots, not permanent fixtures.\n  - negative_continuity_directive: No ignore_numbered_elements or ignored_state_overlay_marker_numbers are supplied. Avoid moving markers 2, 5 or 6, relocating marker 7 away from marker 2, or separating the foreground and background positions of S47_Shot17 into different units. Do not force opening 4 or every visibility-superset entry into this view. Do not infer additional fixed fixtures from shot-specific actions or merge the three consuming shots' subject states.\n\n2069년 한국의 오래 사용된 생활 시설 내부, 이른 아침의 조용하고 비어 있는 복도를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 미래에도 계속 사용되는 소박한 콘크리트 건물의 현실적인 실내로 표현한다. 도장된 벽의 미세한 요철과 오래된 도막, 바닥의 가벼운 마모와 자연스러운 생활 얼룩을 담되 과도하게 폐허로 만들지 않는다. 화면 밖에서 들어오는 이른 아침의 부드러운 자연광이 복도 안쪽으로 약해지며, 외진 구석에도 벽과 바닥의 경계를 읽을 수 있는 은은한 반사광이 남는다. 차가운 아침빛과 크레파스 고유의 색을 인위적인 색 보정 없이 기록한다.\n\n참조 평면도는 공간의 배치만 파악하는 데 사용한다. 동서로 길게 이어진 주 복도의 남쪽 가장자리 가까이 서서 동쪽 끝을 바라본다. 촬영 높이는 약 1.6미터이며, 35밀리미터 규격의 실제 디지털 카메라에 24~28밀리미터 광각 렌즈를 사용한 자연스러운 원근감으로 담는다. 북쪽의 끊김 없는 긴 벽은 화면 왼쪽을 따라 멀어지고, 오른쪽 먼 끝에는 남쪽으로 들어간 외진 구석의 넓고 문짝 없는 입구가 보인다. 그 구석의 서쪽 되돌이벽이 복도 남쪽 벽과 이어지는 관계를 읽을 수 있게 한다. 복도 바닥에서 구석 입구로 이어지는 접근 동선과 시야를 충분히 남겨, 구석이 별도 방처럼 단절되어 보이지 않게 한다. 위에서 내려다본 구도나 도면이 아니라 서 있는 사람의 눈높이에서 본 실제 실내 사진이다.\n\n왼쪽 긴 벽의 복도를 향한 표면에는 아직 작업 중인 실제 크레파스 벽화가 있다. 파란 바다 선이 동쪽으로 길게 이어지다가 캠핑 차량, 해양 생물, 야자수가 모인 더 풍성한 그림으로 연결된다. 가족과 친구에 대한 부분은 사람이나 얼굴, 인체형 형상을 그리지 않고 서로 모인 비인체형 색채와 추상적인 선의 조합으로만 표현한다. 듬성듬성 남은 채색과 미완성 선, 벽 요철에 걸린 크레파스의 왁스 입자와 겹쳐 칠한 자국이 가까운 부분에서 분명히 보인다. 모든 그림 소재는 벽 표면 안에만 머물며, 투사 영상이나 실제 풍경 또는 복도에 놓인 실물로 바뀌지 않는다. 실제 크레파스 그림이 있는 장소를 촬영한 사진이지 사진 전체가 그림처럼 보이는 표현이 아니다. 공간과 벽화 어디에도 사람, 얼굴, 인체형 형상을 넣지 않는다. 자연스러운 피사계 심도로 가까운 벽의 질감과 먼 구석의 연결 구조를 함께 읽을 수 있게 하고, 지나치게 말끔한 광고 사진이나 컴퓨터로 합성한 건축 이미지가 아닌 실제 장소 기록 사진으로 표현한다. 16:9 가로 비율, 실제 카메라 촬영본.",
        "camera_decision": {
          "camera_unit": 1,
          "camera_cell": [
            3,
            5
          ],
          "look_at_unit": 3,
          "look_at_cell": [
            4,
            8
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad coverage from unit 1 toward the entrance to unit 3, aiming at the permitted cell occupied by opening 5. Both coordinates are exact copies from unit 1's candidate arrays. The look-at cell is an opening-directed aim, not unit 3's marker center. Prioritize the wide spatial relationship in S47_Shot17; the medium and close consuming shots do not establish additional camera coordinates for this BG."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Establish the eastward portion of unit 1 and the entrance into unit 3 through base opening 5. Preserve base marker 2 as the north boundary of unit 1 and base marker 6 as the western return of unit 3, showing only portions intersecting the chosen wide framing. Keep marker 7 on its drawing-bearing support at marker 2. The visibility arrays are supersets, not proof that every listed unit or opening appears; opening 4 is not a required visible element for this eastward aim.",
          "camera_framing_directive": "Use camera unit 1 at [3, 5], looking toward unit 3 at the opening-directed candidate [4, 8], with wide lens and 90-degree field of view. Provide broad coverage of the entrance and depth into unit 3, with readable boundary and floor relationships for the foreground/background separation in S47_Shot17. Treat this as a single background framing, not a simultaneous recreation of all three shot cameras.",
          "subject_position_directive": "Keep subject cues specific to their consuming shots rather than combining them into one tableau. S47_Shot5 commits 찰리 crouched with his back in the left half and drawing arm extending toward the wall at center-right, with 앰버 outside the frame. S47_Shot15 commits 이현우 centrally in close framing, with the corner behind his phone-side shoulder. S47_Shot17 commits 이현우 in the left foreground and 찰리 unobstructed at center-right behind him within the same corner, with floor visible between them. Preserve spatial capacity for these arrangements without adding subjects or assigning unsupported grid positions.",
          "state_cue_directive": "Carry transient marker 7, In-progress crayon mural, on the drawing-bearing wall. S47_Shot5 specifies crayon drawings with a blue line being added and quiet early-morning ambient illumination without a visible light source. S47_Shot15 and S47_Shot17 require restrained ambient illumination, held consistent across their corner views without a dramatic lighting change. clean_background_expected is false; retain the committed overlay rather than substituting a generic clean state. Drawing contact and the call action belong to their respective shots, not permanent fixtures.",
          "negative_continuity_directive": "No ignore_numbered_elements or ignored_state_overlay_marker_numbers are supplied. Avoid moving markers 2, 5 or 6, relocating marker 7 away from marker 2, or separating the foreground and background positions of S47_Shot17 into different units. Do not force opening 4 or every visibility-superset entry into this view. Do not infer additional fixed fixtures from shot-specific actions or merge the three consuming shots' subject states."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_l58_corridor_corner",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_l58_corridor_corner"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L61B02": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L61",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L61B02.png",
        "t2i_prompt": "2069년 대한민국의 오래된 휴게소 마트 내부, 약품 코너와 인접 통로를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 첨단 설비로 일괄 교체되지 않고 기존의 실용적인 매장 시설을 계속 사용하는 소규모 소매점의 현실적인 모습이다. 공간은 깨끗하고 정돈된 평상 상태다.\n\n참조 평면도는 공간의 연결 관계와 기존 시설의 위치를 파악하는 데만 사용한다. 매장 오른쪽 벽의 약품 진열대 가까이에 카메라를 두고, 중앙의 열린 판매 공간을 가로질러 왼쪽 안쪽의 관리용 테이블을 비스듬히 바라본다. 높이는 바닥에서 약 1.6미터, 35밀리미터 풀프레임 미러리스 카메라에 28밀리미터 광각 렌즈를 사용한 수평 시선이다. 약품 진열대는 화면 가장자리에 걸치고, 멀리 있는 관리용 테이블과 그 바로 위 벽의 텔레비전이 서로 구별되도록 담는다. 출입문은 매장 왼쪽 앞쪽 벽의 원래 위치에 있고, 문턱에서 중앙 통로와 관리 구역으로 이어지는 접근 동선이 가구에 가려지지 않게 보인다. 일반 상품 진열대는 오른쪽 앞쪽 판매 구역에 자리하며 중앙 통로를 비워 둔다. 오른쪽 안쪽 모서리에 고정된 볼록 반사경은 구도 위쪽 가장자리에 포함하고, 그 안에는 실제 위치 관계에 맞는 빈 통로와 출입구 방향의 반사만 담는다.\n\n낮 시간 출입구 쪽에서 들어오는 부드러운 자연광과 실내에 퍼지는 간접광으로 진열대의 깊이와 통로의 폭을 읽을 수 있게 한다. 한국의 소규모 휴게소 매장에서 볼 수 있는 실용적인 금속 진열대와 절제된 한글 상품 표기, 오래 사용한 테이블과 텔레비전의 생활감이 자연스럽게 드러난다. 진열대 금속의 실제 표면 질감과 가장자리의 잔잔한 사용 마모, 테이블 표면의 미세한 결, 반사경의 곡률에 따른 광학적 왜곡을 사실적으로 표현한다. 진열 상품은 가지런하며, 가까운 선반부터 먼 관리 구역까지 알아볼 수 있는 자연스러운 피사계 심도와 과장되지 않은 원근감을 유지한다. 사람, 얼굴, 인체 형태의 형상은 화면과 반사면을 포함해 어디에도 묘사하지 않는다. 실제 현장 기록 사진처럼 자연스러운 노출과 색을 유지하고, 과도한 보정이나 인공적으로 매끈한 표현을 피한다. 삽화나 컴퓨터 생성 이미지, 건축 시각화가 아닌 실제 사진이며, 내려다보는 시점이나 평면도 구도가 아니다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S49_Shot12",
            "guide_text": "약품 진열대 가까운 약 1.6미터 눈높이에서 중앙 통로를 건너 관리용 테이블을 향하는 대각 구도를 사용한다. 가까운 약품 선반은 화면 가장자리의 깊이 기준으로 두고, 먼 테이블과 그 위 텔레비전, 출입구 접근 동선이 함께 읽히게 한다. 볼록 반사경은 위쪽 모서리에 원래 위치대로 포함하며 빈 매장의 반사만 보여준다. 낮의 자연광과 정돈된 진열 상태를 유지한 인물 없는 배경으로 구성한다."
          }
        ],
        "shot_ids": [
          "S49_Shot12"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Near number 6 (medicine shelving), looking diagonally across number 1 (shared retail floor) toward number 8 (attendant table), with number 5 (entrance door) beyond the attendant approach.",
          "camera_height": "standing eye level, approximately 1.5–1.6 m",
          "lens_hint": "28mm wide angle",
          "framing_notes": "Keep medicine shelving at the frame edge, the table and television readable in the far service area, and the entrance approach unobstructed. Include number 10 near the upper corner of the composition without duplicating reflected people as physical occupants. Shelves remain orderly; ceiling intact; no fallen merchandise. The camper is a separate location and must not appear."
        },
        "reference_decision": {
          "bg_id": "L61B02",
          "fp_id": "fp_l61_store_and_assigned_inserts",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L61B02 is the sole clean anchor candidate and is ready for S49_Shot12. Establish its fixed identity directly from the floor plan. A wide view from unit 4 toward marker 6 in unit 2 supports the staged foreground separation, middle-distance advance, and oblique coverage through unit 1 without treating the separate units 11 and 12 as co-visible.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/floor_plan/fp_l61_store_and_assigned_inserts.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The first node establishes the same-fp identity without a prior background reference.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 4,
            "camera_cell": [
              8,
              1
            ],
            "look_at_unit": 2,
            "look_at_cell": [
              3,
              5
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad oblique coverage from unit 4 through unit 1 toward marker 6 in unit 2. Use the committed shot's foreground-to-middle-distance layering; this plan specifies a settled framing rather than an additional camera operation."
          },
          "render_guidance": {
            "visible_space_directive": "Show the forward slice from unit 4 through unit 1 toward unit 2, with unit 3 at the leftward extent where unobstructed. Place markers 6, 7, 8, 9, and 10 according to the base floor plan: marker 6 along the right wall, marker 7 clear of the central passage, marker 8 below marker 9, and marker 10 at the upper-right corner. Marker 5 remains fixed at its base location but is not required in this forward view. Visibility candidate lists are supersets, not evidence of connections to units 11 or 12.",
            "camera_framing_directive": "Use camera unit 4 at [8, 1], looking toward unit 2 at [3, 5], with a wide lens and 90-degree field of view. Maintain broad, oblique coverage and a clear foreground gap into the middle distance, consistent with S49_Shot12; do not add a camera movement unsupported by the geometry.",
            "subject_position_directive": "Respect the committed S49_Shot12 placement: 앰버 at lower-left with shoulders drawn inward, 라울 near lower-center with his head turning, and 찰리 at right foreground arrested mid-turn. Their backs face the observer. Reserve the gap for 조일광 advancing in the middle distance, looking down toward the group rather than into the lens. These are shot-layer placement constraints, not permanent background fixtures; add no other subjects.",
            "state_cue_directive": "For the clean background, no committed state cue beyond \"clean residential space\" applies, and no transient overlay markers are assigned. Preserve the shot's intact, stocked condition and setting-appropriate ambient illumination without inventing additional cues or a new light source. Keep the committed subject action separate from the clean fixed-space plate.",
            "negative_continuity_directive": "Exclude markers 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, and 23, including ignored state overlays 20–23. Avoid relocating markers 6–10 to force visibility, exposing marker 5 outside the chosen cone, or converting visibility supersets into invented opening adjacency."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [8, 1]\n  - look_at_unit: 2\n  - look_at_cell: [3, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad oblique coverage from unit 4 through unit 1 toward marker 6 in unit 2. Use the committed shot's foreground-to-middle-distance layering; this plan specifies a settled framing rather than an additional camera operation.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward slice from unit 4 through unit 1 toward unit 2, with unit 3 at the leftward extent where unobstructed. Place markers 6, 7, 8, 9, and 10 according to the base floor plan: marker 6 along the right wall, marker 7 clear of the central passage, marker 8 below marker 9, and marker 10 at the upper-right corner. Marker 5 remains fixed at its base location but is not required in this forward view. Visibility candidate lists are supersets, not evidence of connections to units 11 or 12.\n  - camera_framing_directive: Use camera unit 4 at [8, 1], looking toward unit 2 at [3, 5], with a wide lens and 90-degree field of view. Maintain broad, oblique coverage and a clear foreground gap into the middle distance, consistent with S49_Shot12; do not add a camera movement unsupported by the geometry.\n  - subject_position_directive: Respect the committed S49_Shot12 placement: 앰버 at lower-left with shoulders drawn inward, 라울 near lower-center with his head turning, and 찰리 at right foreground arrested mid-turn. Their backs face the observer. Reserve the gap for 조일광 advancing in the middle distance, looking down toward the group rather than into the lens. These are shot-layer placement constraints, not permanent background fixtures; add no other subjects.\n  - state_cue_directive: For the clean background, no committed state cue beyond \"clean residential space\" applies, and no transient overlay markers are assigned. Preserve the shot's intact, stocked condition and setting-appropriate ambient illumination without inventing additional cues or a new light source. Keep the committed subject action separate from the clean fixed-space plate.\n  - negative_continuity_directive: Exclude markers 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, and 23, including ignored state overlays 20–23. Avoid relocating markers 6–10 to force visibility, exposing marker 5 outside the chosen cone, or converting visibility supersets into invented opening adjacency.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [8, 1]\n  - look_at_unit: 2\n  - look_at_cell: [3, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad oblique coverage from unit 4 through unit 1 toward marker 6 in unit 2. Use the committed shot's foreground-to-middle-distance layering; this plan specifies a settled framing rather than an additional camera operation.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward slice from unit 4 through unit 1 toward unit 2, with unit 3 at the leftward extent where unobstructed. Place markers 6, 7, 8, 9, and 10 according to the base floor plan: marker 6 along the right wall, marker 7 clear of the central passage, marker 8 below marker 9, and marker 10 at the upper-right corner. Marker 5 remains fixed at its base location but is not required in this forward view. Visibility candidate lists are supersets, not evidence of connections to units 11 or 12.\n  - camera_framing_directive: Use camera unit 4 at [8, 1], looking toward unit 2 at [3, 5], with a wide lens and 90-degree field of view. Maintain broad, oblique coverage and a clear foreground gap into the middle distance, consistent with S49_Shot12; do not add a camera movement unsupported by the geometry.\n  - subject_position_directive: Respect the committed S49_Shot12 placement: 앰버 at lower-left with shoulders drawn inward, 라울 near lower-center with his head turning, and 찰리 at right foreground arrested mid-turn. Their backs face the observer. Reserve the gap for 조일광 advancing in the middle distance, looking down toward the group rather than into the lens. These are shot-layer placement constraints, not permanent background fixtures; add no other subjects.\n  - state_cue_directive: For the clean background, no committed state cue beyond \"clean residential space\" applies, and no transient overlay markers are assigned. Preserve the shot's intact, stocked condition and setting-appropriate ambient illumination without inventing additional cues or a new light source. Keep the committed subject action separate from the clean fixed-space plate.\n  - negative_continuity_directive: Exclude markers 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, and 23, including ignored state overlays 20–23. Avoid relocating markers 6–10 to force visibility, exposing marker 5 outside the chosen cone, or converting visibility supersets into invented opening adjacency.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [8, 1]\n  - look_at_unit: 2\n  - look_at_cell: [3, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad oblique coverage from unit 4 through unit 1 toward marker 6 in unit 2. Use the committed shot's foreground-to-middle-distance layering; this plan specifies a settled framing rather than an additional camera operation.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward slice from unit 4 through unit 1 toward unit 2, with unit 3 at the leftward extent where unobstructed. Place markers 6, 7, 8, 9, and 10 according to the base floor plan: marker 6 along the right wall, marker 7 clear of the central passage, marker 8 below marker 9, and marker 10 at the upper-right corner. Marker 5 remains fixed at its base location but is not required in this forward view. Visibility candidate lists are supersets, not evidence of connections to units 11 or 12.\n  - camera_framing_directive: Use camera unit 4 at [8, 1], looking toward unit 2 at [3, 5], with a wide lens and 90-degree field of view. Maintain broad, oblique coverage and a clear foreground gap into the middle distance, consistent with S49_Shot12; do not add a camera movement unsupported by the geometry.\n  - subject_position_directive: Respect the committed S49_Shot12 placement: 앰버 at lower-left with shoulders drawn inward, 라울 near lower-center with his head turning, and 찰리 at right foreground arrested mid-turn. Their backs face the observer. Reserve the gap for 조일광 advancing in the middle distance, looking down toward the group rather than into the lens. These are shot-layer placement constraints, not permanent background fixtures; add no other subjects.\n  - state_cue_directive: For the clean background, no committed state cue beyond \"clean residential space\" applies, and no transient overlay markers are assigned. Preserve the shot's intact, stocked condition and setting-appropriate ambient illumination without inventing additional cues or a new light source. Keep the committed subject action separate from the clean fixed-space plate.\n  - negative_continuity_directive: Exclude markers 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, and 23, including ignored state overlays 20–23. Avoid relocating markers 6–10 to force visibility, exposing marker 5 outside the chosen cone, or converting visibility supersets into invented opening adjacency.\n\n2069년 대한민국의 오래된 휴게소 마트 내부, 약품 코너와 인접 통로를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 첨단 설비로 일괄 교체되지 않고 기존의 실용적인 매장 시설을 계속 사용하는 소규모 소매점의 현실적인 모습이다. 공간은 깨끗하고 정돈된 평상 상태다.\n\n참조 평면도는 공간의 연결 관계와 기존 시설의 위치를 파악하는 데만 사용한다. 매장 오른쪽 벽의 약품 진열대 가까이에 카메라를 두고, 중앙의 열린 판매 공간을 가로질러 왼쪽 안쪽의 관리용 테이블을 비스듬히 바라본다. 높이는 바닥에서 약 1.6미터, 35밀리미터 풀프레임 미러리스 카메라에 28밀리미터 광각 렌즈를 사용한 수평 시선이다. 약품 진열대는 화면 가장자리에 걸치고, 멀리 있는 관리용 테이블과 그 바로 위 벽의 텔레비전이 서로 구별되도록 담는다. 출입문은 매장 왼쪽 앞쪽 벽의 원래 위치에 있고, 문턱에서 중앙 통로와 관리 구역으로 이어지는 접근 동선이 가구에 가려지지 않게 보인다. 일반 상품 진열대는 오른쪽 앞쪽 판매 구역에 자리하며 중앙 통로를 비워 둔다. 오른쪽 안쪽 모서리에 고정된 볼록 반사경은 구도 위쪽 가장자리에 포함하고, 그 안에는 실제 위치 관계에 맞는 빈 통로와 출입구 방향의 반사만 담는다.\n\n낮 시간 출입구 쪽에서 들어오는 부드러운 자연광과 실내에 퍼지는 간접광으로 진열대의 깊이와 통로의 폭을 읽을 수 있게 한다. 한국의 소규모 휴게소 매장에서 볼 수 있는 실용적인 금속 진열대와 절제된 한글 상품 표기, 오래 사용한 테이블과 텔레비전의 생활감이 자연스럽게 드러난다. 진열대 금속의 실제 표면 질감과 가장자리의 잔잔한 사용 마모, 테이블 표면의 미세한 결, 반사경의 곡률에 따른 광학적 왜곡을 사실적으로 표현한다. 진열 상품은 가지런하며, 가까운 선반부터 먼 관리 구역까지 알아볼 수 있는 자연스러운 피사계 심도와 과장되지 않은 원근감을 유지한다. 사람, 얼굴, 인체 형태의 형상은 화면과 반사면을 포함해 어디에도 묘사하지 않는다. 실제 현장 기록 사진처럼 자연스러운 노출과 색을 유지하고, 과도한 보정이나 인공적으로 매끈한 표현을 피한다. 삽화나 컴퓨터 생성 이미지, 건축 시각화가 아닌 실제 사진이며, 내려다보는 시점이나 평면도 구도가 아니다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 4,
          "camera_cell": [
            8,
            1
          ],
          "look_at_unit": 2,
          "look_at_cell": [
            3,
            5
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad oblique coverage from unit 4 through unit 1 toward marker 6 in unit 2. Use the committed shot's foreground-to-middle-distance layering; this plan specifies a settled framing rather than an additional camera operation."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Show the forward slice from unit 4 through unit 1 toward unit 2, with unit 3 at the leftward extent where unobstructed. Place markers 6, 7, 8, 9, and 10 according to the base floor plan: marker 6 along the right wall, marker 7 clear of the central passage, marker 8 below marker 9, and marker 10 at the upper-right corner. Marker 5 remains fixed at its base location but is not required in this forward view. Visibility candidate lists are supersets, not evidence of connections to units 11 or 12.",
          "camera_framing_directive": "Use camera unit 4 at [8, 1], looking toward unit 2 at [3, 5], with a wide lens and 90-degree field of view. Maintain broad, oblique coverage and a clear foreground gap into the middle distance, consistent with S49_Shot12; do not add a camera movement unsupported by the geometry.",
          "subject_position_directive": "Respect the committed S49_Shot12 placement: 앰버 at lower-left with shoulders drawn inward, 라울 near lower-center with his head turning, and 찰리 at right foreground arrested mid-turn. Their backs face the observer. Reserve the gap for 조일광 advancing in the middle distance, looking down toward the group rather than into the lens. These are shot-layer placement constraints, not permanent background fixtures; add no other subjects.",
          "state_cue_directive": "For the clean background, no committed state cue beyond \"clean residential space\" applies, and no transient overlay markers are assigned. Preserve the shot's intact, stocked condition and setting-appropriate ambient illumination without inventing additional cues or a new light source. Keep the committed subject action separate from the clean fixed-space plate.",
          "negative_continuity_directive": "Exclude markers 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, and 23, including ignored state overlays 20–23. Avoid relocating markers 6–10 to force visibility, exposing marker 5 outside the chosen cone, or converting visibility supersets into invented opening adjacency."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_l61_store_and_assigned_inserts",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_l61_store_and_assigned_inserts"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L61B03": {
        "status": "ok",
        "location_id": "L61",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L61B03.png",
        "t2i_prompt": "2069년 대한민국의 관리가 쇠퇴한 도로변, 쓰레기 둔덕에 충돌해 완전히 거꾸로 뒤집힌 캠핑카 잔해를 담은 실제 카메라로 촬영한 다큐멘터리 풍 사진. 낮의 실제 현장 기록처럼 표현한다. 미러리스 카메라와 35밀리미터급 렌즈를 사용해 지면에서 약 1.6미터 높이의 서 있는 사람 눈높이로, 도로 갓길에서 잔해의 측면과 앞부분을 비스듬히 바라본다. 캠핑카 전체의 전복 상태와 쓰레기 둔덕에 파묻힌 충돌 지점, 주변 도로가 함께 보이는 넓은 구도. 지붕은 아래로 깔려 심하게 찌그러지고 차체 하부와 바퀴는 하늘을 향하며, 차체 일부가 둔덕을 누른 채 물리적으로 무게를 싣고 정지해 있다. 낡은 거주용 차량의 작은 측면 창문과 출입문, 퇴색한 외장 패널을 통해 캠핑카임을 분명히 알아볼 수 있다. 충격으로 접힌 금속판, 깨진 창유리, 벌어진 패널 이음새, 노출된 하부의 녹과 기름때를 사실적으로 보여준다. 충돌 지점에서 뽀얀 먼지가 분출해 지면 가까이 넓게 퍼지고, 잔해의 벌어진 틈에서 짙은 회흑색 연기가 솟아오른다. 먼지와 연기는 밀도와 색이 구분되며, 차체 윤곽과 위를 향한 바퀴까지 모두 가리지 않는다. 불꽃이나 추가 폭발은 넣지 않는다. 쓰레기 둔덕은 찢어진 폐기물 봉투, 눌린 플라스틱 용기, 낡은 포대, 폐목재, 구겨진 철판과 콘크리트 파편이 불규칙하게 쌓인 현실적인 도로변 적치물이다. 주변에는 균열 난 아스팔트, 흐릿해진 흰색 갓길 차선, 먼지 낀 콘크리트 배수로가 이어진다. 자원 부족으로 오래된 차량과 생활 폐기물이 남아 있는 미래의 한국 외곽 도로이며, 새것 같은 미래 장비나 공중 정보창을 추가하지 않는다. 주간 자연광이 먼지층에서 부드럽게 산란하고, 잔해 아래에는 실제 접촉 그림자가 생긴다. 실제 금속의 산화 흔적, 거친 콘크리트 골재, 포대의 섬유 짜임, 부서진 목재의 나뭇결, 오래된 얼룩과 새 충돌 자국을 구별한다. 자연스러운 원근과 피사계 심도, 과도한 보정 없는 노출로 실제 장소 참고 사진과 구별되지 않게 한다. 도식이나 조감도가 아닌 지상 시점의 사진이며, 인공적으로 매끈한 건축 시각화나 그림처럼 표현하지 않는다. 마트 외관이나 주유장으로 대체하지 않는다. 사람, 얼굴, 시신, 혈흔, 로봇은 전혀 없는 배경만 촬영한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S49_Shot47",
            "guide_text": "도로 갓길의 약 1.6미터 눈높이에서 35밀리미터급 렌즈로 캠핑카의 측면과 앞부분을 비스듬히 담는다. 전경에는 아스팔트와 충돌 파편, 중경에는 쓰레기 둔덕에 지붕이 눌린 전복 차체, 상부에는 솟아오르는 짙은 연기를 배치한다. 위를 향한 바퀴와 심하게 찌그러진 차체가 읽히도록 하고, 뽀얀 먼지는 충돌 지점과 지면을 따라 퍼지게 한다. 낮의 자연광과 실제 재질감을 유지하며 사람이나 로봇 없이 사고 직후의 잔해와 주변 환경만 보여준다."
          }
        ],
        "shot_ids": [
          "S49_Shot47"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "text_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {},
        "reference_decision": {
          "mode": "surface_role_direct_plate",
          "surface_role": "exterior_plate",
          "fp_id": "",
          "source_bg_ids": []
        },
        "effective_render_prompt": "2069년 대한민국의 관리가 쇠퇴한 도로변, 쓰레기 둔덕에 충돌해 완전히 거꾸로 뒤집힌 캠핑카 잔해를 담은 실제 카메라로 촬영한 다큐멘터리 풍 사진. 낮의 실제 현장 기록처럼 표현한다. 미러리스 카메라와 35밀리미터급 렌즈를 사용해 지면에서 약 1.6미터 높이의 서 있는 사람 눈높이로, 도로 갓길에서 잔해의 측면과 앞부분을 비스듬히 바라본다. 캠핑카 전체의 전복 상태와 쓰레기 둔덕에 파묻힌 충돌 지점, 주변 도로가 함께 보이는 넓은 구도. 지붕은 아래로 깔려 심하게 찌그러지고 차체 하부와 바퀴는 하늘을 향하며, 차체 일부가 둔덕을 누른 채 물리적으로 무게를 싣고 정지해 있다. 낡은 거주용 차량의 작은 측면 창문과 출입문, 퇴색한 외장 패널을 통해 캠핑카임을 분명히 알아볼 수 있다. 충격으로 접힌 금속판, 깨진 창유리, 벌어진 패널 이음새, 노출된 하부의 녹과 기름때를 사실적으로 보여준다. 충돌 지점에서 뽀얀 먼지가 분출해 지면 가까이 넓게 퍼지고, 잔해의 벌어진 틈에서 짙은 회흑색 연기가 솟아오른다. 먼지와 연기는 밀도와 색이 구분되며, 차체 윤곽과 위를 향한 바퀴까지 모두 가리지 않는다. 불꽃이나 추가 폭발은 넣지 않는다. 쓰레기 둔덕은 찢어진 폐기물 봉투, 눌린 플라스틱 용기, 낡은 포대, 폐목재, 구겨진 철판과 콘크리트 파편이 불규칙하게 쌓인 현실적인 도로변 적치물이다. 주변에는 균열 난 아스팔트, 흐릿해진 흰색 갓길 차선, 먼지 낀 콘크리트 배수로가 이어진다. 자원 부족으로 오래된 차량과 생활 폐기물이 남아 있는 미래의 한국 외곽 도로이며, 새것 같은 미래 장비나 공중 정보창을 추가하지 않는다. 주간 자연광이 먼지층에서 부드럽게 산란하고, 잔해 아래에는 실제 접촉 그림자가 생긴다. 실제 금속의 산화 흔적, 거친 콘크리트 골재, 포대의 섬유 짜임, 부서진 목재의 나뭇결, 오래된 얼룩과 새 충돌 자국을 구별한다. 자연스러운 원근과 피사계 심도, 과도한 보정 없는 노출로 실제 장소 참고 사진과 구별되지 않게 한다. 도식이나 조감도가 아닌 지상 시점의 사진이며, 인공적으로 매끈한 건축 시각화나 그림처럼 표현하지 않는다. 마트 외관이나 주유장으로 대체하지 않는다. 사람, 얼굴, 시신, 혈흔, 로봇은 전혀 없는 배경만 촬영한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_aware_plan_mode": "surface_role_direct_plate",
        "attached_reference_lineage": {
          "fp_id": "",
          "prior_bg_ids": [],
          "attached_ref_labels": [],
          "ref_used": "text_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L61B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L61",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L61B01.png",
        "t2i_prompt": "2069년 대한민국에서 계속 사용되어 온 캠핑카의 전복 직후 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 사고 현장의 실물 공간 참고 사진으로, 미래라는 이유로 새로운 장비나 발광 장식을 덧붙이지 않는다. 실제 좌석 직물의 짜임과 눌린 자국, 손때 묻은 운전대 표면, 금속 창틀의 잔흠집, 오래 사용한 실내 마감의 생활 얼룩을 사실적으로 담는다. 삽화나 컴퓨터 그래픽, 건축 시각화가 아닌 실제 장소의 사진이며 인위적인 색 보정이나 과장된 광학 효과를 사용하지 않는다.\n\n참조 평면도에서는 캠핑카 부분의 구조와 고정 설비 사이의 위치 관계만 읽는다. 운전석과 조수석은 차량 자체의 좌우 관계를 유지하고 운전대는 운전석 앞에 있다. 조수석 옆 창 개구부와 앞좌석 뒤로 이어지는 객실 일부가 보인다. 차체 전체가 뒤집혀 원래의 지붕이 아래에, 바닥이 위에 놓여 있으며, 고정된 좌석과 설비도 차체와 함께 뒤집힌 방향이다. 카메라는 운전석 가까운 조종 공간 안에서 아래쪽이 된 지붕 내면으로부터 약 0.2~0.5미터 높이에 놓고 조수석 옆 창을 대각선으로 바라본다. 35밀리미터급 풀프레임 미러리스 카메라의 24밀리미터 광각 렌즈로 촬영한 구도이며, 앞좌석 바로 뒤 중심선에 부착된 전구가 가까운 객실 경계에 들어온다. 위에서 내려다본 배치도나 공간 도해로 표현하지 않는다.\n\n뒤집힌 조종 공간과 인접 객실에 사고 연기가 얇고 불균일하게 퍼져 있다. 조수석 창에는 깨진 유리 가장자리가 남아 있고, 인접한 뒤집힌 실내의 아래쪽 면에는 유리 파편이 놓여 있다. 낮의 자연광이 깨진 창을 통해 들어와 유리의 실제 반짝임과 연기의 투과 차이를 드러낸다. 객실 전구는 희미하게 깜빡이는 중의 약한 점등 순간으로 포착하며 주변을 환하게 밝히지 않는다. 창틀과 중간 거리의 좌석에는 읽을 수 있는 초점을 두고 가까운 가장자리와 창밖은 자연스러운 피사계 심도로 부드러워지게 한다. 흐린 인상은 연기와 실제 광학적 초점 차이로만 만들고 공간 구조를 환상적으로 변형하지 않는다. 실내와 창밖, 유리의 반사 어디에도 사람, 얼굴, 신체 일부나 사람 모양의 형상을 넣지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S49_Shot50",
            "guide_text": "운전석 가까이에서 아래쪽이 된 지붕 내면을 기준으로 약 0.2~0.5미터 높이의 낮은 시선을 잡고, 조수석의 깨진 창을 대각선으로 바라본다. 광각 구도 안에서 뒤집힌 좌석의 방향과 가까운 객실 경계의 희미한 전구가 공간 방향을 설명하도록 한다. 창으로 유입되는 낮빛과 실내 연기로 거리감을 만들되 창 개구부를 완전히 가리지 않는다. 지각이 흐려지는 느낌은 가장자리의 자연스러운 초점 저하로 절제하며, 얼굴 중첩이나 공간 왜곡 없이 인물 없는 배경만 제공한다."
          }
        ],
        "shot_ids": [
          "S49_Shot50"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "Inside number 12 (cockpit), close to number 13 (driver seat) and the roof-side resting surface after rollover, looking diagonally toward number 17 (passenger window opening), with number 19 (interior bulb fixture) at the near cabin edge.",
          "camera_height": "low reclined subjective eye level, approximately 0.2–0.5 m above the interior roof-side resting surface; staging estimate",
          "lens_hint": "24mm wide angle",
          "framing_notes": "Apply number 23 as a physical rollover of the intact attachment coordinate system: seats and steering assembly are inverted, not randomly relocated. Compose past partial seat and wheel edges toward the broken passenger-side aperture where two outside observers can bend into view; their precise viewing aperture is a staging choice. Include dim bulb flicker, smoke, and broken glass. Subjective perceptual softness and face substitution must not deform the vehicle or create a third observer. No store elements appear."
        },
        "reference_decision": {
          "bg_id": "L61B01",
          "fp_id": "fp_l61_store_and_assigned_inserts",
          "node_index": 1,
          "mode": "related_style_new_space",
          "is_dwelling_identity_anchor": false,
          "rationale": "L61B01 is ready for S49_Shot50 and targets units 11 and 12, physically distinct from L61B02's units 1–4 with no shared target or fixed-element markers. Use L61B02 only for compatible same-fp identity and palette, not its layout. Camera unit 11 aimed at marker 17 in unit 12 supports the staged interior-to-exterior opening view. This is a new space with committed overlays 20–23, not a low-delta reuse of the anchor.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L61B02.png"
          ],
          "source_bg_ids": [
            "L61B02"
          ],
          "fp_included": false,
          "reference_decision": {
            "selected_refs": [
              {
                "ref_bg_id": "L61B02",
                "physical_space_id": "fp_l61_store_and_assigned_inserts:units_1_2_3_4",
                "space_description": "The fixed space defined by units 1–4 and base markers 5–10; identity reference only for this child."
              }
            ],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "single_style_reference_distinct_target_space",
            "why_single_ref_or_two_refs": "One earlier same-fp anchor is sufficient for identity continuity. S49_Shot50 commits only the space of units 11 and 12 and the view beyond marker 17, not co-visibility with the anchor's units 1–4.",
            "physical_space_id_per_ref": [
              "fp_l61_store_and_assigned_inserts:units_1_2_3_4"
            ],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 11,
            "camera_cell": [
              6,
              8
            ],
            "look_at_unit": 12,
            "look_at_cell": [
              3,
              9
            ],
            "lens_enum": "normal",
            "fov_deg": 50,
            "framing_notes": "Neutral coverage aimed at marker 17 at [3, 9], assigned to unit 12 by the base inventory. Unit 12 has no enumerated camera cell, so use the supplied unit 11 camera candidate. The framing represents the settled opening view rather than a generated pan path."
          },
          "render_guidance": {
            "visible_space_directive": "From unit 11, frame the portion of unit 12 around opening marker 17 at [3, 9]. Keep its narrow boundaries in the middle-center foreground and marker 19 small near a frame edge where visible. Maintain base placements of markers 13, 14, and 15 without forcing them into this opening-centered view. The shot commits subjects beyond marker 17 but no additional exterior unit or connection to units 1–4.",
            "camera_framing_directive": "Use camera unit 11 at [6, 8], looking toward unit 12 at [3, 9], with a normal lens and 50-degree field of view. Provide neutral coverage for the staged medium composition through marker 17, retaining thin foreground edges and the small edge detail of marker 19. Honor the committed low, oblique upward observer framing without inventing additional grid positions or camera operations.",
            "subject_position_directive": "For S49_Shot50, place 태진 on the left and 은영 on the right beyond marker 17, visible from the waist upward. 태진 bends farther inward; 은영 leans forward with her head at a different angle. Both look down toward 이현우 below the frame, not into the lens. Keep the observer beside the committed below-frame position rather than treating this as subjective vision; preserve the staged identities and add no subjects.",
            "state_cue_directive": "Apply only the committed overlays: 20 \"Accident smoke\", 21 \"Broken window glass\", 22 \"Dim bulb flicker\", and 23 \"Overturned vehicle orientation\". Keep marker 17 open enough for the staged view beyond its broken edges, and marker 19 small and present inside. Use the shot's faint intermittent interior light against daytime ambient illumination outside, preserving readability without hallucination distortion or identity substitution.",
            "negative_continuity_directive": "Exclude ignored markers 1, 2, 3, 4, 5, 6, 7, 8, 9, and 10. Do not transfer their layout from L61B02 into units 11 or 12. Avoid forcing markers 13–15 or openings 16 and 18 into the selected cone, enlarging marker 19 into a foreground obstruction, or inferring adjacency from the visibility supersets. Restrict state changes to markers 20–23 and the committed shot facts."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows a related part of the same dwelling, not the current room. Inherit the overall material and lighting identity only; the new space is its own architectural room and must read as the same home.\n\nREFERENCE PLAN: mode='related_style_new_space'\n  - selected_refs[0]: ref_bg_id='L61B02' physical_space_id='fp_l61_store_and_assigned_inserts:units_1_2_3_4'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 11\n  - camera_cell: [6, 8]\n  - look_at_unit: 12\n  - look_at_cell: [3, 9]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral coverage aimed at marker 17 at [3, 9], assigned to unit 12 by the base inventory. Unit 12 has no enumerated camera cell, so use the supplied unit 11 camera candidate. The framing represents the settled opening view rather than a generated pan path.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 11, frame the portion of unit 12 around opening marker 17 at [3, 9]. Keep its narrow boundaries in the middle-center foreground and marker 19 small near a frame edge where visible. Maintain base placements of markers 13, 14, and 15 without forcing them into this opening-centered view. The shot commits subjects beyond marker 17 but no additional exterior unit or connection to units 1–4.\n  - camera_framing_directive: Use camera unit 11 at [6, 8], looking toward unit 12 at [3, 9], with a normal lens and 50-degree field of view. Provide neutral coverage for the staged medium composition through marker 17, retaining thin foreground edges and the small edge detail of marker 19. Honor the committed low, oblique upward observer framing without inventing additional grid positions or camera operations.\n  - subject_position_directive: For S49_Shot50, place 태진 on the left and 은영 on the right beyond marker 17, visible from the waist upward. 태진 bends farther inward; 은영 leans forward with her head at a different angle. Both look down toward 이현우 below the frame, not into the lens. Keep the observer beside the committed below-frame position rather than treating this as subjective vision; preserve the staged identities and add no subjects.\n  - state_cue_directive: Apply only the committed overlays: 20 \"Accident smoke\", 21 \"Broken window glass\", 22 \"Dim bulb flicker\", and 23 \"Overturned vehicle orientation\". Keep marker 17 open enough for the staged view beyond its broken edges, and marker 19 small and present inside. Use the shot's faint intermittent interior light against daytime ambient illumination outside, preserving readability without hallucination distortion or identity substitution.\n  - negative_continuity_directive: Exclude ignored markers 1, 2, 3, 4, 5, 6, 7, 8, 9, and 10. Do not transfer their layout from L61B02 into units 11 or 12. Avoid forcing markers 13–15 or openings 16 and 18 into the selected cone, enlarging marker 19 into a foreground obstruction, or inferring adjacency from the visibility supersets. Restrict state changes to markers 20–23 and the committed shot facts.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows a related part of the same dwelling, not the current room. Inherit the overall material and lighting identity only; the new space is its own architectural room and must read as the same home.\n\nREFERENCE PLAN: mode='related_style_new_space'\n  - selected_refs[0]: ref_bg_id='L61B02' physical_space_id='fp_l61_store_and_assigned_inserts:units_1_2_3_4'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 11\n  - camera_cell: [6, 8]\n  - look_at_unit: 12\n  - look_at_cell: [3, 9]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral coverage aimed at marker 17 at [3, 9], assigned to unit 12 by the base inventory. Unit 12 has no enumerated camera cell, so use the supplied unit 11 camera candidate. The framing represents the settled opening view rather than a generated pan path.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 11, frame the portion of unit 12 around opening marker 17 at [3, 9]. Keep its narrow boundaries in the middle-center foreground and marker 19 small near a frame edge where visible. Maintain base placements of markers 13, 14, and 15 without forcing them into this opening-centered view. The shot commits subjects beyond marker 17 but no additional exterior unit or connection to units 1–4.\n  - camera_framing_directive: Use camera unit 11 at [6, 8], looking toward unit 12 at [3, 9], with a normal lens and 50-degree field of view. Provide neutral coverage for the staged medium composition through marker 17, retaining thin foreground edges and the small edge detail of marker 19. Honor the committed low, oblique upward observer framing without inventing additional grid positions or camera operations.\n  - subject_position_directive: For S49_Shot50, place 태진 on the left and 은영 on the right beyond marker 17, visible from the waist upward. 태진 bends farther inward; 은영 leans forward with her head at a different angle. Both look down toward 이현우 below the frame, not into the lens. Keep the observer beside the committed below-frame position rather than treating this as subjective vision; preserve the staged identities and add no subjects.\n  - state_cue_directive: Apply only the committed overlays: 20 \"Accident smoke\", 21 \"Broken window glass\", 22 \"Dim bulb flicker\", and 23 \"Overturned vehicle orientation\". Keep marker 17 open enough for the staged view beyond its broken edges, and marker 19 small and present inside. Use the shot's faint intermittent interior light against daytime ambient illumination outside, preserving readability without hallucination distortion or identity substitution.\n  - negative_continuity_directive: Exclude ignored markers 1, 2, 3, 4, 5, 6, 7, 8, 9, and 10. Do not transfer their layout from L61B02 into units 11 or 12. Avoid forcing markers 13–15 or openings 16 and 18 into the selected cone, enlarging marker 19 into a foreground obstruction, or inferring adjacency from the visibility supersets. Restrict state changes to markers 20–23 and the committed shot facts.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows a related part of the same dwelling, not the current room. Inherit the overall material and lighting identity only; the new space is its own architectural room and must read as the same home.\n\nREFERENCE PLAN: mode='related_style_new_space'\n  - selected_refs[0]: ref_bg_id='L61B02' physical_space_id='fp_l61_store_and_assigned_inserts:units_1_2_3_4'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 11\n  - camera_cell: [6, 8]\n  - look_at_unit: 12\n  - look_at_cell: [3, 9]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral coverage aimed at marker 17 at [3, 9], assigned to unit 12 by the base inventory. Unit 12 has no enumerated camera cell, so use the supplied unit 11 camera candidate. The framing represents the settled opening view rather than a generated pan path.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 11, frame the portion of unit 12 around opening marker 17 at [3, 9]. Keep its narrow boundaries in the middle-center foreground and marker 19 small near a frame edge where visible. Maintain base placements of markers 13, 14, and 15 without forcing them into this opening-centered view. The shot commits subjects beyond marker 17 but no additional exterior unit or connection to units 1–4.\n  - camera_framing_directive: Use camera unit 11 at [6, 8], looking toward unit 12 at [3, 9], with a normal lens and 50-degree field of view. Provide neutral coverage for the staged medium composition through marker 17, retaining thin foreground edges and the small edge detail of marker 19. Honor the committed low, oblique upward observer framing without inventing additional grid positions or camera operations.\n  - subject_position_directive: For S49_Shot50, place 태진 on the left and 은영 on the right beyond marker 17, visible from the waist upward. 태진 bends farther inward; 은영 leans forward with her head at a different angle. Both look down toward 이현우 below the frame, not into the lens. Keep the observer beside the committed below-frame position rather than treating this as subjective vision; preserve the staged identities and add no subjects.\n  - state_cue_directive: Apply only the committed overlays: 20 \"Accident smoke\", 21 \"Broken window glass\", 22 \"Dim bulb flicker\", and 23 \"Overturned vehicle orientation\". Keep marker 17 open enough for the staged view beyond its broken edges, and marker 19 small and present inside. Use the shot's faint intermittent interior light against daytime ambient illumination outside, preserving readability without hallucination distortion or identity substitution.\n  - negative_continuity_directive: Exclude ignored markers 1, 2, 3, 4, 5, 6, 7, 8, 9, and 10. Do not transfer their layout from L61B02 into units 11 or 12. Avoid forcing markers 13–15 or openings 16 and 18 into the selected cone, enlarging marker 19 into a foreground obstruction, or inferring adjacency from the visibility supersets. Restrict state changes to markers 20–23 and the committed shot facts.\n\n2069년 대한민국에서 계속 사용되어 온 캠핑카의 전복 직후 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 사고 현장의 실물 공간 참고 사진으로, 미래라는 이유로 새로운 장비나 발광 장식을 덧붙이지 않는다. 실제 좌석 직물의 짜임과 눌린 자국, 손때 묻은 운전대 표면, 금속 창틀의 잔흠집, 오래 사용한 실내 마감의 생활 얼룩을 사실적으로 담는다. 삽화나 컴퓨터 그래픽, 건축 시각화가 아닌 실제 장소의 사진이며 인위적인 색 보정이나 과장된 광학 효과를 사용하지 않는다.\n\n참조 평면도에서는 캠핑카 부분의 구조와 고정 설비 사이의 위치 관계만 읽는다. 운전석과 조수석은 차량 자체의 좌우 관계를 유지하고 운전대는 운전석 앞에 있다. 조수석 옆 창 개구부와 앞좌석 뒤로 이어지는 객실 일부가 보인다. 차체 전체가 뒤집혀 원래의 지붕이 아래에, 바닥이 위에 놓여 있으며, 고정된 좌석과 설비도 차체와 함께 뒤집힌 방향이다. 카메라는 운전석 가까운 조종 공간 안에서 아래쪽이 된 지붕 내면으로부터 약 0.2~0.5미터 높이에 놓고 조수석 옆 창을 대각선으로 바라본다. 35밀리미터급 풀프레임 미러리스 카메라의 24밀리미터 광각 렌즈로 촬영한 구도이며, 앞좌석 바로 뒤 중심선에 부착된 전구가 가까운 객실 경계에 들어온다. 위에서 내려다본 배치도나 공간 도해로 표현하지 않는다.\n\n뒤집힌 조종 공간과 인접 객실에 사고 연기가 얇고 불균일하게 퍼져 있다. 조수석 창에는 깨진 유리 가장자리가 남아 있고, 인접한 뒤집힌 실내의 아래쪽 면에는 유리 파편이 놓여 있다. 낮의 자연광이 깨진 창을 통해 들어와 유리의 실제 반짝임과 연기의 투과 차이를 드러낸다. 객실 전구는 희미하게 깜빡이는 중의 약한 점등 순간으로 포착하며 주변을 환하게 밝히지 않는다. 창틀과 중간 거리의 좌석에는 읽을 수 있는 초점을 두고 가까운 가장자리와 창밖은 자연스러운 피사계 심도로 부드러워지게 한다. 흐린 인상은 연기와 실제 광학적 초점 차이로만 만들고 공간 구조를 환상적으로 변형하지 않는다. 실내와 창밖, 유리의 반사 어디에도 사람, 얼굴, 신체 일부나 사람 모양의 형상을 넣지 않는다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 11,
          "camera_cell": [
            6,
            8
          ],
          "look_at_unit": 12,
          "look_at_cell": [
            3,
            9
          ],
          "lens_enum": "normal",
          "fov_deg": 50,
          "framing_notes": "Neutral coverage aimed at marker 17 at [3, 9], assigned to unit 12 by the base inventory. Unit 12 has no enumerated camera cell, so use the supplied unit 11 camera candidate. The framing represents the settled opening view rather than a generated pan path."
        },
        "shot_aware_plan_node_index": 1,
        "shot_aware_plan_mode": "related_style_new_space",
        "render_guidance": {
          "visible_space_directive": "From unit 11, frame the portion of unit 12 around opening marker 17 at [3, 9]. Keep its narrow boundaries in the middle-center foreground and marker 19 small near a frame edge where visible. Maintain base placements of markers 13, 14, and 15 without forcing them into this opening-centered view. The shot commits subjects beyond marker 17 but no additional exterior unit or connection to units 1–4.",
          "camera_framing_directive": "Use camera unit 11 at [6, 8], looking toward unit 12 at [3, 9], with a normal lens and 50-degree field of view. Provide neutral coverage for the staged medium composition through marker 17, retaining thin foreground edges and the small edge detail of marker 19. Honor the committed low, oblique upward observer framing without inventing additional grid positions or camera operations.",
          "subject_position_directive": "For S49_Shot50, place 태진 on the left and 은영 on the right beyond marker 17, visible from the waist upward. 태진 bends farther inward; 은영 leans forward with her head at a different angle. Both look down toward 이현우 below the frame, not into the lens. Keep the observer beside the committed below-frame position rather than treating this as subjective vision; preserve the staged identities and add no subjects.",
          "state_cue_directive": "Apply only the committed overlays: 20 \"Accident smoke\", 21 \"Broken window glass\", 22 \"Dim bulb flicker\", and 23 \"Overturned vehicle orientation\". Keep marker 17 open enough for the staged view beyond its broken edges, and marker 19 small and present inside. Use the shot's faint intermittent interior light against daytime ambient illumination outside, preserving readability without hallucination distortion or identity substitution.",
          "negative_continuity_directive": "Exclude ignored markers 1, 2, 3, 4, 5, 6, 7, 8, 9, and 10. Do not transfer their layout from L61B02 into units 11 or 12. Avoid forcing markers 13–15 or openings 16 and 18 into the selected cone, enlarging marker 19 into a foreground obstruction, or inferring adjacency from the visibility supersets. Restrict state changes to markers 20–23 and the committed shot facts."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_l61_store_and_assigned_inserts",
          "prior_bg_ids": [
            "L61B02"
          ],
          "attached_ref_labels": [
            "bg:L61B02"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L67B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L67",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L67B01.png",
        "t2i_prompt": "2069년 대한민국의 자원이 넉넉하지 않은 생활권에 있는 창고 겸 차량 정비 공간을 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 오래된 생활용품과 정비 설비를 계속 사용하는 현실적인 실내이며, 사람 없이 배경만 담는다. 서쪽의 휴식·보관 구역과 더 넓은 동쪽 정비 구역이 벽으로 나뉘지 않고 이어진다. 서쪽 벽에 붙은 침상은 남북으로 길게 놓이고 머리 쪽은 북쪽이다. 침상 남쪽 절반의 바로 동쪽에 작업대가 있으며, 침상에서 정비 구역으로 이어지는 주된 시야를 가리지 않는다. 북쪽 벽의 중앙보다 서쪽에는 보관 선반이 있고, 동북쪽 벽에는 커다란 스피커 묶음이 자리한다. 남쪽 벽의 서남쪽 가까이에 보행자 출입구가 있으며, 남쪽 가장자리의 이동 통로가 정비 구역까지 이어진다.\n\n동쪽 정비 구역 중앙에는 현재 정비 중인 캠핑카가 북쪽을 앞머리로 하여 남북 방향으로 놓여 있다. 캠핑카 서쪽에는 작업자가 드나들 수 있는 폭의 작업 통로를 확보한다. 작업대의 침상을 향한 가장자리에는 침상에서 손이 닿을 만한 거리에 큰 펜치 하나가 놓여 있다. 펜치의 실제 금속 무게감과 닳은 손잡이가 가까운 거리에서 식별된다. 캠핑카의 정비 상태를 과장된 분해나 임의의 파손으로 표현하지 않는다.\n\n서쪽 침상 가까이에서 동쪽 정비 구역을 바라보는 공통 전경 구도. 서 있는 사람의 눈높이인 약 1.6미터에서 35밀리미터급 렌즈로 수평에 가깝게 촬영한다. 전경에는 침상 가장자리와 작업대 위 펜치, 중경에는 캠핑카와 그 서쪽 작업 통로, 먼 배경에는 큰 스피커가 이어지게 한다. 보관 선반은 시야에 자연스럽게 걸리는 만큼 포함하고, 출입구는 실제 위치와 촬영 각도가 허용할 때만 오른쪽 가장자리에 담는다. 낮이지만 실내 깊숙한 곳은 어둡다. 출입구 쪽에서 스며드는 약한 자연광이 가까운 표면을 밝히고 안쪽으로 갈수록 부드럽게 약해지며, 어두운 부분에도 재료의 질감이 남는다. 실제 콘크리트의 거친 표면과 오래된 생활 얼룩, 금속의 산화와 마찰 흔적, 침상 천의 직조, 작업대의 닳은 표면을 사실적으로 보여준다. 과도한 보정 없이 자연스러운 색과 명암, 실제 렌즈의 원근감과 자연스러운 피사계 심도를 유지한다. 말끔한 광고 사진이 아니라 실제 장소를 기록한 사진처럼 보이게 한다. 사람, 얼굴, 사람 형태의 형상은 묘사하지 않는다. 위에서 내려다보는 시점이나 도면이 아닌 실제 실내 촬영 시점. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S50_Shot1",
            "guide_text": "공통 전경으로 공간의 연결을 보여준다. 침상 가장자리와 작업대의 큰 펜치를 전경에, 캠핑카와 서쪽 작업 통로를 중경에, 스피커를 먼 배경에 유지한다. 낮이지만 어두운 실내의 자연광과 빈 공간 상태를 기준으로 삼는다."
          },
          {
            "shot_id": "S50_Shot8",
            "guide_text": "동일한 공통 전경과 촬영 방향을 사용한다. 침상에서 펜치가 놓인 작업대 가장자리까지의 가까운 거리, 그 너머 캠핑카로 이어지는 시야를 유지한다. 가구와 차량의 위치 및 자연광의 방향을 바꾸지 않는다."
          },
          {
            "shot_id": "S50_Shot10",
            "guide_text": "앞선 장면과 같은 공통 전경을 유지한다. 캠핑카는 정비 구역 중앙에 같은 방향으로 놓고 서쪽 작업 통로를 계속 확보한다. 큰 펜치의 위치와 먼 스피커의 크기 관계를 유지하며, 정비 완료나 출발 상태로 변경하지 않는다."
          }
        ],
        "shot_ids": [
          "S50_Shot1",
          "S50_Shot8",
          "S50_Shot10"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Near the southern end of number 4, just inside number 1, facing diagonally east-northeast across number 5 toward number 12 in number 2 and number 8 beyond.",
          "camera_height": "Low seated eye level, approximately 1.1 m, as a framing recommendation",
          "lens_hint": "24mm wide angle",
          "framing_notes": "Use one shared wide establishing composition for all listed shots. Keep the cot edge and reachable pliers in the foreground, the camper and its west-side working aisle in the middle distance, and the speaker bank farther away. Preserve the pedestrian entrance at the right edge where possible. Include nearby storage and the poster display only where the angle naturally permits. The background is a dim daytime working interior, but darkness is not encoded in the floor plan. Depict the camper and pliers through the overlay; do not introduce later repaired or departure states."
        },
        "reference_decision": {
          "bg_id": "L67B01",
          "fp_id": "fp_repair_storage",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L67B01 is the sole ready BG and the sole permitted anchor candidate; the reference catalog is empty. Use the explicitly supplied fallback anchor despite clean_background_expected=false, retaining markers 12 and 13 as transient rather than permanent identity. A wide view from unit 3 toward unit 1 establishes the fixed context used by S50_Shot1 and S50_Shot10. S50_Shot8 commits a different working-side composition; this representative anchor does not claim that all three shot framings are identical or simultaneously visible.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/floor_plan/fp_repair_storage.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "not_applicable_anchor",
            "why_single_ref_or_two_refs": "Seed directly from the supplied floor plan; no earlier same-fp node or catalog reference exists.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 3,
            "camera_cell": [
              8,
              4
            ],
            "look_at_unit": 1,
            "look_at_cell": [
              1,
              1
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad representative coverage from unit 3 toward the northwest portion of unit 1, using an exact listed look-at candidate at marker 6. This establishes spatial context rather than reproducing the separate medium and close consuming-shot compositions. Visibility candidates are supersets, not guarantees."
          },
          "render_guidance": {
            "visible_space_directive": "Establish unit 1 from unit 3, with markers 4 and 5 in their western positions and marker 7 on the north wall west of center. Preserve markers 6 and 9 at their mapped northwest and west-wall positions where visible; marker 9 also supplies the partial background continuity committed by S50_Shot1 and S50_Shot10. Include only the portion of unit 2 that actually falls inside this northwest-facing wide view. Keep marker 8 at its mapped position outside this framing rather than relocating it for visibility. Openings 10 and 11 are candidate-visible supersets and are not committed as visible in this view.",
            "camera_framing_directive": "Use camera_unit 3 at camera_cell [8, 4], looking toward unit 1 at look_at_cell [1, 1], with wide coverage at 90 degrees. Maintain a broad spatial anchor; do not treat the separate medium framing of S50_Shot1 and S50_Shot8 or the close framing of S50_Shot10 as a single simultaneous composition. No camera movement is specified by this geometry plan.",
            "subject_position_directive": "The committed subject cues are shot-specific: S50_Shot1 places its subject perched forward at marker 4, with the treated leg low in the frame and gaze above the camera; S50_Shot10 retains that subject near marker 4, slightly recoiling with marker 13 held at the lower frame edge and an off-screen eyeline. S50_Shot8 places its subject beside marker 12, leaning into the pour with lowered gaze. Preserve these relationships for their respective consuming shots without combining the actions into one tableau or inventing additional subjects. Their exact screen positions belong to the individual shot framings, not this broad anchor.",
            "state_cue_directive": "clean_background_expected is false. Retain transient marker 12 as the supplied repair-state object in unit 2 and marker 13 as the supplied loose object, gripped in S50_Shot10; show either only when its committed placement falls within the selected view. S50_Shot8 commits a receiving opening and a continuous black-solution pour, while S50_Shot1 commits treatment visible on the leg. Keep these actions and treatment cues shot-specific rather than baking them into permanent structure. Use the subdued daytime ambient illumination supported by the staging, without inventing a fixture or light color.",
            "negative_continuity_directive": "No ignore_numbered_elements or ignored_state_overlay_marker_numbers are listed. Avoid relocating markers 4, 5, 6, 7, 8, or 9 to satisfy incompatible shot framings. Do not force openings 10 and 11 or all of unit 2 into the selected cone merely because they occur in visibility supersets. Do not convert markers 12 and 13 into fixed fixtures, duplicate them across units, or merge the separate states of S50_Shot1, S50_Shot8, and S50_Shot10 into a single permanent background."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [8, 4]\n  - look_at_unit: 1\n  - look_at_cell: [1, 1]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad representative coverage from unit 3 toward the northwest portion of unit 1, using an exact listed look-at candidate at marker 6. This establishes spatial context rather than reproducing the separate medium and close consuming-shot compositions. Visibility candidates are supersets, not guarantees.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 1 from unit 3, with markers 4 and 5 in their western positions and marker 7 on the north wall west of center. Preserve markers 6 and 9 at their mapped northwest and west-wall positions where visible; marker 9 also supplies the partial background continuity committed by S50_Shot1 and S50_Shot10. Include only the portion of unit 2 that actually falls inside this northwest-facing wide view. Keep marker 8 at its mapped position outside this framing rather than relocating it for visibility. Openings 10 and 11 are candidate-visible supersets and are not committed as visible in this view.\n  - camera_framing_directive: Use camera_unit 3 at camera_cell [8, 4], looking toward unit 1 at look_at_cell [1, 1], with wide coverage at 90 degrees. Maintain a broad spatial anchor; do not treat the separate medium framing of S50_Shot1 and S50_Shot8 or the close framing of S50_Shot10 as a single simultaneous composition. No camera movement is specified by this geometry plan.\n  - subject_position_directive: The committed subject cues are shot-specific: S50_Shot1 places its subject perched forward at marker 4, with the treated leg low in the frame and gaze above the camera; S50_Shot10 retains that subject near marker 4, slightly recoiling with marker 13 held at the lower frame edge and an off-screen eyeline. S50_Shot8 places its subject beside marker 12, leaning into the pour with lowered gaze. Preserve these relationships for their respective consuming shots without combining the actions into one tableau or inventing additional subjects. Their exact screen positions belong to the individual shot framings, not this broad anchor.\n  - state_cue_directive: clean_background_expected is false. Retain transient marker 12 as the supplied repair-state object in unit 2 and marker 13 as the supplied loose object, gripped in S50_Shot10; show either only when its committed placement falls within the selected view. S50_Shot8 commits a receiving opening and a continuous black-solution pour, while S50_Shot1 commits treatment visible on the leg. Keep these actions and treatment cues shot-specific rather than baking them into permanent structure. Use the subdued daytime ambient illumination supported by the staging, without inventing a fixture or light color.\n  - negative_continuity_directive: No ignore_numbered_elements or ignored_state_overlay_marker_numbers are listed. Avoid relocating markers 4, 5, 6, 7, 8, or 9 to satisfy incompatible shot framings. Do not force openings 10 and 11 or all of unit 2 into the selected cone merely because they occur in visibility supersets. Do not convert markers 12 and 13 into fixed fixtures, duplicate them across units, or merge the separate states of S50_Shot1, S50_Shot8, and S50_Shot10 into a single permanent background.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [8, 4]\n  - look_at_unit: 1\n  - look_at_cell: [1, 1]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad representative coverage from unit 3 toward the northwest portion of unit 1, using an exact listed look-at candidate at marker 6. This establishes spatial context rather than reproducing the separate medium and close consuming-shot compositions. Visibility candidates are supersets, not guarantees.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 1 from unit 3, with markers 4 and 5 in their western positions and marker 7 on the north wall west of center. Preserve markers 6 and 9 at their mapped northwest and west-wall positions where visible; marker 9 also supplies the partial background continuity committed by S50_Shot1 and S50_Shot10. Include only the portion of unit 2 that actually falls inside this northwest-facing wide view. Keep marker 8 at its mapped position outside this framing rather than relocating it for visibility. Openings 10 and 11 are candidate-visible supersets and are not committed as visible in this view.\n  - camera_framing_directive: Use camera_unit 3 at camera_cell [8, 4], looking toward unit 1 at look_at_cell [1, 1], with wide coverage at 90 degrees. Maintain a broad spatial anchor; do not treat the separate medium framing of S50_Shot1 and S50_Shot8 or the close framing of S50_Shot10 as a single simultaneous composition. No camera movement is specified by this geometry plan.\n  - subject_position_directive: The committed subject cues are shot-specific: S50_Shot1 places its subject perched forward at marker 4, with the treated leg low in the frame and gaze above the camera; S50_Shot10 retains that subject near marker 4, slightly recoiling with marker 13 held at the lower frame edge and an off-screen eyeline. S50_Shot8 places its subject beside marker 12, leaning into the pour with lowered gaze. Preserve these relationships for their respective consuming shots without combining the actions into one tableau or inventing additional subjects. Their exact screen positions belong to the individual shot framings, not this broad anchor.\n  - state_cue_directive: clean_background_expected is false. Retain transient marker 12 as the supplied repair-state object in unit 2 and marker 13 as the supplied loose object, gripped in S50_Shot10; show either only when its committed placement falls within the selected view. S50_Shot8 commits a receiving opening and a continuous black-solution pour, while S50_Shot1 commits treatment visible on the leg. Keep these actions and treatment cues shot-specific rather than baking them into permanent structure. Use the subdued daytime ambient illumination supported by the staging, without inventing a fixture or light color.\n  - negative_continuity_directive: No ignore_numbered_elements or ignored_state_overlay_marker_numbers are listed. Avoid relocating markers 4, 5, 6, 7, 8, or 9 to satisfy incompatible shot framings. Do not force openings 10 and 11 or all of unit 2 into the selected cone merely because they occur in visibility supersets. Do not convert markers 12 and 13 into fixed fixtures, duplicate them across units, or merge the separate states of S50_Shot1, S50_Shot8, and S50_Shot10 into a single permanent background.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 3\n  - camera_cell: [8, 4]\n  - look_at_unit: 1\n  - look_at_cell: [1, 1]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad representative coverage from unit 3 toward the northwest portion of unit 1, using an exact listed look-at candidate at marker 6. This establishes spatial context rather than reproducing the separate medium and close consuming-shot compositions. Visibility candidates are supersets, not guarantees.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 1 from unit 3, with markers 4 and 5 in their western positions and marker 7 on the north wall west of center. Preserve markers 6 and 9 at their mapped northwest and west-wall positions where visible; marker 9 also supplies the partial background continuity committed by S50_Shot1 and S50_Shot10. Include only the portion of unit 2 that actually falls inside this northwest-facing wide view. Keep marker 8 at its mapped position outside this framing rather than relocating it for visibility. Openings 10 and 11 are candidate-visible supersets and are not committed as visible in this view.\n  - camera_framing_directive: Use camera_unit 3 at camera_cell [8, 4], looking toward unit 1 at look_at_cell [1, 1], with wide coverage at 90 degrees. Maintain a broad spatial anchor; do not treat the separate medium framing of S50_Shot1 and S50_Shot8 or the close framing of S50_Shot10 as a single simultaneous composition. No camera movement is specified by this geometry plan.\n  - subject_position_directive: The committed subject cues are shot-specific: S50_Shot1 places its subject perched forward at marker 4, with the treated leg low in the frame and gaze above the camera; S50_Shot10 retains that subject near marker 4, slightly recoiling with marker 13 held at the lower frame edge and an off-screen eyeline. S50_Shot8 places its subject beside marker 12, leaning into the pour with lowered gaze. Preserve these relationships for their respective consuming shots without combining the actions into one tableau or inventing additional subjects. Their exact screen positions belong to the individual shot framings, not this broad anchor.\n  - state_cue_directive: clean_background_expected is false. Retain transient marker 12 as the supplied repair-state object in unit 2 and marker 13 as the supplied loose object, gripped in S50_Shot10; show either only when its committed placement falls within the selected view. S50_Shot8 commits a receiving opening and a continuous black-solution pour, while S50_Shot1 commits treatment visible on the leg. Keep these actions and treatment cues shot-specific rather than baking them into permanent structure. Use the subdued daytime ambient illumination supported by the staging, without inventing a fixture or light color.\n  - negative_continuity_directive: No ignore_numbered_elements or ignored_state_overlay_marker_numbers are listed. Avoid relocating markers 4, 5, 6, 7, 8, or 9 to satisfy incompatible shot framings. Do not force openings 10 and 11 or all of unit 2 into the selected cone merely because they occur in visibility supersets. Do not convert markers 12 and 13 into fixed fixtures, duplicate them across units, or merge the separate states of S50_Shot1, S50_Shot8, and S50_Shot10 into a single permanent background.\n\n2069년 대한민국의 자원이 넉넉하지 않은 생활권에 있는 창고 겸 차량 정비 공간을 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 오래된 생활용품과 정비 설비를 계속 사용하는 현실적인 실내이며, 사람 없이 배경만 담는다. 서쪽의 휴식·보관 구역과 더 넓은 동쪽 정비 구역이 벽으로 나뉘지 않고 이어진다. 서쪽 벽에 붙은 침상은 남북으로 길게 놓이고 머리 쪽은 북쪽이다. 침상 남쪽 절반의 바로 동쪽에 작업대가 있으며, 침상에서 정비 구역으로 이어지는 주된 시야를 가리지 않는다. 북쪽 벽의 중앙보다 서쪽에는 보관 선반이 있고, 동북쪽 벽에는 커다란 스피커 묶음이 자리한다. 남쪽 벽의 서남쪽 가까이에 보행자 출입구가 있으며, 남쪽 가장자리의 이동 통로가 정비 구역까지 이어진다.\n\n동쪽 정비 구역 중앙에는 현재 정비 중인 캠핑카가 북쪽을 앞머리로 하여 남북 방향으로 놓여 있다. 캠핑카 서쪽에는 작업자가 드나들 수 있는 폭의 작업 통로를 확보한다. 작업대의 침상을 향한 가장자리에는 침상에서 손이 닿을 만한 거리에 큰 펜치 하나가 놓여 있다. 펜치의 실제 금속 무게감과 닳은 손잡이가 가까운 거리에서 식별된다. 캠핑카의 정비 상태를 과장된 분해나 임의의 파손으로 표현하지 않는다.\n\n서쪽 침상 가까이에서 동쪽 정비 구역을 바라보는 공통 전경 구도. 서 있는 사람의 눈높이인 약 1.6미터에서 35밀리미터급 렌즈로 수평에 가깝게 촬영한다. 전경에는 침상 가장자리와 작업대 위 펜치, 중경에는 캠핑카와 그 서쪽 작업 통로, 먼 배경에는 큰 스피커가 이어지게 한다. 보관 선반은 시야에 자연스럽게 걸리는 만큼 포함하고, 출입구는 실제 위치와 촬영 각도가 허용할 때만 오른쪽 가장자리에 담는다. 낮이지만 실내 깊숙한 곳은 어둡다. 출입구 쪽에서 스며드는 약한 자연광이 가까운 표면을 밝히고 안쪽으로 갈수록 부드럽게 약해지며, 어두운 부분에도 재료의 질감이 남는다. 실제 콘크리트의 거친 표면과 오래된 생활 얼룩, 금속의 산화와 마찰 흔적, 침상 천의 직조, 작업대의 닳은 표면을 사실적으로 보여준다. 과도한 보정 없이 자연스러운 색과 명암, 실제 렌즈의 원근감과 자연스러운 피사계 심도를 유지한다. 말끔한 광고 사진이 아니라 실제 장소를 기록한 사진처럼 보이게 한다. 사람, 얼굴, 사람 형태의 형상은 묘사하지 않는다. 위에서 내려다보는 시점이나 도면이 아닌 실제 실내 촬영 시점. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 3,
          "camera_cell": [
            8,
            4
          ],
          "look_at_unit": 1,
          "look_at_cell": [
            1,
            1
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad representative coverage from unit 3 toward the northwest portion of unit 1, using an exact listed look-at candidate at marker 6. This establishes spatial context rather than reproducing the separate medium and close consuming-shot compositions. Visibility candidates are supersets, not guarantees."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Establish unit 1 from unit 3, with markers 4 and 5 in their western positions and marker 7 on the north wall west of center. Preserve markers 6 and 9 at their mapped northwest and west-wall positions where visible; marker 9 also supplies the partial background continuity committed by S50_Shot1 and S50_Shot10. Include only the portion of unit 2 that actually falls inside this northwest-facing wide view. Keep marker 8 at its mapped position outside this framing rather than relocating it for visibility. Openings 10 and 11 are candidate-visible supersets and are not committed as visible in this view.",
          "camera_framing_directive": "Use camera_unit 3 at camera_cell [8, 4], looking toward unit 1 at look_at_cell [1, 1], with wide coverage at 90 degrees. Maintain a broad spatial anchor; do not treat the separate medium framing of S50_Shot1 and S50_Shot8 or the close framing of S50_Shot10 as a single simultaneous composition. No camera movement is specified by this geometry plan.",
          "subject_position_directive": "The committed subject cues are shot-specific: S50_Shot1 places its subject perched forward at marker 4, with the treated leg low in the frame and gaze above the camera; S50_Shot10 retains that subject near marker 4, slightly recoiling with marker 13 held at the lower frame edge and an off-screen eyeline. S50_Shot8 places its subject beside marker 12, leaning into the pour with lowered gaze. Preserve these relationships for their respective consuming shots without combining the actions into one tableau or inventing additional subjects. Their exact screen positions belong to the individual shot framings, not this broad anchor.",
          "state_cue_directive": "clean_background_expected is false. Retain transient marker 12 as the supplied repair-state object in unit 2 and marker 13 as the supplied loose object, gripped in S50_Shot10; show either only when its committed placement falls within the selected view. S50_Shot8 commits a receiving opening and a continuous black-solution pour, while S50_Shot1 commits treatment visible on the leg. Keep these actions and treatment cues shot-specific rather than baking them into permanent structure. Use the subdued daytime ambient illumination supported by the staging, without inventing a fixture or light color.",
          "negative_continuity_directive": "No ignore_numbered_elements or ignored_state_overlay_marker_numbers are listed. Avoid relocating markers 4, 5, 6, 7, 8, or 9 to satisfy incompatible shot framings. Do not force openings 10 and 11 or all of unit 2 into the selected cone merely because they occur in visibility supersets. Do not convert markers 12 and 13 into fixed fixtures, duplicate them across units, or merge the separate states of S50_Shot1, S50_Shot8, and S50_Shot10 into a single permanent background."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_repair_storage",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_repair_storage"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L69B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L69",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L69B01.png",
        "t2i_prompt": "2069년 대한민국의 오래 사용된 소규모 자동차 정비소와 바로 옆 컨테이너 식당 앞 공터를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 자원이 넉넉하지 않은 시대에도 기존 건물을 계속 사용하는 생활 현장으로, 과장된 미래 장식보다 한국 외곽 정비소의 실용적인 건축과 재사용 금속 외장의 질감을 보여준다. 평범한 낮의 자연광 아래 공간과 재료의 실제 색이 드러나며, 인공적인 색 보정 없이 밝은 바닥과 건물 앞 그늘의 노출 차이를 자연스럽게 담는다.\n공터 남동쪽에서 북서쪽 건물 전면을 바라보는 구도. 지면에서 약 1.6미터 높이에 둔 실제 디지털 카메라와 35밀리미터 규격 센서 기준 32밀리미터 광각 렌즈로 촬영한다. 화면 왼쪽에는 북서쪽 정비소 건물, 오른쪽에는 그 바로 동쪽에 붙어 있는 컨테이너 식당이 보인다. 두 건물 남쪽으로 펼쳐진 공터를 전경에 두고, 두 건물의 남향 전면을 따라 이어지는 보행용 출입 공간이 중경에서 읽히도록 한다. 정비소 남쪽 벽의 넓은 차량 정비용 개구부와 그 동쪽, 건물 남동 모서리 가까이 있는 보행자 출입문을 구분한다. 식당 남쪽 출입문은 같은 보행 공간을 향한다. 출입문 사이의 연결 관계와 건물 가까운 실외 공간이 차량에 전부 가려지지 않게 담는다.\n정비소 남쪽이자 공터 중앙보다 서쪽인 주차 구역 안에는 캠핑카 한 대가 일시적으로 주차되어 있다. 차체의 긴 축은 남북 방향이고 앞부분은 남쪽 공터를, 뒷부분은 북쪽 정비소를 향한다. 캠핑카는 실제 크기와 무게감, 자연스러운 접지 그림자를 가진다. 보행 공간과 공터의 여유 폭을 유지한다.\n정비소의 사용감 있는 콘크리트와 금속 마감, 컨테이너 식당의 도장된 골강판과 이음매, 문틀의 마모, 공터 바닥의 잔잔한 오래된 얼룩을 실제 재료처럼 세밀하게 표현한다. 일상의 관리된 사용감만 담고 황폐함을 과장하지 않는다. 건물과 차량의 거리감이 자연스러운 심도와 원근으로 드러나는 실제 장소 기록 사진이며, 지나치게 매끈한 홍보 사진이나 컴퓨터 생성 이미지가 아니다. 사람, 얼굴, 인체 형태의 형상은 반사면과 실내에도 전혀 보이지 않는 배경만 촬영한다. 위에서 내려다본 시점이나 평면도, 건축 도해가 아닌 지상 눈높이 사진. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S51_Shot5",
            "guide_text": "공터 남동쪽의 약 1.6미터 눈높이에서 북서쪽을 바라본다. 왼쪽 정비소와 오른쪽 컨테이너 식당의 외부 관계를 함께 보여주고, 두 출입문 앞을 잇는 실외 보행 공간을 장면의 중심 여백으로 확보한다. 캠핑카는 정비소 남쪽의 공터 서편 주차 구역에 두되 건물 가까운 공간을 모두 가리지 않는다. 낮의 평상시 자연광을 유지하고 실내 장면으로 전환하지 않으며, 배경에는 인물이나 인체 형태의 형상을 그리지 않는다."
          }
        ],
        "shot_ids": [
          "S51_Shot5"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_2",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "In the southeast portion of number 1, facing northwest toward number 4, with number 2 on the left and number 3 on the right.",
          "camera_height": "eye-level standing, approximately 1.6 m",
          "lens_hint": "32mm wide angle",
          "framing_notes": "Keep the reunion staging outdoors in number 1 near number 4. Establish both building fronts and their entrance relationship; include number 11 at the left side without blocking the pedestrian entrances."
        },
        "reference_decision": {
          "bg_id": "L69B01",
          "fp_id": "fp_repair_forecourt",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L69B01 is the sole supplied anchor candidate and is ready for S51_Shot5. Use the declared fallback despite clean_background_expected=false; retain committed transient marker 11 rather than treating this as a clean plate. The wide view from unit 9 toward the frontage of unit 2 provides shared structural context, including the oblique entrance at marker 7. The staged interior glimpse does not establish an interior layout or verified line of sight.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/floor_plan/fp_repair_forecourt.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "Seed the identity from the floor plan; no earlier reference exists.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 9,
            "camera_cell": [
              7,
              3
            ],
            "look_at_unit": 2,
            "look_at_cell": [
              2,
              5
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad frontage coverage aimed at opening marker 6 on unit 2, retaining opening marker 7 obliquely within the contextual view. This is the structural plate framing; S51_Shot5 commits a medium subject composition. The available grid does not establish a shoulder-height entrance-adjacent camera position."
          },
          "render_guidance": {
            "visible_space_directive": "Establish the visible portions of units 1, 2, 3, 4 and 8 from unit 9, with frontage openings 5, 6 and 7 in their base-plan positions. Keep unit 2 west of unit 3 and unit 8 south of unit 2. Treat visibility lists as supersets: the staged glimpse through opening 7 permits only limited interior context, not an invented interior arrangement or an assertion of verified wall clearance.",
            "camera_framing_directive": "Use camera_unit 9 at [7, 3], looking toward unit 2 at [2, 5], with a wide 90-degree field of view for broad structural coverage. Preserve the oblique presentation of opening 7. Accommodate the staged medium composition within this contextual plate without claiming the grid resolves the entrance-adjacent camera position.",
            "subject_position_directive": "For the S51_Shot5 composition, reserve lower left for 앰버 and center-right for 이현우, with the open entrance behind them. Her arms close around his waist and her face angles upward; he looks downward with his upper body above hers. Keep the forearms separated in depth. Do not add subjects beyond this staging.",
            "state_cue_directive": "Carry transient marker 11 in allocation 8 using numbered elements 1, 2, 3, 4, 5, 6, 7, 8 and 11. Opening 7 is open according to S51_Shot5. Preserve the committed ambient daytime illumination and temporary-use interior cue only where the staged entrance glimpse supports it; no interior furnishings are specified.",
            "negative_continuity_directive": "Exclude markers 12, 13 and 14. Avoid adding opening 10 outside this frontage-facing view, treating visibility supersets as guaranteed interior sightlines, or assigning permanent fixture identity to marker 11. Do not invent fixed elements inside unit 3."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 9\n  - camera_cell: [7, 3]\n  - look_at_unit: 2\n  - look_at_cell: [2, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad frontage coverage aimed at opening marker 6 on unit 2, retaining opening marker 7 obliquely within the contextual view. This is the structural plate framing; S51_Shot5 commits a medium subject composition. The available grid does not establish a shoulder-height entrance-adjacent camera position.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish the visible portions of units 1, 2, 3, 4 and 8 from unit 9, with frontage openings 5, 6 and 7 in their base-plan positions. Keep unit 2 west of unit 3 and unit 8 south of unit 2. Treat visibility lists as supersets: the staged glimpse through opening 7 permits only limited interior context, not an invented interior arrangement or an assertion of verified wall clearance.\n  - camera_framing_directive: Use camera_unit 9 at [7, 3], looking toward unit 2 at [2, 5], with a wide 90-degree field of view for broad structural coverage. Preserve the oblique presentation of opening 7. Accommodate the staged medium composition within this contextual plate without claiming the grid resolves the entrance-adjacent camera position.\n  - subject_position_directive: For the S51_Shot5 composition, reserve lower left for 앰버 and center-right for 이현우, with the open entrance behind them. Her arms close around his waist and her face angles upward; he looks downward with his upper body above hers. Keep the forearms separated in depth. Do not add subjects beyond this staging.\n  - state_cue_directive: Carry transient marker 11 in allocation 8 using numbered elements 1, 2, 3, 4, 5, 6, 7, 8 and 11. Opening 7 is open according to S51_Shot5. Preserve the committed ambient daytime illumination and temporary-use interior cue only where the staged entrance glimpse supports it; no interior furnishings are specified.\n  - negative_continuity_directive: Exclude markers 12, 13 and 14. Avoid adding opening 10 outside this frontage-facing view, treating visibility supersets as guaranteed interior sightlines, or assigning permanent fixture identity to marker 11. Do not invent fixed elements inside unit 3.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 9\n  - camera_cell: [7, 3]\n  - look_at_unit: 2\n  - look_at_cell: [2, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad frontage coverage aimed at opening marker 6 on unit 2, retaining opening marker 7 obliquely within the contextual view. This is the structural plate framing; S51_Shot5 commits a medium subject composition. The available grid does not establish a shoulder-height entrance-adjacent camera position.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish the visible portions of units 1, 2, 3, 4 and 8 from unit 9, with frontage openings 5, 6 and 7 in their base-plan positions. Keep unit 2 west of unit 3 and unit 8 south of unit 2. Treat visibility lists as supersets: the staged glimpse through opening 7 permits only limited interior context, not an invented interior arrangement or an assertion of verified wall clearance.\n  - camera_framing_directive: Use camera_unit 9 at [7, 3], looking toward unit 2 at [2, 5], with a wide 90-degree field of view for broad structural coverage. Preserve the oblique presentation of opening 7. Accommodate the staged medium composition within this contextual plate without claiming the grid resolves the entrance-adjacent camera position.\n  - subject_position_directive: For the S51_Shot5 composition, reserve lower left for 앰버 and center-right for 이현우, with the open entrance behind them. Her arms close around his waist and her face angles upward; he looks downward with his upper body above hers. Keep the forearms separated in depth. Do not add subjects beyond this staging.\n  - state_cue_directive: Carry transient marker 11 in allocation 8 using numbered elements 1, 2, 3, 4, 5, 6, 7, 8 and 11. Opening 7 is open according to S51_Shot5. Preserve the committed ambient daytime illumination and temporary-use interior cue only where the staged entrance glimpse supports it; no interior furnishings are specified.\n  - negative_continuity_directive: Exclude markers 12, 13 and 14. Avoid adding opening 10 outside this frontage-facing view, treating visibility supersets as guaranteed interior sightlines, or assigning permanent fixture identity to marker 11. Do not invent fixed elements inside unit 3.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 9\n  - camera_cell: [7, 3]\n  - look_at_unit: 2\n  - look_at_cell: [2, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad frontage coverage aimed at opening marker 6 on unit 2, retaining opening marker 7 obliquely within the contextual view. This is the structural plate framing; S51_Shot5 commits a medium subject composition. The available grid does not establish a shoulder-height entrance-adjacent camera position.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish the visible portions of units 1, 2, 3, 4 and 8 from unit 9, with frontage openings 5, 6 and 7 in their base-plan positions. Keep unit 2 west of unit 3 and unit 8 south of unit 2. Treat visibility lists as supersets: the staged glimpse through opening 7 permits only limited interior context, not an invented interior arrangement or an assertion of verified wall clearance.\n  - camera_framing_directive: Use camera_unit 9 at [7, 3], looking toward unit 2 at [2, 5], with a wide 90-degree field of view for broad structural coverage. Preserve the oblique presentation of opening 7. Accommodate the staged medium composition within this contextual plate without claiming the grid resolves the entrance-adjacent camera position.\n  - subject_position_directive: For the S51_Shot5 composition, reserve lower left for 앰버 and center-right for 이현우, with the open entrance behind them. Her arms close around his waist and her face angles upward; he looks downward with his upper body above hers. Keep the forearms separated in depth. Do not add subjects beyond this staging.\n  - state_cue_directive: Carry transient marker 11 in allocation 8 using numbered elements 1, 2, 3, 4, 5, 6, 7, 8 and 11. Opening 7 is open according to S51_Shot5. Preserve the committed ambient daytime illumination and temporary-use interior cue only where the staged entrance glimpse supports it; no interior furnishings are specified.\n  - negative_continuity_directive: Exclude markers 12, 13 and 14. Avoid adding opening 10 outside this frontage-facing view, treating visibility supersets as guaranteed interior sightlines, or assigning permanent fixture identity to marker 11. Do not invent fixed elements inside unit 3.\n\n2069년 대한민국의 오래 사용된 소규모 자동차 정비소와 바로 옆 컨테이너 식당 앞 공터를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 자원이 넉넉하지 않은 시대에도 기존 건물을 계속 사용하는 생활 현장으로, 과장된 미래 장식보다 한국 외곽 정비소의 실용적인 건축과 재사용 금속 외장의 질감을 보여준다. 평범한 낮의 자연광 아래 공간과 재료의 실제 색이 드러나며, 인공적인 색 보정 없이 밝은 바닥과 건물 앞 그늘의 노출 차이를 자연스럽게 담는다.\n공터 남동쪽에서 북서쪽 건물 전면을 바라보는 구도. 지면에서 약 1.6미터 높이에 둔 실제 디지털 카메라와 35밀리미터 규격 센서 기준 32밀리미터 광각 렌즈로 촬영한다. 화면 왼쪽에는 북서쪽 정비소 건물, 오른쪽에는 그 바로 동쪽에 붙어 있는 컨테이너 식당이 보인다. 두 건물 남쪽으로 펼쳐진 공터를 전경에 두고, 두 건물의 남향 전면을 따라 이어지는 보행용 출입 공간이 중경에서 읽히도록 한다. 정비소 남쪽 벽의 넓은 차량 정비용 개구부와 그 동쪽, 건물 남동 모서리 가까이 있는 보행자 출입문을 구분한다. 식당 남쪽 출입문은 같은 보행 공간을 향한다. 출입문 사이의 연결 관계와 건물 가까운 실외 공간이 차량에 전부 가려지지 않게 담는다.\n정비소 남쪽이자 공터 중앙보다 서쪽인 주차 구역 안에는 캠핑카 한 대가 일시적으로 주차되어 있다. 차체의 긴 축은 남북 방향이고 앞부분은 남쪽 공터를, 뒷부분은 북쪽 정비소를 향한다. 캠핑카는 실제 크기와 무게감, 자연스러운 접지 그림자를 가진다. 보행 공간과 공터의 여유 폭을 유지한다.\n정비소의 사용감 있는 콘크리트와 금속 마감, 컨테이너 식당의 도장된 골강판과 이음매, 문틀의 마모, 공터 바닥의 잔잔한 오래된 얼룩을 실제 재료처럼 세밀하게 표현한다. 일상의 관리된 사용감만 담고 황폐함을 과장하지 않는다. 건물과 차량의 거리감이 자연스러운 심도와 원근으로 드러나는 실제 장소 기록 사진이며, 지나치게 매끈한 홍보 사진이나 컴퓨터 생성 이미지가 아니다. 사람, 얼굴, 인체 형태의 형상은 반사면과 실내에도 전혀 보이지 않는 배경만 촬영한다. 위에서 내려다본 시점이나 평면도, 건축 도해가 아닌 지상 눈높이 사진. 16:9 가로 비율, 실제 카메라 촬영본\n\nThe LAST attached image is a TOP-DOWN INTERIOR FLOOR PLAN of the building at this location — a STRUCTURAL REFERENCE ONLY, never content to draw. It defines the building's real scale: its footprint, room count, and the placement of its doors and windows. Render the scene so the building's exterior size, number of storeys, and the scale and placement of its doors and windows stay consistent with that plan. Do NOT draw the floor plan itself, its lines, text or numbers anywhere in the image.",
        "camera_decision": {
          "camera_unit": 9,
          "camera_cell": [
            7,
            3
          ],
          "look_at_unit": 2,
          "look_at_cell": [
            2,
            5
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad frontage coverage aimed at opening marker 6 on unit 2, retaining opening marker 7 obliquely within the contextual view. This is the structural plate framing; S51_Shot5 commits a medium subject composition. The available grid does not establish a shoulder-height entrance-adjacent camera position."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Establish the visible portions of units 1, 2, 3, 4 and 8 from unit 9, with frontage openings 5, 6 and 7 in their base-plan positions. Keep unit 2 west of unit 3 and unit 8 south of unit 2. Treat visibility lists as supersets: the staged glimpse through opening 7 permits only limited interior context, not an invented interior arrangement or an assertion of verified wall clearance.",
          "camera_framing_directive": "Use camera_unit 9 at [7, 3], looking toward unit 2 at [2, 5], with a wide 90-degree field of view for broad structural coverage. Preserve the oblique presentation of opening 7. Accommodate the staged medium composition within this contextual plate without claiming the grid resolves the entrance-adjacent camera position.",
          "subject_position_directive": "For the S51_Shot5 composition, reserve lower left for 앰버 and center-right for 이현우, with the open entrance behind them. Her arms close around his waist and her face angles upward; he looks downward with his upper body above hers. Keep the forearms separated in depth. Do not add subjects beyond this staging.",
          "state_cue_directive": "Carry transient marker 11 in allocation 8 using numbered elements 1, 2, 3, 4, 5, 6, 7, 8 and 11. Opening 7 is open according to S51_Shot5. Preserve the committed ambient daytime illumination and temporary-use interior cue only where the staged entrance glimpse supports it; no interior furnishings are specified.",
          "negative_continuity_directive": "Exclude markers 12, 13 and 14. Avoid adding opening 10 outside this frontage-facing view, treating visibility supersets as guaranteed interior sightlines, or assigning permanent fixture identity to marker 11. Do not invent fixed elements inside unit 3."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_repair_forecourt",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_repair_forecourt",
            "building_fp:fp_repair_storage"
          ],
          "ref_used": "refs_2",
          "db_write_policy": "checkpoint_only"
        },
        "building_fp_ref": {
          "fp_id": "fp_repair_storage",
          "indoor_loc_sid": "L67",
          "group_id": "bg_auto_repair_complex",
          "fp_asset_id": "00aad5da-c656-4e70-a311-10b830124e55"
        }
      },
      "L69B03": {
        "status": "ok",
        "is_reuse": true,
        "render_action": "reuse_existing_plate",
        "reuse_target_bg_id": "L69B01",
        "reused_from_bg_id": "L69B01",
        "location_id": "L69",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L69B01.png",
        "t2i_prompt": "2069년 대한민국의 오래된 자동차 정비소 앞 공터를 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 다음날 아침, 출발을 앞두고 캠핑카가 그대로 주차되어 있는 조용한 실외 공간이다. 자원을 아껴 오래 사용한 한국 소규모 정비소의 실용적인 외벽과 금속 개구부, 사용감 있는 콘크리트 포장을 사실적으로 보여준다. 미래라는 이유로 새로운 첨단 설비를 덧붙이지 않는다. 옅은 아침 햇빛과 하늘에서 퍼지는 자연광, 부드러운 그림자, 실제 콘크리트의 거친 입자와 오래된 얼룩, 금속 표면의 잔흠집과 자연스러운 산화 흔적을 담는다. 과장된 황폐함이나 인위적인 색 보정 없이 실제 현장 기록 사진처럼 보이게 한다.\n\n첨부 평면도는 구조물과 출입구의 상대적 위치를 파악하는 자료로만 사용한다. 공터는 정비 건물 남쪽에 펼쳐지고, 북서쪽 정비 건물의 남향 전면에는 차량 정비용 개구부와 그 동쪽의 보행자 출입문이 있다. 출입문은 건물 남동쪽 모서리 가까이에 있으며, 건물 전면을 따라 보행용 문턱 띠가 이어진다. 캠핑카는 공터 중앙보다 서쪽, 정비 건물 남쪽의 주차 공간에 남북 방향으로 잠시 주차되어 있다. 차량 앞부분은 남쪽, 뒷부분은 북쪽을 향한다. 카메라는 캠핑카 동쪽의 실외 여유 공간에서 북서쪽을 바라보며, 높이 약 1.6미터의 서 있는 사람 눈높이와 풀프레임 환산 40밀리미터 렌즈를 사용한다. 차량의 동쪽 측면과 뒤편 정비소 전면, 그 사이의 실제 거리감이 함께 읽히는 구도다.\n\n캠핑카 동쪽에서 작별 편지를 확인하는 위치를 유지한다. 화면 아래 가장자리에 편지 종이 일부가 가까운 전경으로 들어오되, 종이 하단과 이를 잡는 손은 화면 밖에 두어 프레임 바깥에서 지지되고 있음이 자연스럽게 느껴지게 한다. 편지를 바닥이나 차량에 고정하지 않으며 공중에 떠 있는 물체처럼 보이지 않게 한다. 편지의 구체적인 문구나 이름은 만들어 넣지 않는다. 초점은 캠핑카와 공터에 두고 가까운 편지 가장자리는 자연스러운 심도로 약하게 흐려진다. 사람, 얼굴, 신체 일부, 사람 형태의 형상은 반사면을 포함해 보이지 않는다. 실외 배경만 담고 실내 침상은 추가하지 않는다. 평면도나 내려다본 구도가 아닌 실제 눈높이 사진이며, 삽화나 컴퓨터 생성 영상, 건축 시각화 또는 지나치게 정돈된 광고 사진처럼 만들지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S51_Shot19",
            "guide_text": "캠핑카 동쪽 실외에서 북서쪽을 보는 눈높이 구도를 사용한다. 높이 약 1.6미터, 풀프레임 환산 40밀리미터로 캠핑카 측면과 뒤편 정비소 전면의 관계를 유지한다. 다음날 아침의 부드러운 자연광 아래 출발 전 고요함을 보여준다. 작별 편지는 화면 하단에 일부만 걸치고 지지점은 화면 밖으로 잘라 손이나 인체가 보이지 않게 한다. 편지를 별도로 중복 배치하지 않으며, 실내로 시점을 옮기거나 침상을 추가하지 않는다."
          }
        ],
        "shot_ids": [
          "S51_Shot19"
        ],
        "scenes": [],
        "parent_id": "L69B01",
        "ref_used": "reused_plate",
        "render_attempts": 0,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "In number 1 just east of number 8, facing northwest across the outdoor letter-checking space toward number 11 and the frontage of number 2.",
          "camera_height": "eye-level standing, approximately 1.6 m",
          "lens_hint": "40mm normal-wide lens",
          "framing_notes": "Keep number 12 in the outdoor action plane and number 11 clearly stationary behind it. Retain the repair threshold as spatial context. Do not relocate the scene indoors or introduce a bed; maintain a quiet morning state without departure dust."
        },
        "reference_decision": {
          "mode": "reference_derived",
          "render_action": "reuse_existing_plate",
          "reuse_target_bg_id": "L69B01",
          "selected_refs": [
            {
              "ref_bg_id": "L69B01",
              "physical_space_id": "fp_repair_forecourt_space_01",
              "space_description": "Connected base-plan space comprising units 1, 4, 8 and 9 and the adjoining frontages."
            }
          ]
        },
        "shot_aware_plan_node_index": 2,
        "shot_aware_plan_mode": "reference_derived",
        "render_guidance": {
          "visible_space_directive": "Retain L69B01's fixed positions for units 1, 2, 4 and 8 and openings 5 and 6 within the matching frontage view. Any unit 3 or opening 7 retained at the edge remains in its established position. The staging supplies no mapped interior resting location, so do not replace this established structure with an invented enclosed layout.",
          "camera_framing_directive": "Match camera_unit 9 at [7, 3], look_at_unit 2 at [2, 5], and the wide 90-degree field of view of L69B01. Keep broad plate coverage distinct from the staged medium subject crop. The grid does not specify the vertical movement or interior location needed to independently reconstruct the shot's slight low angle.",
          "subject_position_directive": "For S51_Shot19, reserve the upper center for 이현우's widened eyes and show his torso halfway into the sit-up, with marker 12 clutched below his chest and smaller than his torso. His attention points beyond the right edge toward 앰버. Keep both children outside the crop. The resting position has no committed unit or cell; do not invent a supporting fixture.",
          "state_cue_directive": "Carry markers 11 and 12 with numbered elements 1, 2, 4, 5, 6 and 8. Marker 12 is held with its written face angled toward the subject and away from the camera, not presented as a readable insert. Apply the staged consistent next-day ambient illumination without a new lighting shift; this cue does not authorize a new interior layout.",
          "negative_continuity_directive": "Exclude markers 13 and 14. Avoid inheriting the subject arrangement of L69B01 or the camera orientation of L69B02. Keep openings 5 and 6 and units 2, 4 and 8 fixed as established by L69B01. Do not turn marker 12 into fixed signage or invent interior fixtures to fill the unresolved staging location."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_repair_forecourt",
          "prior_bg_ids": [
            "L69B01"
          ],
          "attached_ref_labels": [
            "bg:L69B01"
          ],
          "ref_used": "reused_plate",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L69B02": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L69",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L69B02.png",
        "t2i_prompt": "실제 미러리스 카메라와 35밀리미터급 렌즈로 촬영한 다큐멘터리 풍 사진. 2069년 대한민국의 자원이 부족한 지역에서 오래 사용해 온 카센터 공터의 차량 출구를 다음날 아침에 촬영한다. 미래라는 이유로 새로운 첨단 설비를 덧붙이지 않고, 기존 차량과 거친 작업장 바닥이 계속 사용되는 생활 환경으로 표현한다. 공터 안쪽에서 남쪽 출입구를 바라보며, 서 있는 관찰자의 눈높이에 가까운 약 1.4미터 높이에서 떠나는 캠핑카의 후면을 담는다. 내려다보는 시점이 아니라 지면을 따라 공간의 깊이가 이어지는 수평에 가까운 시선이다.\n\n참조 평면도는 공터와 주차 영역, 출발 통로, 남쪽 출입구의 상대적인 위치를 파악하는 데만 사용한다. 공터 중앙보다 서쪽에 있는 남북 방향의 주차 영역에서 남쪽 가장자리의 문 없는 차량 출입구까지 연속된 여유 공간이 이어진다. 캠핑카 한 대가 이 통로를 따라 출입구에 가까워진 순간으로, 앞부분은 남쪽을 향하고 후면은 공터 안쪽과 카메라를 향한다. 캠핑카 후면을 중심으로 담되 차체 양옆과 그 너머에 공터 밖으로 이어지는 주행 동선이 읽히도록 충분한 폭을 확보한다.\n\n캠핑카가 급히 출발하면서 뒷바퀴 바로 뒤에서 거친 흙먼지가 솟아올라 북쪽의 공터 안으로 길게 퍼진다. 바퀴 가까이에는 밀도가 높은 먼지가 낮게 말려 올라가고, 멀어질수록 입자가 성기게 흩어져 바닥이 비친다. 먼지가 출입구와 차량의 후면 윤곽을 완전히 가리지 않게 한다. 단단히 다져진 흙바닥의 불규칙한 입자, 차량 금속 외판의 실제 사용감과 잔흠집, 고무 타이어의 질감을 사실적으로 담는다. 아침의 자연광이 차체와 먼지에 닿고, 지면의 그림자와 먼지의 밝기는 같은 광원 방향을 따른다. 자연스러운 색과 노출, 실제 렌즈의 원근과 피사계 심도를 유지하며 과도한 보정이나 인공적인 광채를 넣지 않는다. 인물, 얼굴, 인체 형태의 형상은 차량 내부와 반사면을 포함해 어디에도 보이지 않는다. 삽화나 건축 시각화가 아닌 실제 장소 기록 사진이며 평면도 구도로 만들지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S51_Shot23",
            "guide_text": "공터 안쪽에서 남쪽을 향해 캠핑카 후면을 바라보는 구도. 약 1.4미터 높이와 35밀리미터급 화각으로 차량 후면, 출입구, 공터 밖으로 이어지는 빈 주행 공간을 함께 담는다. 뒷바퀴에서 카메라 쪽 공터로 퍼지는 흙먼지로 급박한 출발을 드러내되, 차량과 출구의 위치 관계는 선명하게 유지한다. 아침 자연광 아래 인물이나 탑승자의 모습 없이 환경과 차량만 보이게 한다."
          }
        ],
        "shot_ids": [
          "S51_Shot23"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_2",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "Near the south edge of number 4, behind and slightly east of number 8, facing south toward the rear of number 13, along number 9 to number 10.",
          "camera_height": "standing rear-view position, approximately 1.4 m",
          "lens_hint": "35mm wide angle",
          "framing_notes": "Show the camper's rear prominently with open exit clearance visible beyond and beside it. Place number 14 behind its rear wheels. Number 8 is now vacated; do not duplicate the camper in its former parking position. Building fronts remain behind the camera."
        },
        "reference_decision": {
          "bg_id": "L69B02",
          "fp_id": "fp_repair_forecourt",
          "node_index": 1,
          "mode": "same_physical_space_view",
          "is_dwelling_identity_anchor": false,
          "rationale": "S51_Shot23 depicts the same connected physical space as L69B01, now facing the southern route through units 8 and 9 toward opening 10. Reference L69B01 for fixed layout continuity. Camera unit 8 and the southern look-at cell expose a different structural slice from the anchor's northern frontage view, so this is not a low-delta reuse candidate even though markers 13 and 14 are transient.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L69B01.png"
          ],
          "source_bg_ids": [
            "L69B01"
          ],
          "fp_included": false,
          "reference_decision": {
            "selected_refs": [
              {
                "ref_bg_id": "L69B01",
                "physical_space_id": "fp_repair_forecourt_space_01",
                "space_description": "Connected base-plan space comprising units 1, 4, 8 and 9 and the adjoining frontages."
              }
            ],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "single_same_physical_space_reference",
            "why_single_ref_or_two_refs": "L69B01 alone commits the shared fixed layout. S51_Shot23 does not require two independently referenced spaces.",
            "physical_space_id_per_ref": [
              "fp_repair_forecourt_space_01"
            ],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 8,
            "camera_cell": [
              5,
              3
            ],
            "look_at_unit": 9,
            "look_at_cell": [
              9,
              5
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad southern view toward opening 10 at the end of unit 9. S51_Shot23 specifies a low, static rear three-quarter composition; the grid establishes the horizontal camera position but does not verify lateral clearance from the transient object's exact path."
          },
          "render_guidance": {
            "visible_space_directive": "Show the southern-facing portions of unit 8, the surrounding unit 1 and the route through unit 9 toward opening 10. Keep the positions and extents of units 1, 8 and 9 consistent with L69B01 and the base plan; retain opening 10 at the southern end of the route. This view turns away from the northern frontages.",
            "camera_framing_directive": "Use camera_unit 8 at [5, 3], looking toward unit 9 at [9, 5], with a wide 90-degree field of view. Provide broad negative space for the staged low, static composition and the route receding toward the upper right. Do not imply that the candidate coordinates independently verify clearance from the moving subject.",
            "subject_position_directive": "No people are visible in S51_Shot23. Place marker 13 in the middle-right distance, occupying under two-fifths of the frame, with its rear and one side visible and its rear wheels readable. Keep marker 14 trailing toward the lower center.",
            "state_cue_directive": "Use base markers 1, 8, 9 and 10 with transient markers 13 and 14. Marker 13 is accelerating away through the route; marker 14 is thrown backward during acceleration. Preserve daytime exterior illumination without introducing a new light source or color cast. Keep the fixed surroundings stable.",
            "negative_continuity_directive": "Exclude markers 11 and 12, including marker 11 carried by L69B01. Avoid copying the northern-facing framing of L69B01 into this southern-facing view. Do not move units 8 or 9 or opening 10 to accommodate markers 13 and 14, and do not add openings 5, 6 or 7 outside the chosen cone."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L69B01' physical_space_id='fp_repair_forecourt_space_01'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 8\n  - camera_cell: [5, 3]\n  - look_at_unit: 9\n  - look_at_cell: [9, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad southern view toward opening 10 at the end of unit 9. S51_Shot23 specifies a low, static rear three-quarter composition; the grid establishes the horizontal camera position but does not verify lateral clearance from the transient object's exact path.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the southern-facing portions of unit 8, the surrounding unit 1 and the route through unit 9 toward opening 10. Keep the positions and extents of units 1, 8 and 9 consistent with L69B01 and the base plan; retain opening 10 at the southern end of the route. This view turns away from the northern frontages.\n  - camera_framing_directive: Use camera_unit 8 at [5, 3], looking toward unit 9 at [9, 5], with a wide 90-degree field of view. Provide broad negative space for the staged low, static composition and the route receding toward the upper right. Do not imply that the candidate coordinates independently verify clearance from the moving subject.\n  - subject_position_directive: No people are visible in S51_Shot23. Place marker 13 in the middle-right distance, occupying under two-fifths of the frame, with its rear and one side visible and its rear wheels readable. Keep marker 14 trailing toward the lower center.\n  - state_cue_directive: Use base markers 1, 8, 9 and 10 with transient markers 13 and 14. Marker 13 is accelerating away through the route; marker 14 is thrown backward during acceleration. Preserve daytime exterior illumination without introducing a new light source or color cast. Keep the fixed surroundings stable.\n  - negative_continuity_directive: Exclude markers 11 and 12, including marker 11 carried by L69B01. Avoid copying the northern-facing framing of L69B01 into this southern-facing view. Do not move units 8 or 9 or opening 10 to accommodate markers 13 and 14, and do not add openings 5, 6 or 7 outside the chosen cone.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L69B01' physical_space_id='fp_repair_forecourt_space_01'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 8\n  - camera_cell: [5, 3]\n  - look_at_unit: 9\n  - look_at_cell: [9, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad southern view toward opening 10 at the end of unit 9. S51_Shot23 specifies a low, static rear three-quarter composition; the grid establishes the horizontal camera position but does not verify lateral clearance from the transient object's exact path.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the southern-facing portions of unit 8, the surrounding unit 1 and the route through unit 9 toward opening 10. Keep the positions and extents of units 1, 8 and 9 consistent with L69B01 and the base plan; retain opening 10 at the southern end of the route. This view turns away from the northern frontages.\n  - camera_framing_directive: Use camera_unit 8 at [5, 3], looking toward unit 9 at [9, 5], with a wide 90-degree field of view. Provide broad negative space for the staged low, static composition and the route receding toward the upper right. Do not imply that the candidate coordinates independently verify clearance from the moving subject.\n  - subject_position_directive: No people are visible in S51_Shot23. Place marker 13 in the middle-right distance, occupying under two-fifths of the frame, with its rear and one side visible and its rear wheels readable. Keep marker 14 trailing toward the lower center.\n  - state_cue_directive: Use base markers 1, 8, 9 and 10 with transient markers 13 and 14. Marker 13 is accelerating away through the route; marker 14 is thrown backward during acceleration. Preserve daytime exterior illumination without introducing a new light source or color cast. Keep the fixed surroundings stable.\n  - negative_continuity_directive: Exclude markers 11 and 12, including marker 11 carried by L69B01. Avoid copying the northern-facing framing of L69B01 into this southern-facing view. Do not move units 8 or 9 or opening 10 to accommodate markers 13 and 14, and do not add openings 5, 6 or 7 outside the chosen cone.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L69B01' physical_space_id='fp_repair_forecourt_space_01'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 8\n  - camera_cell: [5, 3]\n  - look_at_unit: 9\n  - look_at_cell: [9, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad southern view toward opening 10 at the end of unit 9. S51_Shot23 specifies a low, static rear three-quarter composition; the grid establishes the horizontal camera position but does not verify lateral clearance from the transient object's exact path.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the southern-facing portions of unit 8, the surrounding unit 1 and the route through unit 9 toward opening 10. Keep the positions and extents of units 1, 8 and 9 consistent with L69B01 and the base plan; retain opening 10 at the southern end of the route. This view turns away from the northern frontages.\n  - camera_framing_directive: Use camera_unit 8 at [5, 3], looking toward unit 9 at [9, 5], with a wide 90-degree field of view. Provide broad negative space for the staged low, static composition and the route receding toward the upper right. Do not imply that the candidate coordinates independently verify clearance from the moving subject.\n  - subject_position_directive: No people are visible in S51_Shot23. Place marker 13 in the middle-right distance, occupying under two-fifths of the frame, with its rear and one side visible and its rear wheels readable. Keep marker 14 trailing toward the lower center.\n  - state_cue_directive: Use base markers 1, 8, 9 and 10 with transient markers 13 and 14. Marker 13 is accelerating away through the route; marker 14 is thrown backward during acceleration. Preserve daytime exterior illumination without introducing a new light source or color cast. Keep the fixed surroundings stable.\n  - negative_continuity_directive: Exclude markers 11 and 12, including marker 11 carried by L69B01. Avoid copying the northern-facing framing of L69B01 into this southern-facing view. Do not move units 8 or 9 or opening 10 to accommodate markers 13 and 14, and do not add openings 5, 6 or 7 outside the chosen cone.\n\n실제 미러리스 카메라와 35밀리미터급 렌즈로 촬영한 다큐멘터리 풍 사진. 2069년 대한민국의 자원이 부족한 지역에서 오래 사용해 온 카센터 공터의 차량 출구를 다음날 아침에 촬영한다. 미래라는 이유로 새로운 첨단 설비를 덧붙이지 않고, 기존 차량과 거친 작업장 바닥이 계속 사용되는 생활 환경으로 표현한다. 공터 안쪽에서 남쪽 출입구를 바라보며, 서 있는 관찰자의 눈높이에 가까운 약 1.4미터 높이에서 떠나는 캠핑카의 후면을 담는다. 내려다보는 시점이 아니라 지면을 따라 공간의 깊이가 이어지는 수평에 가까운 시선이다.\n\n참조 평면도는 공터와 주차 영역, 출발 통로, 남쪽 출입구의 상대적인 위치를 파악하는 데만 사용한다. 공터 중앙보다 서쪽에 있는 남북 방향의 주차 영역에서 남쪽 가장자리의 문 없는 차량 출입구까지 연속된 여유 공간이 이어진다. 캠핑카 한 대가 이 통로를 따라 출입구에 가까워진 순간으로, 앞부분은 남쪽을 향하고 후면은 공터 안쪽과 카메라를 향한다. 캠핑카 후면을 중심으로 담되 차체 양옆과 그 너머에 공터 밖으로 이어지는 주행 동선이 읽히도록 충분한 폭을 확보한다.\n\n캠핑카가 급히 출발하면서 뒷바퀴 바로 뒤에서 거친 흙먼지가 솟아올라 북쪽의 공터 안으로 길게 퍼진다. 바퀴 가까이에는 밀도가 높은 먼지가 낮게 말려 올라가고, 멀어질수록 입자가 성기게 흩어져 바닥이 비친다. 먼지가 출입구와 차량의 후면 윤곽을 완전히 가리지 않게 한다. 단단히 다져진 흙바닥의 불규칙한 입자, 차량 금속 외판의 실제 사용감과 잔흠집, 고무 타이어의 질감을 사실적으로 담는다. 아침의 자연광이 차체와 먼지에 닿고, 지면의 그림자와 먼지의 밝기는 같은 광원 방향을 따른다. 자연스러운 색과 노출, 실제 렌즈의 원근과 피사계 심도를 유지하며 과도한 보정이나 인공적인 광채를 넣지 않는다. 인물, 얼굴, 인체 형태의 형상은 차량 내부와 반사면을 포함해 어디에도 보이지 않는다. 삽화나 건축 시각화가 아닌 실제 장소 기록 사진이며 평면도 구도로 만들지 않는다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThe LAST attached image is a TOP-DOWN INTERIOR FLOOR PLAN of the building at this location — a STRUCTURAL REFERENCE ONLY, never content to draw. It defines the building's real scale: its footprint, room count, and the placement of its doors and windows. Render the scene so the building's exterior size, number of storeys, and the scale and placement of its doors and windows stay consistent with that plan. Do NOT draw the floor plan itself, its lines, text or numbers anywhere in the image.",
        "camera_decision": {
          "camera_unit": 8,
          "camera_cell": [
            5,
            3
          ],
          "look_at_unit": 9,
          "look_at_cell": [
            9,
            5
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad southern view toward opening 10 at the end of unit 9. S51_Shot23 specifies a low, static rear three-quarter composition; the grid establishes the horizontal camera position but does not verify lateral clearance from the transient object's exact path."
        },
        "shot_aware_plan_node_index": 1,
        "shot_aware_plan_mode": "same_physical_space_view",
        "render_guidance": {
          "visible_space_directive": "Show the southern-facing portions of unit 8, the surrounding unit 1 and the route through unit 9 toward opening 10. Keep the positions and extents of units 1, 8 and 9 consistent with L69B01 and the base plan; retain opening 10 at the southern end of the route. This view turns away from the northern frontages.",
          "camera_framing_directive": "Use camera_unit 8 at [5, 3], looking toward unit 9 at [9, 5], with a wide 90-degree field of view. Provide broad negative space for the staged low, static composition and the route receding toward the upper right. Do not imply that the candidate coordinates independently verify clearance from the moving subject.",
          "subject_position_directive": "No people are visible in S51_Shot23. Place marker 13 in the middle-right distance, occupying under two-fifths of the frame, with its rear and one side visible and its rear wheels readable. Keep marker 14 trailing toward the lower center.",
          "state_cue_directive": "Use base markers 1, 8, 9 and 10 with transient markers 13 and 14. Marker 13 is accelerating away through the route; marker 14 is thrown backward during acceleration. Preserve daytime exterior illumination without introducing a new light source or color cast. Keep the fixed surroundings stable.",
          "negative_continuity_directive": "Exclude markers 11 and 12, including marker 11 carried by L69B01. Avoid copying the northern-facing framing of L69B01 into this southern-facing view. Do not move units 8 or 9 or opening 10 to accommodate markers 13 and 14, and do not add openings 5, 6 or 7 outside the chosen cone."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_repair_forecourt",
          "prior_bg_ids": [
            "L69B01"
          ],
          "attached_ref_labels": [
            "bg:L69B01",
            "building_fp:fp_repair_storage"
          ],
          "ref_used": "refs_2",
          "db_write_policy": "checkpoint_only"
        },
        "building_fp_ref": {
          "fp_id": "fp_repair_storage",
          "indoor_loc_sid": "L67",
          "group_id": "bg_auto_repair_complex",
          "fp_asset_id": "00aad5da-c656-4e70-a311-10b830124e55"
        }
      },
      "L77B02": {
        "status": "ok",
        "is_reuse": true,
        "render_action": "reuse_existing_plate",
        "reuse_target_bg_id": "L77B01",
        "reused_from_bg_id": "L77B01",
        "location_id": "L77",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L77B01.png",
        "t2i_prompt": "2069년 대한민국의 오래된 성당 앞마당을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 배경 전용 촬영본으로, 실제 장소 답사 사진과 구별되지 않는 현실적인 재료와 원근감을 갖춘다. 남쪽 차량 진입 공간의 북서쪽 가장자리에서 북북동쪽을 바라본다. 풀프레임 미러리스 카메라의 28밀리미터 광각 렌즈, 지면에서 약 1.6미터 높이의 수평 시점이며, 광각 왜곡은 자연스럽게 억제한다. 중앙의 넓은 앞마당 너머로 북쪽 성당 정면과 중앙 출입구, 바로 앞 문턱이 보이고, 출입구 안쪽은 얕은 범위만 드러난다. 오른쪽에는 중앙 접근로와 담장 없이 이어지는 열린 집결 공간을 확보한다. 북서쪽 조형물 위치는 왼쪽 화면 경계에 걸쳐 받침대 일부만 보이도록 구성한다. 두 팔을 벌린 인체형 조각과 그 얼굴을 덮는 전통 하회탈 형태의 웃는 가면은 이 배경 촬영 범위에서 제외한다. 오른쪽 집결 공간과 중앙 앞마당 동쪽 가장자리는 비워 두며, 창과 몽둥이를 든 가면 군중이나 그 그림자·반사상을 묘사하지 않는다. 남쪽 차량 진입 공간에는 철제 우리가 실린 트럭이 동서 방향으로 정차해 있고, 중앙 앞마당에서 하역 측면으로 접근할 수 있다. 트럭 차체와 우리의 일부가 화면 아래쪽 전경 가장자리에 걸린다. 우리는 비어 있다. 오래 사용한 한국 성당의 외벽과 포장면에는 실제 콘크리트의 입자, 미세한 균열과 일상적인 빗물 얼룩이 보인다. 트럭과 우리의 금속에는 벗겨진 도장과 자연스러운 산화 흔적이 있으나 과도한 폐허로 만들지 않는다. 오래된 시설과 차량이 계속 사용되는 미래의 생활 현실을 보여주되, 임의의 첨단 장치나 장식은 추가하지 않는다. 낮의 자연광이 앞마당을 밝히고 출입구 안쪽에는 현실적인 그늘이 형성된다. 자연스러운 색과 노출, 실제 렌즈의 심도를 유지하며 인위적인 색 보정이나 과장된 광학 효과를 넣지 않는다. 사람, 얼굴, 인체형 형상은 어디에도 보이지 않는다. 삽화나 컴퓨터 생성 이미지, 건축 시각화가 아닌 실제 사진이며, 내려다보는 평면도 구도를 사용하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S57_Shot4",
            "guide_text": "남쪽 차량 진입 공간의 북서쪽에서 북북동쪽을 보는 높이 약 1.6미터의 광각 구도를 사용한다. 중앙 접근로와 뒤쪽 성당 출입구를 명확히 연결하고, 오른쪽 집결 공간은 비워 둔다. 아래쪽 전경에 정차한 트럭과 철제 우리 일부, 왼쪽 경계에 받침대 일부를 유지한다. 군중과 얼굴, 인체형 조각은 배경에 포함하지 않는다."
          },
          {
            "shot_id": "S57_Shot10",
            "guide_text": "앞선 배경과 동일한 카메라 위치, 높이, 화각 및 낮의 자연광을 유지한다. 성당 출입구와 중앙 접근로, 오른쪽의 빈 집결 공간, 전경의 트럭과 철제 우리를 같은 위치와 크기로 연결한다. 받침대는 왼쪽 화면 경계에 일부만 보이게 하며, 군중과 얼굴, 인체형 조각이나 새로운 사건 흔적을 추가하지 않는다."
          }
        ],
        "shot_ids": [
          "S57_Shot4",
          "S57_Shot10"
        ],
        "scenes": [],
        "parent_id": "L77B01",
        "ref_used": "reused_plate",
        "render_attempts": 0,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "near the northwest edge of number 5, looking north-northeast across number 4 toward number 6, number 3, and number 7",
          "camera_height": "eye-level standing, approximately 1.6 m",
          "lens_hint": "28mm wide angle",
          "framing_notes": "Establish the statue and its mask, the dense armed crowd to the right, and the church entrance beyond the clear approach. Keep the stopped truck and cage partly visible along the southern foreground edge. Use this same camera for both assigned shots; do not include the forced-entry action or the distant tower."
        },
        "reference_decision": {
          "mode": "reference_derived",
          "render_action": "reuse_existing_plate",
          "reuse_target_bg_id": "L77B01",
          "selected_refs": [
            {
              "ref_bg_id": "L77B01",
              "physical_space_id": "fp_church_forecourt:connected_units_1_2_4_5_7",
              "space_description": "Connected approach space across units 5, 4 and 2, adjoining unit 7, with opening 3 at unit 1 and fixed marker 6 northwest of the approach."
            }
          ]
        },
        "shot_aware_plan_node_index": 1,
        "shot_aware_plan_mode": "reference_derived",
        "render_guidance": {
          "visible_space_directive": "Preserve L77B01's fixed arrangement: unit 4 leads from camera unit 5 toward unit 2, opening 3 remains at the edge of unit 1, marker 6 remains northwest and west of unit 2 facing south, and unit 7 adjoins unit 4 to the east without a separating wall. Keep the visible exterior portion of unit 1 as context rather than inventing interior coverage. Retain only portions of these units that fall within the selected wide view.",
          "camera_framing_directive": "Match camera unit 5 at [8, 4], looking toward unit 2 at [1, 4], with a wide 90-degree lens for broad plate coverage. Preserve opening 3's position and marker 6's off-axis position from L77B01. Treat S57_Shot4's center/lower-frame emphasis and S57_Shot10's upper-center detail with surrounding context as separate shot-specific framing requirements; do not combine them into one contradictory final crop.",
          "subject_position_directive": "For S57_Shot4, the staged crowd occupies the center and lower frame beyond the cage side bars, with raised weapons reaching into the upper third; keep the bars at the extreme edges and attention directed toward the off-axis captives. For S57_Shot10, no character placement is committed: keep its selected detail free of invented subjects. Do not transfer L77B01's subject arrangement into either shot.",
          "state_cue_directive": "Use base markers 1, 2, 3, 4, 5, 6 and 7 with transient markers 8, 9 and 10 as applicable to each staged shot. Preserve marker 8 on fixed marker 6. Keep S57_Shot4's moving state and S57_Shot10's arrived, stopped state distinct rather than depicting both simultaneously. Use the committed daylight and restrained contrast, retaining readable staged gestures and the altered detail without additional state effects.",
          "negative_continuity_directive": "Exclude marker 11 and remove its overlay inherited from L77B01. Preserve the positions of markers 3 and 6 and the relationships among units 1, 2, 4, 5 and 7. Do not transfer reference subject placement, merge incompatible shot-specific overlays into one crop, or introduce content beyond the selected cone."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_church_forecourt",
          "prior_bg_ids": [
            "L77B01"
          ],
          "attached_ref_labels": [
            "bg:L77B01"
          ],
          "ref_used": "reused_plate",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L77B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L77",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L77B01.png",
        "t2i_prompt": "2069년 대한민국의 오래된 성당 앞마당과 출입문 문턱을 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 배경 전용 촬영본이다. 기존 한국 성당 건축이 오랜 사용 속에 남아 있는 장소로, 과장된 미래 장비 없이 외벽과 문틀의 거친 표면, 앞마당 콘크리트의 잔골재, 문턱 모서리의 일상적인 마모와 오래된 옅은 얼룩을 사실적으로 보여준다. 새로 단장한 홍보 사진이 아니라 실제 장소를 담담하게 기록한 사진처럼 표현한다.\n\n배치 참고 이미지에서 앞마당 북쪽에 있는 성당 정면, 중앙 출입구, 그 바로 앞의 문턱과 문 안쪽의 얕은 공간이 이어지는 관계를 따른다. 카메라는 중앙 앞마당의 북쪽 부분에서 진입 중심선보다 조금 서쪽에 놓고 북쪽 출입구를 바라본다. 촬영 높이는 서 있는 사람의 눈높이인 약 1.6미터, 렌즈는 35밀리미터의 완만한 광각이다. 출입구와 문턱을 화면의 중심으로 크게 잡되, 아래쪽에는 앞마당 바닥을 충분히 남겨 바깥에서 문 안으로 이어지는 바닥의 연속성이 분명하게 읽히도록 한다. 실내는 출입벽 바로 뒤의 얕은 부분만 보인다.\n\n이 순간은 결박된 두 사람이 병력에 의해 앞마당에서 문턱을 넘어 안으로 밀려 들어가는 장면에 쓰이는 배경이다. 그 행위는 직접 묘사하지 않고, 해당 이동 경로를 가리지 않는 빈 공간과 외부에서 내부로 이어지는 구도로만 반영한다. 문턱 서쪽의 기존 조형물은 얼굴 부위에 전통적인 조각 웃음 형태의 가면을 씌운 상태로 설정하되, 가면과 인체 형상의 상부는 촬영 범위 밖에 둔다. 화면 왼쪽 가장자리에는 그 받침대 일부만 남긴다. 사람, 얼굴, 인체 형상의 조형물, 사람 모양의 그림자나 반사는 보이지 않는다.\n\n낮의 자연광이 앞마당과 문틀의 표면을 밝히고, 문 안쪽은 외부보다 자연스럽게 어둡다. 문틀 아래와 문턱에는 실제 방향과 깊이를 가진 그림자가 생기며, 실내 경계에도 바깥에서 들어오는 반사광이 은은하게 닿는다. 재료 본래의 색과 자연스러운 명암, 문턱과 출입구가 함께 읽히는 현실적인 피사계 심도를 유지한다. 인위적인 색 보정이나 과도한 선명화 없이 실제 장소 사진과 구분되지 않는 질감으로 촬영한다. 위에서 내려다본 시점이나 도면, 삽화, 컴퓨터 생성 건축 이미지가 아닌 실제 사진. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S57_Shot11",
            "guide_text": "앞마당 북쪽에서 진입 중심선보다 약간 서쪽에 서서, 약 1.6미터 높이의 35밀리미터 시야로 출입구를 바라본다. 아래쪽 앞마당, 중앙 문턱, 문 안쪽의 얕은 공간을 한 화면에 연결하여 외부에서 내부로 향하는 동선이 끊기지 않게 한다. 배경에는 진입 인물이나 결박 도구를 그리지 않는다. 왼쪽 가장자리에는 기존 조형물의 받침대 일부만 두고, 가면과 인체 형상의 상부는 화면 밖으로 제외한다. 낮의 밝은 앞마당과 상대적으로 어두운 출입구 사이에 자연스러운 노출 차이를 유지한다."
          }
        ],
        "shot_ids": [
          "S57_Shot11"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_2",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "in the northern part of number 4, slightly west of the approach centerline, looking north toward number 2 and number 3, with number 6 at the left edge",
          "camera_height": "eye-level standing, approximately 1.6 m",
          "lens_hint": "35mm moderate wide angle",
          "framing_notes": "Frame the doorway and threshold prominently, retaining a foreground strip of forecourt so the forced entry reads as continuous movement from outside to inside. Keep part of the masked statue visible at the left edge. Crop out the southern truck apron and eastern crowd concentration; their exclusion is framing, not evidence that they have departed. Do not reveal the deeper church interior or balcony."
        },
        "reference_decision": {
          "bg_id": "L77B01",
          "fp_id": "fp_church_forecourt",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L77B01 is the sole supplied anchor candidate and is renderable for S57_Shot11. Use the explicitly supplied ramped fallback: clean_background_expected is false, so the anchor retains committed transient markers 8 and 11 rather than being represented as clean. A wide view from unit 5 toward unit 2, aimed at opening 3, establishes the approach and its fixed structural identity without a prior reference.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/floor_plan/fp_church_forecourt.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "not_applicable_anchor",
            "why_single_ref_or_two_refs": "The first node establishes the identity directly from the floor plan; no reference is selected.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 5,
            "camera_cell": [
              8,
              4
            ],
            "look_at_unit": 2,
            "look_at_cell": [
              1,
              4
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad fixed plate looking along unit 4 toward unit 2 and opening 3. The permitted look-at cell is opening 3's cell, not the unit 2 centroid. Preserve the upper-center destination required by S57_Shot11; the staged movement is consuming-shot context, not an additional camera coordinate."
          },
          "render_guidance": {
            "visible_space_directive": "From unit 5, show the approach through unit 4 to unit 2, with opening 3 and the exterior edge of unit 1 beyond. Keep fixed marker 6 northwest of the approach, west of unit 2, facing south. Unit 7 may occur at the eastern edge of this broad coverage without becoming a focal requirement. Opening 3 connects units 2 and 1 according to the base inventory; the visibility supersets do not authorize an unrestricted view throughout unit 1.",
            "camera_framing_directive": "Use camera unit 5 at [8, 4], looking toward unit 2 at the permitted aim cell [1, 4], with wide 90-degree coverage. Keep opening 3 in the upper-center background and the approach readable below it. This is the fixed plate position; retain the supplied staging's movement direction without inventing another grid position.",
            "subject_position_directive": "S57_Shot11 commits 이현우 on the left and 앰버 on the right, moving away from the camera toward opening 3 with their bodies twisting and losing balance. The staged soldiers occupy the near side edges and push them onward in differing stride phases. Preserve those relative placements and the destination axis; do not add subjects beyond the staged group.",
            "state_cue_directive": "Carry transient markers 8 and 11 alongside base markers 1, 2, 3, 4 and 6. Opening 3 is open during the staged forced entry, and the committed bindings follow the twisting bodies. Carry exterior daylight naturally to unit 2 without specifying an unsupported interior light source or color. This fallback anchor is not a clean-background plate.",
            "negative_continuity_directive": "Exclude markers 9 and 10, including ignored overlays 9 and 10. Keep marker 6 and opening 3 at their base positions. Do not extend the visible portion of unit 1 beyond what opening 3 and the exterior view support, or add content outside the selected cone."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 5\n  - camera_cell: [8, 4]\n  - look_at_unit: 2\n  - look_at_cell: [1, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad fixed plate looking along unit 4 toward unit 2 and opening 3. The permitted look-at cell is opening 3's cell, not the unit 2 centroid. Preserve the upper-center destination required by S57_Shot11; the staged movement is consuming-shot context, not an additional camera coordinate.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 5, show the approach through unit 4 to unit 2, with opening 3 and the exterior edge of unit 1 beyond. Keep fixed marker 6 northwest of the approach, west of unit 2, facing south. Unit 7 may occur at the eastern edge of this broad coverage without becoming a focal requirement. Opening 3 connects units 2 and 1 according to the base inventory; the visibility supersets do not authorize an unrestricted view throughout unit 1.\n  - camera_framing_directive: Use camera unit 5 at [8, 4], looking toward unit 2 at the permitted aim cell [1, 4], with wide 90-degree coverage. Keep opening 3 in the upper-center background and the approach readable below it. This is the fixed plate position; retain the supplied staging's movement direction without inventing another grid position.\n  - subject_position_directive: S57_Shot11 commits 이현우 on the left and 앰버 on the right, moving away from the camera toward opening 3 with their bodies twisting and losing balance. The staged soldiers occupy the near side edges and push them onward in differing stride phases. Preserve those relative placements and the destination axis; do not add subjects beyond the staged group.\n  - state_cue_directive: Carry transient markers 8 and 11 alongside base markers 1, 2, 3, 4 and 6. Opening 3 is open during the staged forced entry, and the committed bindings follow the twisting bodies. Carry exterior daylight naturally to unit 2 without specifying an unsupported interior light source or color. This fallback anchor is not a clean-background plate.\n  - negative_continuity_directive: Exclude markers 9 and 10, including ignored overlays 9 and 10. Keep marker 6 and opening 3 at their base positions. Do not extend the visible portion of unit 1 beyond what opening 3 and the exterior view support, or add content outside the selected cone.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 5\n  - camera_cell: [8, 4]\n  - look_at_unit: 2\n  - look_at_cell: [1, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad fixed plate looking along unit 4 toward unit 2 and opening 3. The permitted look-at cell is opening 3's cell, not the unit 2 centroid. Preserve the upper-center destination required by S57_Shot11; the staged movement is consuming-shot context, not an additional camera coordinate.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 5, show the approach through unit 4 to unit 2, with opening 3 and the exterior edge of unit 1 beyond. Keep fixed marker 6 northwest of the approach, west of unit 2, facing south. Unit 7 may occur at the eastern edge of this broad coverage without becoming a focal requirement. Opening 3 connects units 2 and 1 according to the base inventory; the visibility supersets do not authorize an unrestricted view throughout unit 1.\n  - camera_framing_directive: Use camera unit 5 at [8, 4], looking toward unit 2 at the permitted aim cell [1, 4], with wide 90-degree coverage. Keep opening 3 in the upper-center background and the approach readable below it. This is the fixed plate position; retain the supplied staging's movement direction without inventing another grid position.\n  - subject_position_directive: S57_Shot11 commits 이현우 on the left and 앰버 on the right, moving away from the camera toward opening 3 with their bodies twisting and losing balance. The staged soldiers occupy the near side edges and push them onward in differing stride phases. Preserve those relative placements and the destination axis; do not add subjects beyond the staged group.\n  - state_cue_directive: Carry transient markers 8 and 11 alongside base markers 1, 2, 3, 4 and 6. Opening 3 is open during the staged forced entry, and the committed bindings follow the twisting bodies. Carry exterior daylight naturally to unit 2 without specifying an unsupported interior light source or color. This fallback anchor is not a clean-background plate.\n  - negative_continuity_directive: Exclude markers 9 and 10, including ignored overlays 9 and 10. Keep marker 6 and opening 3 at their base positions. Do not extend the visible portion of unit 1 beyond what opening 3 and the exterior view support, or add content outside the selected cone.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 5\n  - camera_cell: [8, 4]\n  - look_at_unit: 2\n  - look_at_cell: [1, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad fixed plate looking along unit 4 toward unit 2 and opening 3. The permitted look-at cell is opening 3's cell, not the unit 2 centroid. Preserve the upper-center destination required by S57_Shot11; the staged movement is consuming-shot context, not an additional camera coordinate.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 5, show the approach through unit 4 to unit 2, with opening 3 and the exterior edge of unit 1 beyond. Keep fixed marker 6 northwest of the approach, west of unit 2, facing south. Unit 7 may occur at the eastern edge of this broad coverage without becoming a focal requirement. Opening 3 connects units 2 and 1 according to the base inventory; the visibility supersets do not authorize an unrestricted view throughout unit 1.\n  - camera_framing_directive: Use camera unit 5 at [8, 4], looking toward unit 2 at the permitted aim cell [1, 4], with wide 90-degree coverage. Keep opening 3 in the upper-center background and the approach readable below it. This is the fixed plate position; retain the supplied staging's movement direction without inventing another grid position.\n  - subject_position_directive: S57_Shot11 commits 이현우 on the left and 앰버 on the right, moving away from the camera toward opening 3 with their bodies twisting and losing balance. The staged soldiers occupy the near side edges and push them onward in differing stride phases. Preserve those relative placements and the destination axis; do not add subjects beyond the staged group.\n  - state_cue_directive: Carry transient markers 8 and 11 alongside base markers 1, 2, 3, 4 and 6. Opening 3 is open during the staged forced entry, and the committed bindings follow the twisting bodies. Carry exterior daylight naturally to unit 2 without specifying an unsupported interior light source or color. This fallback anchor is not a clean-background plate.\n  - negative_continuity_directive: Exclude markers 9 and 10, including ignored overlays 9 and 10. Keep marker 6 and opening 3 at their base positions. Do not extend the visible portion of unit 1 beyond what opening 3 and the exterior view support, or add content outside the selected cone.\n\n2069년 대한민국의 오래된 성당 앞마당과 출입문 문턱을 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 배경 전용 촬영본이다. 기존 한국 성당 건축이 오랜 사용 속에 남아 있는 장소로, 과장된 미래 장비 없이 외벽과 문틀의 거친 표면, 앞마당 콘크리트의 잔골재, 문턱 모서리의 일상적인 마모와 오래된 옅은 얼룩을 사실적으로 보여준다. 새로 단장한 홍보 사진이 아니라 실제 장소를 담담하게 기록한 사진처럼 표현한다.\n\n배치 참고 이미지에서 앞마당 북쪽에 있는 성당 정면, 중앙 출입구, 그 바로 앞의 문턱과 문 안쪽의 얕은 공간이 이어지는 관계를 따른다. 카메라는 중앙 앞마당의 북쪽 부분에서 진입 중심선보다 조금 서쪽에 놓고 북쪽 출입구를 바라본다. 촬영 높이는 서 있는 사람의 눈높이인 약 1.6미터, 렌즈는 35밀리미터의 완만한 광각이다. 출입구와 문턱을 화면의 중심으로 크게 잡되, 아래쪽에는 앞마당 바닥을 충분히 남겨 바깥에서 문 안으로 이어지는 바닥의 연속성이 분명하게 읽히도록 한다. 실내는 출입벽 바로 뒤의 얕은 부분만 보인다.\n\n이 순간은 결박된 두 사람이 병력에 의해 앞마당에서 문턱을 넘어 안으로 밀려 들어가는 장면에 쓰이는 배경이다. 그 행위는 직접 묘사하지 않고, 해당 이동 경로를 가리지 않는 빈 공간과 외부에서 내부로 이어지는 구도로만 반영한다. 문턱 서쪽의 기존 조형물은 얼굴 부위에 전통적인 조각 웃음 형태의 가면을 씌운 상태로 설정하되, 가면과 인체 형상의 상부는 촬영 범위 밖에 둔다. 화면 왼쪽 가장자리에는 그 받침대 일부만 남긴다. 사람, 얼굴, 인체 형상의 조형물, 사람 모양의 그림자나 반사는 보이지 않는다.\n\n낮의 자연광이 앞마당과 문틀의 표면을 밝히고, 문 안쪽은 외부보다 자연스럽게 어둡다. 문틀 아래와 문턱에는 실제 방향과 깊이를 가진 그림자가 생기며, 실내 경계에도 바깥에서 들어오는 반사광이 은은하게 닿는다. 재료 본래의 색과 자연스러운 명암, 문턱과 출입구가 함께 읽히는 현실적인 피사계 심도를 유지한다. 인위적인 색 보정이나 과도한 선명화 없이 실제 장소 사진과 구분되지 않는 질감으로 촬영한다. 위에서 내려다본 시점이나 도면, 삽화, 컴퓨터 생성 건축 이미지가 아닌 실제 사진. 16:9 가로 비율, 실제 카메라 촬영본\n\nThe LAST attached image is a TOP-DOWN INTERIOR FLOOR PLAN of the building at this location — a STRUCTURAL REFERENCE ONLY, never content to draw. It defines the building's real scale: its footprint, room count, and the placement of its doors and windows. Render the scene so the building's exterior size, number of storeys, and the scale and placement of its doors and windows stay consistent with that plan. Do NOT draw the floor plan itself, its lines, text or numbers anywhere in the image.",
        "camera_decision": {
          "camera_unit": 5,
          "camera_cell": [
            8,
            4
          ],
          "look_at_unit": 2,
          "look_at_cell": [
            1,
            4
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad fixed plate looking along unit 4 toward unit 2 and opening 3. The permitted look-at cell is opening 3's cell, not the unit 2 centroid. Preserve the upper-center destination required by S57_Shot11; the staged movement is consuming-shot context, not an additional camera coordinate."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "From unit 5, show the approach through unit 4 to unit 2, with opening 3 and the exterior edge of unit 1 beyond. Keep fixed marker 6 northwest of the approach, west of unit 2, facing south. Unit 7 may occur at the eastern edge of this broad coverage without becoming a focal requirement. Opening 3 connects units 2 and 1 according to the base inventory; the visibility supersets do not authorize an unrestricted view throughout unit 1.",
          "camera_framing_directive": "Use camera unit 5 at [8, 4], looking toward unit 2 at the permitted aim cell [1, 4], with wide 90-degree coverage. Keep opening 3 in the upper-center background and the approach readable below it. This is the fixed plate position; retain the supplied staging's movement direction without inventing another grid position.",
          "subject_position_directive": "S57_Shot11 commits 이현우 on the left and 앰버 on the right, moving away from the camera toward opening 3 with their bodies twisting and losing balance. The staged soldiers occupy the near side edges and push them onward in differing stride phases. Preserve those relative placements and the destination axis; do not add subjects beyond the staged group.",
          "state_cue_directive": "Carry transient markers 8 and 11 alongside base markers 1, 2, 3, 4 and 6. Opening 3 is open during the staged forced entry, and the committed bindings follow the twisting bodies. Carry exterior daylight naturally to unit 2 without specifying an unsupported interior light source or color. This fallback anchor is not a clean-background plate.",
          "negative_continuity_directive": "Exclude markers 9 and 10, including ignored overlays 9 and 10. Keep marker 6 and opening 3 at their base positions. Do not extend the visible portion of unit 1 beyond what opening 3 and the exterior view support, or add content outside the selected cone."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_church_forecourt",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_church_forecourt",
            "building_fp:fp_church_interior"
          ],
          "ref_used": "refs_2",
          "db_write_policy": "checkpoint_only"
        },
        "building_fp_ref": {
          "fp_id": "fp_church_interior",
          "indoor_loc_sid": "L78",
          "group_id": "bg_ruined_village_church",
          "fp_asset_id": "1d543768-55f5-484d-8856-43f0aba627bb"
        }
      },
      "L78B02": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L78",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L78B02.png",
        "t2i_prompt": "2069년 대한민국의 오래된 성당을 집회와 심문 공간으로 사용하는 실내를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 황폐해진 시대에도 남아 있는 국내 근현대 성당의 높은 본당과 묵직한 벽체, 소박한 건축 마감에 대비되는 화려한 단상과 거대한 의자의 규모를 사실적으로 담는다. 공간은 정돈되어 있고 흐트러짐 없는 상태다.\n본당의 남쪽 내부에서 북쪽 단상을 바라본다. 촬영 높이는 서 있는 사람의 눈높이인 약 1.6미터이며, 35밀리미터 풀프레임 미러리스 카메라에 28밀리미터 광각 렌즈를 사용한 자연스러운 원근감이다. 화면 전경과 중앙에는 넓은 본당 바닥과 단상 바로 앞의 심문 구역을 확보한다. 북쪽 단상 중앙에는 남쪽을 향한 거대한 의자가 있고, 단상 남쪽 중앙의 접근 계단이 앞쪽 바닥과 이어진다. 의자의 실제 나뭇결과 금속 장식의 오래된 광택, 단상의 장식적 마감을 가까운 물체와 먼 물체의 크기 차이까지 설득력 있게 표현한다.\n왼쪽에는 중앙 바닥을 내려다보는 서쪽 상층 회랑과 그 안쪽 동향 가장자리의 난간을 함께 담는다. 오른쪽 뒤 북동쪽 수용 구역의 서쪽 경계에는 닫힌 쇠창살 출입문이 보이며, 그 앞에서 중앙 심문 구역으로 이어지는 바닥 통로는 넉넉하게 비워 둔다. 서쪽 회랑보다 남쪽에 있는 서측 창과 북동쪽 수용 구역보다 남쪽에 있는 동측 창의 상대 위치를 유지한다. 양쪽 스테인드글라스 창을 통해 낮의 자연광이 들어와 바닥과 단상에 유리의 색을 은은하게 투과시킨다. 유리 문양은 비인물적인 기하학 무늬이며, 밝은 창과 실내 그늘 사이의 노출 차이를 실제 촬영처럼 표현한다.\n오래 사용한 콘크리트와 석재의 입자, 금속의 자연스러운 산화 질감, 목재의 결 및 일상적인 마모를 과장 없이 보여준다. 자연스러운 피사계 심도로 단상과 상층 회랑의 구조가 함께 읽히게 한다. 사람, 얼굴, 사람 형태의 형상은 일절 묘사하지 않는 빈 공간이다. 평면도는 구조와 상대 위치를 파악하는 참고 자료로만 사용하며 시점은 수평에 가까운 실내 관찰 시점이다. 조감도나 건축 도면이 아닌 실제 장소 기록 사진이며, 컴퓨터 생성 영상이나 삽화, 건축 시각화가 아닌 후보정 없는 현장 촬영본처럼 보인다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S58_Shot6",
            "guide_text": "단상과 거대한 의자를 화면 중앙 뒤쪽의 시각적 중심으로 삼고, 왼쪽 상층 회랑과 난간까지 한 화면에 확보하는 넓은 설정 구도다. 약 1.6미터 눈높이의 광각 시점을 유지하며 전경 본당 바닥과 단상 앞 심문 구역을 충분히 남긴다. 오른쪽 뒤 쇠창살 출입문이 보이면 닫힌 상태로 두고, 그 앞에서 중앙으로 이어지는 통로를 가리지 않는다. 인물이나 사람 형태의 형상 없이 빈 배경만 제시하며, 스테인드글라스를 통과한 낮의 자연광과 실제 재료 질감을 유지한다."
          }
        ],
        "shot_ids": [
          "S58_Shot6"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "inside number 1, just north of number 8, facing north toward numbers 12, 2, and 3, with number 4 on the left",
          "camera_height": "standing eye level, approximately 1.6 m",
          "lens_hint": "28mm wide angle",
          "framing_notes": "Establish the dais, throne, and upper gallery together. Leave the nave available for crowd staging and preserve the clear route beside the interrogation floor. Retain the stained-glass openings without adding new damage. The cage has not yet been revealed; if number 5 is visible, its gate is closed."
        },
        "reference_decision": {
          "bg_id": "L78B02",
          "fp_id": "fp_church_interior",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L78B02 is an eligible clean anchor and S58_Shot6 provides a wider structural composition than the other clean candidate. Camera unit 1 looking toward unit 2 and marker 3 establishes the fixed elevated seating arrangement and its approach. Render fresh from the floor plan; the reference catalog is empty.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/floor_plan/fp_church_interior.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The first node establishes dwelling identity without a background reference.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 1,
            "camera_cell": [
              5,
              5
            ],
            "look_at_unit": 2,
            "look_at_cell": [
              1,
              5
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad coverage toward marker 3 within unit 2, retaining the full seated-body composition and the approach through units 7, 11 and 12. Use the staged low viewpoint without changing the supplied grid coordinates."
          },
          "render_guidance": {
            "visible_space_directive": "Establish the forward portion of unit 1, units 7, 11 and 12, and unit 2 with fixed marker 3. Opening 5 and the approach toward unit 6 may fall within the forward coverage. The visibility lists are supersets, not proof of unobstructed sightlines; do not force markers 9, 10 or 13, or unit 4, into this north-facing view.",
            "camera_framing_directive": "Use camera unit 1 at [5, 5], looking toward unit 2 at the listed target [1, 5], with wide 90-degree coverage. Preserve the low three-quarter framing committed by S58_Shot6, showing the full seated body and the front and side of marker 3 with unit 2 extending beneath it.",
            "subject_position_directive": "S58_Shot6 places 장백산 just right of center, seated deeply in marker 3, with his full body visible and his head directed toward the off-screen subjects below rather than the lens. Preserve space for that placement; keep the other staged off-screen subjects outside the image.",
            "state_cue_directive": "For this clean background with no transient markers, no committed state cue beyond \"clean residential space\" applies to the plate; refrain from inventing additional cues. Preserve the staged daylight entering through stained glass. Treat the seated settling action as a subject-layer cue rather than a change to fixed marker 3.",
            "negative_continuity_directive": "Exclude overlay markers 14 and 15, as required by both ignore lists. Avoid relocating marker 3 or units 2, 11 and 12 to accommodate framing. Do not turn candidate visibility into guaranteed visibility or insert openings 8, 9 and 10 outside the selected cone."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [5, 5]\n  - look_at_unit: 2\n  - look_at_cell: [1, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad coverage toward marker 3 within unit 2, retaining the full seated-body composition and the approach through units 7, 11 and 12. Use the staged low viewpoint without changing the supplied grid coordinates.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish the forward portion of unit 1, units 7, 11 and 12, and unit 2 with fixed marker 3. Opening 5 and the approach toward unit 6 may fall within the forward coverage. The visibility lists are supersets, not proof of unobstructed sightlines; do not force markers 9, 10 or 13, or unit 4, into this north-facing view.\n  - camera_framing_directive: Use camera unit 1 at [5, 5], looking toward unit 2 at the listed target [1, 5], with wide 90-degree coverage. Preserve the low three-quarter framing committed by S58_Shot6, showing the full seated body and the front and side of marker 3 with unit 2 extending beneath it.\n  - subject_position_directive: S58_Shot6 places 장백산 just right of center, seated deeply in marker 3, with his full body visible and his head directed toward the off-screen subjects below rather than the lens. Preserve space for that placement; keep the other staged off-screen subjects outside the image.\n  - state_cue_directive: For this clean background with no transient markers, no committed state cue beyond \"clean residential space\" applies to the plate; refrain from inventing additional cues. Preserve the staged daylight entering through stained glass. Treat the seated settling action as a subject-layer cue rather than a change to fixed marker 3.\n  - negative_continuity_directive: Exclude overlay markers 14 and 15, as required by both ignore lists. Avoid relocating marker 3 or units 2, 11 and 12 to accommodate framing. Do not turn candidate visibility into guaranteed visibility or insert openings 8, 9 and 10 outside the selected cone.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [5, 5]\n  - look_at_unit: 2\n  - look_at_cell: [1, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad coverage toward marker 3 within unit 2, retaining the full seated-body composition and the approach through units 7, 11 and 12. Use the staged low viewpoint without changing the supplied grid coordinates.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish the forward portion of unit 1, units 7, 11 and 12, and unit 2 with fixed marker 3. Opening 5 and the approach toward unit 6 may fall within the forward coverage. The visibility lists are supersets, not proof of unobstructed sightlines; do not force markers 9, 10 or 13, or unit 4, into this north-facing view.\n  - camera_framing_directive: Use camera unit 1 at [5, 5], looking toward unit 2 at the listed target [1, 5], with wide 90-degree coverage. Preserve the low three-quarter framing committed by S58_Shot6, showing the full seated body and the front and side of marker 3 with unit 2 extending beneath it.\n  - subject_position_directive: S58_Shot6 places 장백산 just right of center, seated deeply in marker 3, with his full body visible and his head directed toward the off-screen subjects below rather than the lens. Preserve space for that placement; keep the other staged off-screen subjects outside the image.\n  - state_cue_directive: For this clean background with no transient markers, no committed state cue beyond \"clean residential space\" applies to the plate; refrain from inventing additional cues. Preserve the staged daylight entering through stained glass. Treat the seated settling action as a subject-layer cue rather than a change to fixed marker 3.\n  - negative_continuity_directive: Exclude overlay markers 14 and 15, as required by both ignore lists. Avoid relocating marker 3 or units 2, 11 and 12 to accommodate framing. Do not turn candidate visibility into guaranteed visibility or insert openings 8, 9 and 10 outside the selected cone.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [5, 5]\n  - look_at_unit: 2\n  - look_at_cell: [1, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad coverage toward marker 3 within unit 2, retaining the full seated-body composition and the approach through units 7, 11 and 12. Use the staged low viewpoint without changing the supplied grid coordinates.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish the forward portion of unit 1, units 7, 11 and 12, and unit 2 with fixed marker 3. Opening 5 and the approach toward unit 6 may fall within the forward coverage. The visibility lists are supersets, not proof of unobstructed sightlines; do not force markers 9, 10 or 13, or unit 4, into this north-facing view.\n  - camera_framing_directive: Use camera unit 1 at [5, 5], looking toward unit 2 at the listed target [1, 5], with wide 90-degree coverage. Preserve the low three-quarter framing committed by S58_Shot6, showing the full seated body and the front and side of marker 3 with unit 2 extending beneath it.\n  - subject_position_directive: S58_Shot6 places 장백산 just right of center, seated deeply in marker 3, with his full body visible and his head directed toward the off-screen subjects below rather than the lens. Preserve space for that placement; keep the other staged off-screen subjects outside the image.\n  - state_cue_directive: For this clean background with no transient markers, no committed state cue beyond \"clean residential space\" applies to the plate; refrain from inventing additional cues. Preserve the staged daylight entering through stained glass. Treat the seated settling action as a subject-layer cue rather than a change to fixed marker 3.\n  - negative_continuity_directive: Exclude overlay markers 14 and 15, as required by both ignore lists. Avoid relocating marker 3 or units 2, 11 and 12 to accommodate framing. Do not turn candidate visibility into guaranteed visibility or insert openings 8, 9 and 10 outside the selected cone.\n\n2069년 대한민국의 오래된 성당을 집회와 심문 공간으로 사용하는 실내를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 황폐해진 시대에도 남아 있는 국내 근현대 성당의 높은 본당과 묵직한 벽체, 소박한 건축 마감에 대비되는 화려한 단상과 거대한 의자의 규모를 사실적으로 담는다. 공간은 정돈되어 있고 흐트러짐 없는 상태다.\n본당의 남쪽 내부에서 북쪽 단상을 바라본다. 촬영 높이는 서 있는 사람의 눈높이인 약 1.6미터이며, 35밀리미터 풀프레임 미러리스 카메라에 28밀리미터 광각 렌즈를 사용한 자연스러운 원근감이다. 화면 전경과 중앙에는 넓은 본당 바닥과 단상 바로 앞의 심문 구역을 확보한다. 북쪽 단상 중앙에는 남쪽을 향한 거대한 의자가 있고, 단상 남쪽 중앙의 접근 계단이 앞쪽 바닥과 이어진다. 의자의 실제 나뭇결과 금속 장식의 오래된 광택, 단상의 장식적 마감을 가까운 물체와 먼 물체의 크기 차이까지 설득력 있게 표현한다.\n왼쪽에는 중앙 바닥을 내려다보는 서쪽 상층 회랑과 그 안쪽 동향 가장자리의 난간을 함께 담는다. 오른쪽 뒤 북동쪽 수용 구역의 서쪽 경계에는 닫힌 쇠창살 출입문이 보이며, 그 앞에서 중앙 심문 구역으로 이어지는 바닥 통로는 넉넉하게 비워 둔다. 서쪽 회랑보다 남쪽에 있는 서측 창과 북동쪽 수용 구역보다 남쪽에 있는 동측 창의 상대 위치를 유지한다. 양쪽 스테인드글라스 창을 통해 낮의 자연광이 들어와 바닥과 단상에 유리의 색을 은은하게 투과시킨다. 유리 문양은 비인물적인 기하학 무늬이며, 밝은 창과 실내 그늘 사이의 노출 차이를 실제 촬영처럼 표현한다.\n오래 사용한 콘크리트와 석재의 입자, 금속의 자연스러운 산화 질감, 목재의 결 및 일상적인 마모를 과장 없이 보여준다. 자연스러운 피사계 심도로 단상과 상층 회랑의 구조가 함께 읽히게 한다. 사람, 얼굴, 사람 형태의 형상은 일절 묘사하지 않는 빈 공간이다. 평면도는 구조와 상대 위치를 파악하는 참고 자료로만 사용하며 시점은 수평에 가까운 실내 관찰 시점이다. 조감도나 건축 도면이 아닌 실제 장소 기록 사진이며, 컴퓨터 생성 영상이나 삽화, 건축 시각화가 아닌 후보정 없는 현장 촬영본처럼 보인다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 1,
          "camera_cell": [
            5,
            5
          ],
          "look_at_unit": 2,
          "look_at_cell": [
            1,
            5
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad coverage toward marker 3 within unit 2, retaining the full seated-body composition and the approach through units 7, 11 and 12. Use the staged low viewpoint without changing the supplied grid coordinates."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Establish the forward portion of unit 1, units 7, 11 and 12, and unit 2 with fixed marker 3. Opening 5 and the approach toward unit 6 may fall within the forward coverage. The visibility lists are supersets, not proof of unobstructed sightlines; do not force markers 9, 10 or 13, or unit 4, into this north-facing view.",
          "camera_framing_directive": "Use camera unit 1 at [5, 5], looking toward unit 2 at the listed target [1, 5], with wide 90-degree coverage. Preserve the low three-quarter framing committed by S58_Shot6, showing the full seated body and the front and side of marker 3 with unit 2 extending beneath it.",
          "subject_position_directive": "S58_Shot6 places 장백산 just right of center, seated deeply in marker 3, with his full body visible and his head directed toward the off-screen subjects below rather than the lens. Preserve space for that placement; keep the other staged off-screen subjects outside the image.",
          "state_cue_directive": "For this clean background with no transient markers, no committed state cue beyond \"clean residential space\" applies to the plate; refrain from inventing additional cues. Preserve the staged daylight entering through stained glass. Treat the seated settling action as a subject-layer cue rather than a change to fixed marker 3.",
          "negative_continuity_directive": "Exclude overlay markers 14 and 15, as required by both ignore lists. Avoid relocating marker 3 or units 2, 11 and 12 to accommodate framing. Do not turn candidate visibility into guaranteed visibility or insert openings 8, 9 and 10 outside the selected cone."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_church_interior",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_church_interior"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L78B03": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L78",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L78B03.png",
        "t2i_prompt": "2069년 대한민국의 오래된 성당 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 기존 종교 건물을 통제와 심문을 위한 공간으로 사용하는 현실적인 현장 기록으로, 사람이 없는 건축 배경만 담는다. 실제 미러리스 카메라와 35밀리미터 렌즈를 사용하여 약 1.5미터 높이의 서 있는 사람 눈높이에서 촬영한다. 심문 바닥의 남서쪽 가장자리에서 북동쪽을 바라보고, 확보된 이동 통로를 따라 열린 창살문과 그 안쪽 수용 구역까지 시야가 이어진다. 화면 왼쪽에는 본당 북쪽 단상과 그 중앙에서 남쪽을 향하는 대형 왕좌를 두며, 단상 남쪽 중앙의 계단과 그 바로 앞 심문 바닥의 연결이 분명히 보이게 한다. 본당 북동쪽 수용 구역의 서쪽 경계에 있는 고정 문 개구부와 단상 접근부의 상대 위치는 배치 참조에 따른다.\n창살문의 가동 문짝은 고정 개구부 옆으로 미끄러져 물러나 통로가 열린 상태다. 강철 케이지 하나가 문 바로 바깥, 심문 바닥 옆의 확보된 이동 통로에 나와 공개되어 있다. 케이지 내부는 비워 두며, 두꺼운 강철 부재와 연결부의 실제 무게감이 드러나게 한다. 이동 동작이나 밀어내는 주체는 묘사하지 않는다. 케이지가 놓인 위치와 문에서 단상 계단 아래까지 이어지는 바닥 여유를 함께 보여 주고, 통로를 좁히거나 왕좌를 옮기지 않는다.\n대한민국의 기존 성당을 오래 사용해 온 공간답게 콘크리트와 회벽의 잔잔한 표면 요철, 바닥의 일상적인 마모와 오래된 얼룩, 창살문과 케이지의 용접 흔적 및 금속 표면의 산화를 사실적으로 보여 준다. 과도하게 새것 같은 표면이나 장식적인 미래 설비를 덧붙이지 않는다. 수용 구역 남쪽의 동쪽 외벽 창 개구부에서 낮의 자연광이 들어와 열린 문 가장자리와 케이지의 강철 면, 심문 바닥에 실제적인 명암을 만든다. 그늘에서도 재료가 식별되도록 자연스러운 노출과 심도를 유지하며, 차가운 회색 재료색은 현장의 빛에 따른 색 그대로 표현한다. 인물, 얼굴, 사람 형태의 형상은 전혀 묘사하지 않는다. 과장된 후처리 없는 실제 장소 답사 사진으로, 컴퓨터 생성 영상이나 삽화, 건축 시각화가 아니며 위에서 내려다본 구도나 평면도가 아니다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S58_Shot15",
            "guide_text": "심문 바닥 남서쪽에서 북동쪽을 향하는 약 1.5미터 눈높이의 35밀리미터 구도를 사용한다. 열린 창살문과 그 바로 밖의 빈 강철 케이지를 함께 보여 주고, 문 안쪽 수용 구역도 읽히게 한다. 왼쪽의 단상과 왕좌, 단상 계단 아래까지 연결되는 이동 동선을 프레임 안에 유지한다. 동쪽 창에서 들어오는 낮 자연광과 금속의 사실적인 질감을 유지하며, 케이지의 이동 동작이나 내부 등장 대상은 배경에 그리지 않는다."
          }
        ],
        "shot_ids": [
          "S58_Shot15"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "at the southwest edge of number 12, facing northeast along number 7 toward number 5 and into number 6, keeping numbers 2 and 3 at the left of the composition",
          "camera_height": "standing eye level, approximately 1.5 m",
          "lens_hint": "35mm moderate wide angle",
          "framing_notes": "Show the open gate and cage emerging onto the clear route. Keep the spatial connection from the gate to the foot of the dais readable; do not move the throne or narrow the passage. The cage occupant is supplied by scene staging, not the permanent plan."
        },
        "reference_decision": {
          "bg_id": "L78B03",
          "fp_id": "fp_church_interior",
          "node_index": 2,
          "mode": "same_physical_space_view",
          "is_dwelling_identity_anchor": false,
          "rationale": "S58_Shot15 shifts the structural emphasis to unit 7, opening 5 and unit 6. These connect to the same fixed structure established by L78B02, so layout continuity is required rather than a fresh room design. Camera unit 7 looking toward unit 6 provides a genuinely different slice and perspective; transient markers 14 and 15 alone do not justify reuse of the earlier unit-1-to-unit-2 plate.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L78B02.png"
          ],
          "source_bg_ids": [
            "L78B02"
          ],
          "fp_included": false,
          "reference_decision": {
            "selected_refs": [
              {
                "ref_bg_id": "L78B02",
                "physical_space_id": "fp_church_interior_space_01",
                "space_description": "Connected fixed structure spanning unit 1, unit 2 and approach units 7, 11 and 12, adjoining opening 5 and unit 6."
              }
            ],
            "rejected_refs": [
              {
                "ref_bg_id": "L78B01",
                "reason": "Same physical-space identity as L78B02; deduplicate to the earlier clean, broad representative rather than adding another reference for that space."
              }
            ],
            "same_physical_space_dedup_decision": "single_same_physical_space_representative",
            "why_single_ref_or_two_refs": "L78B02 supplies shared fixed-layout continuity for S58_Shot15. L78B01 represents the same physical space, not a distinct second co-visible reference space.",
            "physical_space_id_per_ref": [
              "fp_church_interior_space_01"
            ],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 7,
            "camera_cell": [
              3,
              5
            ],
            "look_at_unit": 6,
            "look_at_cell": [
              2,
              6
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad oblique coverage from unit 7 toward opening 5 on the approach to unit 6. This is a new structural perspective supporting the staged full-body group and middle-right transient marker 14."
          },
          "render_guidance": {
            "visible_space_directive": "Show the forward portion of unit 7, opening 5 at [2, 6], and the supported view toward unit 6. Preserve opening 5 and unit 7 in the same physical positions established by L78B02 while showing them from the new camera. Treat other listed units and openings as visibility candidates only; do not force all base markers into this view.",
            "camera_framing_directive": "Use camera unit 7 at [3, 5], looking toward unit 6 through the listed target [2, 6], with wide 90-degree coverage. Provide broad oblique space for full pushing bodies at lower left and marker 14 at middle right. Respect the staged low trailing viewpoint and slight upward tilt; the shot's parallel tracking does not authorize new planner coordinates.",
            "subject_position_directive": "S58_Shot15 places 아시아계 병사들 across the lower left with hands planted against marker 14 and different phases of advancing feet, bent knees and shoulder angles. Keep 찰리 readable within marker 14 at middle right, head angled toward 앰버 beyond the right edge. Preserve the committed off-screen gaze directions rather than turning subjects toward the lens.",
            "state_cue_directive": "Carry transient marker 14, \"Revealed steel cage\", and marker 15, \"Gate slid open\". The staging commits marker 14 being pushed with 찰리 inside and describes the surrounding interior as ruined. Preserve the staged stained-glass daylight and readable subject detail; do not invent additional damage patterns or transient objects.",
            "negative_continuity_directive": "Avoid copying L78B02's camera perspective or subject occupancy into this different view. Keep the fixed location of opening 5 unchanged when applying overlay 15, and keep overlay 14 transient rather than rebuilding unit 7 around it. Do not introduce unit 4, marker 13 or openings 8, 9 and 10 outside the selected cone."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L78B02' physical_space_id='fp_church_interior_space_01'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 7\n  - camera_cell: [3, 5]\n  - look_at_unit: 6\n  - look_at_cell: [2, 6]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad oblique coverage from unit 7 toward opening 5 on the approach to unit 6. This is a new structural perspective supporting the staged full-body group and middle-right transient marker 14.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward portion of unit 7, opening 5 at [2, 6], and the supported view toward unit 6. Preserve opening 5 and unit 7 in the same physical positions established by L78B02 while showing them from the new camera. Treat other listed units and openings as visibility candidates only; do not force all base markers into this view.\n  - camera_framing_directive: Use camera unit 7 at [3, 5], looking toward unit 6 through the listed target [2, 6], with wide 90-degree coverage. Provide broad oblique space for full pushing bodies at lower left and marker 14 at middle right. Respect the staged low trailing viewpoint and slight upward tilt; the shot's parallel tracking does not authorize new planner coordinates.\n  - subject_position_directive: S58_Shot15 places 아시아계 병사들 across the lower left with hands planted against marker 14 and different phases of advancing feet, bent knees and shoulder angles. Keep 찰리 readable within marker 14 at middle right, head angled toward 앰버 beyond the right edge. Preserve the committed off-screen gaze directions rather than turning subjects toward the lens.\n  - state_cue_directive: Carry transient marker 14, \"Revealed steel cage\", and marker 15, \"Gate slid open\". The staging commits marker 14 being pushed with 찰리 inside and describes the surrounding interior as ruined. Preserve the staged stained-glass daylight and readable subject detail; do not invent additional damage patterns or transient objects.\n  - negative_continuity_directive: Avoid copying L78B02's camera perspective or subject occupancy into this different view. Keep the fixed location of opening 5 unchanged when applying overlay 15, and keep overlay 14 transient rather than rebuilding unit 7 around it. Do not introduce unit 4, marker 13 or openings 8, 9 and 10 outside the selected cone.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L78B02' physical_space_id='fp_church_interior_space_01'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 7\n  - camera_cell: [3, 5]\n  - look_at_unit: 6\n  - look_at_cell: [2, 6]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad oblique coverage from unit 7 toward opening 5 on the approach to unit 6. This is a new structural perspective supporting the staged full-body group and middle-right transient marker 14.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward portion of unit 7, opening 5 at [2, 6], and the supported view toward unit 6. Preserve opening 5 and unit 7 in the same physical positions established by L78B02 while showing them from the new camera. Treat other listed units and openings as visibility candidates only; do not force all base markers into this view.\n  - camera_framing_directive: Use camera unit 7 at [3, 5], looking toward unit 6 through the listed target [2, 6], with wide 90-degree coverage. Provide broad oblique space for full pushing bodies at lower left and marker 14 at middle right. Respect the staged low trailing viewpoint and slight upward tilt; the shot's parallel tracking does not authorize new planner coordinates.\n  - subject_position_directive: S58_Shot15 places 아시아계 병사들 across the lower left with hands planted against marker 14 and different phases of advancing feet, bent knees and shoulder angles. Keep 찰리 readable within marker 14 at middle right, head angled toward 앰버 beyond the right edge. Preserve the committed off-screen gaze directions rather than turning subjects toward the lens.\n  - state_cue_directive: Carry transient marker 14, \"Revealed steel cage\", and marker 15, \"Gate slid open\". The staging commits marker 14 being pushed with 찰리 inside and describes the surrounding interior as ruined. Preserve the staged stained-glass daylight and readable subject detail; do not invent additional damage patterns or transient objects.\n  - negative_continuity_directive: Avoid copying L78B02's camera perspective or subject occupancy into this different view. Keep the fixed location of opening 5 unchanged when applying overlay 15, and keep overlay 14 transient rather than rebuilding unit 7 around it. Do not introduce unit 4, marker 13 or openings 8, 9 and 10 outside the selected cone.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L78B02' physical_space_id='fp_church_interior_space_01'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 7\n  - camera_cell: [3, 5]\n  - look_at_unit: 6\n  - look_at_cell: [2, 6]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad oblique coverage from unit 7 toward opening 5 on the approach to unit 6. This is a new structural perspective supporting the staged full-body group and middle-right transient marker 14.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward portion of unit 7, opening 5 at [2, 6], and the supported view toward unit 6. Preserve opening 5 and unit 7 in the same physical positions established by L78B02 while showing them from the new camera. Treat other listed units and openings as visibility candidates only; do not force all base markers into this view.\n  - camera_framing_directive: Use camera unit 7 at [3, 5], looking toward unit 6 through the listed target [2, 6], with wide 90-degree coverage. Provide broad oblique space for full pushing bodies at lower left and marker 14 at middle right. Respect the staged low trailing viewpoint and slight upward tilt; the shot's parallel tracking does not authorize new planner coordinates.\n  - subject_position_directive: S58_Shot15 places 아시아계 병사들 across the lower left with hands planted against marker 14 and different phases of advancing feet, bent knees and shoulder angles. Keep 찰리 readable within marker 14 at middle right, head angled toward 앰버 beyond the right edge. Preserve the committed off-screen gaze directions rather than turning subjects toward the lens.\n  - state_cue_directive: Carry transient marker 14, \"Revealed steel cage\", and marker 15, \"Gate slid open\". The staging commits marker 14 being pushed with 찰리 inside and describes the surrounding interior as ruined. Preserve the staged stained-glass daylight and readable subject detail; do not invent additional damage patterns or transient objects.\n  - negative_continuity_directive: Avoid copying L78B02's camera perspective or subject occupancy into this different view. Keep the fixed location of opening 5 unchanged when applying overlay 15, and keep overlay 14 transient rather than rebuilding unit 7 around it. Do not introduce unit 4, marker 13 or openings 8, 9 and 10 outside the selected cone.\n\n2069년 대한민국의 오래된 성당 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 기존 종교 건물을 통제와 심문을 위한 공간으로 사용하는 현실적인 현장 기록으로, 사람이 없는 건축 배경만 담는다. 실제 미러리스 카메라와 35밀리미터 렌즈를 사용하여 약 1.5미터 높이의 서 있는 사람 눈높이에서 촬영한다. 심문 바닥의 남서쪽 가장자리에서 북동쪽을 바라보고, 확보된 이동 통로를 따라 열린 창살문과 그 안쪽 수용 구역까지 시야가 이어진다. 화면 왼쪽에는 본당 북쪽 단상과 그 중앙에서 남쪽을 향하는 대형 왕좌를 두며, 단상 남쪽 중앙의 계단과 그 바로 앞 심문 바닥의 연결이 분명히 보이게 한다. 본당 북동쪽 수용 구역의 서쪽 경계에 있는 고정 문 개구부와 단상 접근부의 상대 위치는 배치 참조에 따른다.\n창살문의 가동 문짝은 고정 개구부 옆으로 미끄러져 물러나 통로가 열린 상태다. 강철 케이지 하나가 문 바로 바깥, 심문 바닥 옆의 확보된 이동 통로에 나와 공개되어 있다. 케이지 내부는 비워 두며, 두꺼운 강철 부재와 연결부의 실제 무게감이 드러나게 한다. 이동 동작이나 밀어내는 주체는 묘사하지 않는다. 케이지가 놓인 위치와 문에서 단상 계단 아래까지 이어지는 바닥 여유를 함께 보여 주고, 통로를 좁히거나 왕좌를 옮기지 않는다.\n대한민국의 기존 성당을 오래 사용해 온 공간답게 콘크리트와 회벽의 잔잔한 표면 요철, 바닥의 일상적인 마모와 오래된 얼룩, 창살문과 케이지의 용접 흔적 및 금속 표면의 산화를 사실적으로 보여 준다. 과도하게 새것 같은 표면이나 장식적인 미래 설비를 덧붙이지 않는다. 수용 구역 남쪽의 동쪽 외벽 창 개구부에서 낮의 자연광이 들어와 열린 문 가장자리와 케이지의 강철 면, 심문 바닥에 실제적인 명암을 만든다. 그늘에서도 재료가 식별되도록 자연스러운 노출과 심도를 유지하며, 차가운 회색 재료색은 현장의 빛에 따른 색 그대로 표현한다. 인물, 얼굴, 사람 형태의 형상은 전혀 묘사하지 않는다. 과장된 후처리 없는 실제 장소 답사 사진으로, 컴퓨터 생성 영상이나 삽화, 건축 시각화가 아니며 위에서 내려다본 구도나 평면도가 아니다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 7,
          "camera_cell": [
            3,
            5
          ],
          "look_at_unit": 6,
          "look_at_cell": [
            2,
            6
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad oblique coverage from unit 7 toward opening 5 on the approach to unit 6. This is a new structural perspective supporting the staged full-body group and middle-right transient marker 14."
        },
        "shot_aware_plan_node_index": 2,
        "shot_aware_plan_mode": "same_physical_space_view",
        "render_guidance": {
          "visible_space_directive": "Show the forward portion of unit 7, opening 5 at [2, 6], and the supported view toward unit 6. Preserve opening 5 and unit 7 in the same physical positions established by L78B02 while showing them from the new camera. Treat other listed units and openings as visibility candidates only; do not force all base markers into this view.",
          "camera_framing_directive": "Use camera unit 7 at [3, 5], looking toward unit 6 through the listed target [2, 6], with wide 90-degree coverage. Provide broad oblique space for full pushing bodies at lower left and marker 14 at middle right. Respect the staged low trailing viewpoint and slight upward tilt; the shot's parallel tracking does not authorize new planner coordinates.",
          "subject_position_directive": "S58_Shot15 places 아시아계 병사들 across the lower left with hands planted against marker 14 and different phases of advancing feet, bent knees and shoulder angles. Keep 찰리 readable within marker 14 at middle right, head angled toward 앰버 beyond the right edge. Preserve the committed off-screen gaze directions rather than turning subjects toward the lens.",
          "state_cue_directive": "Carry transient marker 14, \"Revealed steel cage\", and marker 15, \"Gate slid open\". The staging commits marker 14 being pushed with 찰리 inside and describes the surrounding interior as ruined. Preserve the staged stained-glass daylight and readable subject detail; do not invent additional damage patterns or transient objects.",
          "negative_continuity_directive": "Avoid copying L78B02's camera perspective or subject occupancy into this different view. Keep the fixed location of opening 5 unchanged when applying overlay 15, and keep overlay 14 transient rather than rebuilding unit 7 around it. Do not introduce unit 4, marker 13 or openings 8, 9 and 10 outside the selected cone."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_church_interior",
          "prior_bg_ids": [
            "L78B02"
          ],
          "attached_ref_labels": [
            "bg:L78B02"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L78B01": {
        "status": "ok",
        "is_reuse": true,
        "render_action": "reuse_existing_plate",
        "reuse_target_bg_id": "L78B02",
        "reused_from_bg_id": "L78B02",
        "location_id": "L78",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L78B02.png",
        "t2i_prompt": "2069년 대한민국에서 기존 성당 건물을 계속 사용하는 실내를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 낮의 장소 기록 사진으로, 오래된 성당의 높은 내부 공간과 묵직한 건축 재료를 현실적으로 보여준다. 미래라는 이유로 새로운 장비나 장식을 추가하지 않는다.\n단상 바로 남쪽의 넓은 바닥 구역 남동쪽 가장자리에 카메라를 놓고, 약 1.5미터의 서 있는 눈높이에서 북서쪽을 바라본다. 35밀리미터 규격의 전면형 감지기를 갖춘 실제 미러리스 카메라와 50밀리미터 표준 렌즈의 자연스러운 원근감으로 촬영한다. 전경에는 비어 있는 바닥을 충분히 확보한다. 서쪽 상층 회랑과 그 동쪽 안쪽 가장자리의 난간이 화면 왼편 위쪽에 보이고, 그 너머 북쪽에는 단상과 단상 중앙의 커다란 왕좌가 보인다. 왕좌는 남쪽 본당을 향한다. 단상 남쪽 중앙의 접근 계단과 그 앞 바닥의 높이 차이를 읽을 수 있게 담는다. 본당에서 계단과 단상으로 이어지는 깊이, 상층 회랑이 중앙 바닥을 내려다보는 높이 관계를 유지한다.\n화면 밖에서 들어오는 낮의 자연광이 실내로 부드럽게 퍼지고, 회랑 아래에는 실제 건물에서 생기는 자연스러운 그늘이 남는다. 콘크리트의 미세한 요철, 난간 금속의 오래된 표면 광택, 왕좌 목재의 나뭇결과 일상적인 사용감을 가까이서도 실제 재료처럼 표현한다. 공간은 정돈되어 있고 흐트러짐 없이 유지되어 있다. 과장된 명암이나 색 보정 없이 실제 낮의 밝기와 재료 본래의 색을 기록하며, 전경 바닥부터 단상까지 구조를 알아볼 수 있는 자연스러운 피사계 심도를 사용한다. 사람, 얼굴, 사람 형태의 조형물은 묘사하지 않는다. 매끈한 광고 사진이 아닌 실제 현장 기록이며, 합성 영상이나 삽화, 건축 시각화가 아니다. 위에서 내려다보는 구도나 평면도 표현이 아닌 수평에 가까운 눈높이 사진. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S58_Shot27",
            "guide_text": "전경의 단상 앞 바닥을 후속 합성에 사용할 수 있도록 넉넉히 비워 둔다. 약 1.5미터 높이의 표준 렌즈 시점에서 왼쪽 위의 회랑 난간과 뒤쪽 단상·왕좌가 함께 읽히게 구성한다. 중앙 계단을 통해 바닥과 단상의 높이 차이를 보여주고, 배경에는 인물이나 동작 요소를 포함하지 않는다. 낮의 자연광과 정돈된 공간 상태를 유지한다."
          }
        ],
        "shot_ids": [
          "S58_Shot27"
        ],
        "scenes": [],
        "parent_id": "L78B02",
        "ref_used": "reused_plate",
        "render_attempts": 0,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "at the southeast edge of number 12, facing northwest across the interrogation floor toward numbers 4 and 13, with numbers 2 and 3 beyond",
          "camera_height": "standing eye level, approximately 1.5 m",
          "lens_hint": "50mm normal lens",
          "framing_notes": "Reserve the foreground for the restrained soldier and arrow-impact action, supplied separately from the environment. Maintain the established dais and upper-gallery relationship. The gate has not yet closed and the revealed cage remains outside the gate, but both lie outside this framing. Add no accumulated bloodstains, new wall damage, or large-scale destruction."
        },
        "reference_decision": {
          "mode": "reference_derived",
          "render_action": "reuse_existing_plate",
          "reuse_target_bg_id": "L78B02",
          "selected_refs": [
            {
              "ref_bg_id": "L78B02",
              "physical_space_id": "fp_church_interior_space_01",
              "space_description": "Connected fixed structure spanning unit 1, unit 2 and approach units 7, 11 and 12."
            }
          ]
        },
        "shot_aware_plan_node_index": 1,
        "shot_aware_plan_mode": "reference_derived",
        "render_guidance": {
          "visible_space_directive": "Retain L78B02's forward unit 1 to unit 2 structure through units 7, 11 and 12 wherever exposed around the subjects. Keep marker 3 and the boundaries of units 2, 11 and 12 in their established positions. Unit 4 and marker 13 are continuity inventory, not a requirement to pull them into this view.",
          "camera_framing_directive": "Keep camera unit 1 at [5, 5], look-at unit 2 at [1, 5], and wide 90-degree background coverage exactly as in L78B02. Accommodate S58_Shot27's close foreground composition with a narrow, defocused background margin; preserve the staged slight downward subject framing without inventing a different grid position.",
          "subject_position_directive": "S58_Shot27 places 아시아계 병사's chest at lower center with 이현우's restraining arms around its margins and 이현우's tense face partly visible at upper left. The collapsing subject's face angles away while the restraining subject looks down. Preserve those committed relative positions without adding subjects elsewhere.",
          "state_cue_directive": "For this clean background with no transient markers, no committed state cue beyond \"clean residential space\" applies to the plate; refrain from inventing additional cues. Maintain the staged stained-glass daylight and restrained contrast. Keep the impact and collapse in the subject layer, with no new flash or light source.",
          "negative_continuity_directive": "Do not carry L78B02's subject occupancy into this node. Avoid displacement of marker 3 or units 2, 11 and 12, and avoid inserting unit 4 or marker 13 outside the selected cone. No explicit ignore markers are listed for this BG; that does not authorize importing overlays 14 and 15."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_church_interior",
          "prior_bg_ids": [
            "L78B02"
          ],
          "attached_ref_labels": [
            "bg:L78B02"
          ],
          "ref_used": "reused_plate",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L79B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L79",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L79B01.png",
        "t2i_prompt": "2069년 대한민국의 자원 부족 환경에 남아 있는 낡은 지하감옥을 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 감방의 실제 장소 기록 사진으로, 미래라는 이유로 첨단 설비를 덧붙이지 않는다. 낮이지만 지하 내부는 어둡고, 복도 쪽에서 간접적으로 도달하는 희미한 자연광이 바닥과 뒤쪽 벽의 질감을 가까스로 드러낸다. 밝은 부분과 그늘의 차이는 실제 저조도 공간처럼 자연스럽게 유지한다.\n카메라는 감방 남쪽 쇠창살 바로 바깥의 좁은 복도에 두고, 약 1.4미터 높이의 낮은 선 자세 눈높이에서 북쪽을 바라본다. 35밀리미터 풀프레임 미러리스 카메라의 28밀리미터 광각 렌즈로 촬영하되 과도한 원근 왜곡은 피한다. 쇠창살 사이의 열린 시야로 직사각형 감방 내부를 담아, 왼쪽 뒤에는 건초 보관 구석이, 오른쪽 뒤에는 벽에 붙은 빈 바닥 휴식 공간이 보이게 한다. 남쪽 경계의 쇠창살과 양옆의 막힌 벽이 공간을 구획하며, 복도 방향으로 열리는 구조의 쇠창살 출입문은 화면 오른쪽 가장자리에 놓인다. 출입문에서 오른쪽 뒤 바닥 공간으로 이어지는 중앙 통로는 비어 있다.\n왼쪽 뒤 북서쪽 모서리의 벽 아래에는 낱줄기가 느슨하게 얽힌 건초 더미가 놓여 있다. 그 구석 바로 남쪽인 왼쪽 바닥에는 얕게 고인 물이 있어 희미한 주변광을 불규칙하게 반사한다. 고인 물은 건초 가까이에 머물며 중앙 이동 통로를 침범하지 않는다. 건초와 고인 물의 위치와 범위는 그대로 유지된 상태다.\n거친 실제 콘크리트 벽과 바닥의 미세한 요철, 오래된 생활 얼룩과 마모, 쇠창살의 산화된 금속 표면, 건초 줄기의 섬유질을 사실적으로 보여준다. 가까운 쇠창살과 내부 사이에는 자연스러운 심도 차이가 있지만 뒤쪽 두 구석의 공간 관계는 읽을 수 있다. 사람, 얼굴, 인체 형태의 형상은 전혀 없는 배경만 촬영한다. 과도하게 정돈된 광고 사진이 아니라 후처리 없이 기록한 현장 사진이며, 삽화나 컴퓨터 합성 이미지 또는 건축 시각화가 아니다. 위에서 내려다보는 시점이나 평면도 구도가 아닌 수평에 가까운 눈높이 사진. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S59_Shot8",
            "guide_text": "복도에서 쇠창살 틈 너머로 감방 전체의 공간 관계가 읽히는 배경을 사용한다. 왼쪽 뒤 건초 더미, 그 앞 서측 바닥의 고인 물, 오른쪽 뒤 빈 바닥 공간과 화면 오른쪽 가장자리의 출입문 위치를 유지한다. 인물이나 행동 요소는 배경에 포함하지 않는다."
          },
          {
            "shot_id": "S59_Shot24",
            "guide_text": "같은 배경의 어두운 낮 조명과 콘크리트·쇠창살 질감을 유지한다. 화면을 좁혀 사용하더라도 건초 더미와 고인 물을 옮기거나 늘리지 않으며, 출입문에서 오른쪽 뒤 바닥 공간으로 이어지는 통로는 비워 둔다."
          },
          {
            "shot_id": "S59_Shot48",
            "guide_text": "앞선 장면과 동일한 감방 상태를 유지한다. 쇠창살, 출입문, 두 뒤쪽 구석의 위치 관계와 건초·고인 물의 범위를 바꾸지 않는다. 외부 상황을 이유로 조명 변화나 새로운 물체, 가시적인 효과를 추가하지 않고 빈 공간만 제공한다."
          }
        ],
        "shot_ids": [
          "S59_Shot8",
          "S59_Shot24",
          "S59_Shot48"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Just south of number 2 in number 4, looking north through a clear gap between bars toward number 5 on the left and number 6 on the right, with number 3 at the right edge.",
          "camera_height": "Low standing eye level, approximately 1.4 m",
          "lens_hint": "28mm wide angle",
          "framing_notes": "Use the same establishing composition across all referenced shots. Include number 2 as sparse foreground framing, number 3 at the right margin, and a narrow foreground portion of number 4. Keep the central floor, number 5 with overlay number 7, west-side overlay number 8, and number 6 readable together. Preserve the dark daytime underground setting in the downstream background, without changing the hay or water placement. Character treatment, exposed injuries, and reactions to offscreen drums are not background-state additions."
        },
        "reference_decision": {
          "bg_id": "L79B01",
          "fp_id": "fp_prison_cell",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L79B01 is the sole supplied anchor candidate and the sole readiness-ok BG. Render it fresh without references, honoring the explicitly widened anchor set despite clean_background_expected=false. Camera unit 1 faces the opening-3 edge of unit 4, with wide coverage retaining unit 2 for the outward-looking context in S59_Shot48. S59_Shot8 and S59_Shot24 consume close peripheral background portions rather than requiring all target markers simultaneously.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/floor_plan/fp_prison_cell.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The catalog is empty and this is the first and only node; the supplied anchor candidate must establish identity directly from the base plan.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 1,
            "camera_cell": [
              4,
              5
            ],
            "look_at_unit": 4,
            "look_at_cell": [
              8,
              8
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad base coverage from unit 1 toward opening marker 3 at the edge of unit 4. Both coordinates are copied from the camera-unit-1 candidate arrays. The exact look-at candidate takes precedence over the differing direction-record endpoint for unit 4. Consuming close shots use restricted portions of this background; visibility supersets do not establish visibility of every target unit."
          },
          "render_guidance": {
            "visible_space_directive": "Show the forward portion of unit 1 toward boundary unit 2 and opening marker 3, with only the portion of unit 4 exposed through that boundary or opening. Preserve marker 3 at the southeast portion of the boundary and its outward opening relationship to unit 4. Units 5 and 6 remain fixed in their base-plan positions behind this chosen viewing direction and need not appear.",
            "camera_framing_directive": "Use camera unit 1 at [4, 5], looking toward the opening-3 edge of unit 4 at [8, 8], with a wide lens and 90-degree FOV for broad background coverage. Preserve enough boundary context for the narrow right-edge background required by S59_Shot48. The close framing of S59_Shot8 and S59_Shot24 should consume limited background margins, not force distant target markers into their crops.",
            "subject_position_directive": "Treat the committed subjects as shot-specific composition cues, not simultaneous occupants to bake into the background. S59_Shot8 places the assisting fingertips in the lower-left foreground and the receiving face immediately beyond at right, with the held detail below the nose. S59_Shot24 centers the exposed abdomen, retaining fingers and the raised hem at the upper edge while the face stays outside the crop. S59_Shot48 places the reacting face across the left half with an outward eyeline toward the right-edge boundary. Staging supplies no exact subject grid cells; invent none.",
            "state_cue_directive": "clean_background_expected=false; retain the committed overlay identities 7, Loose hay pile, and 8, Pooled floor water, only where their established placement intersects the visible frame. Their grid positions are not supplied, so do not invent foreground placement to force their visibility. Keep neutral ambient illumination consistent across the consuming shots, without an unsupported source or color. The held wet detail in S59_Shot8 is a shot-specific cue, not a new permanent fixture.",
            "negative_continuity_directive": "The ignore_numbered_elements and ignored_state_overlay_marker_numbers lists are empty. Avoid relocating base markers 1–6 to make them simultaneously visible, treating visibility supersets as guaranteed coverage, or placing units 5 and 6 inside this forward view. Avoid converting overlays 7 and 8 into fixed structure or transferring one consuming shot's subject-specific state into another. Preserve opening marker 3 and boundary unit 2 in their base-plan relationship."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [4, 5]\n  - look_at_unit: 4\n  - look_at_cell: [8, 8]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad base coverage from unit 1 toward opening marker 3 at the edge of unit 4. Both coordinates are copied from the camera-unit-1 candidate arrays. The exact look-at candidate takes precedence over the differing direction-record endpoint for unit 4. Consuming close shots use restricted portions of this background; visibility supersets do not establish visibility of every target unit.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward portion of unit 1 toward boundary unit 2 and opening marker 3, with only the portion of unit 4 exposed through that boundary or opening. Preserve marker 3 at the southeast portion of the boundary and its outward opening relationship to unit 4. Units 5 and 6 remain fixed in their base-plan positions behind this chosen viewing direction and need not appear.\n  - camera_framing_directive: Use camera unit 1 at [4, 5], looking toward the opening-3 edge of unit 4 at [8, 8], with a wide lens and 90-degree FOV for broad background coverage. Preserve enough boundary context for the narrow right-edge background required by S59_Shot48. The close framing of S59_Shot8 and S59_Shot24 should consume limited background margins, not force distant target markers into their crops.\n  - subject_position_directive: Treat the committed subjects as shot-specific composition cues, not simultaneous occupants to bake into the background. S59_Shot8 places the assisting fingertips in the lower-left foreground and the receiving face immediately beyond at right, with the held detail below the nose. S59_Shot24 centers the exposed abdomen, retaining fingers and the raised hem at the upper edge while the face stays outside the crop. S59_Shot48 places the reacting face across the left half with an outward eyeline toward the right-edge boundary. Staging supplies no exact subject grid cells; invent none.\n  - state_cue_directive: clean_background_expected=false; retain the committed overlay identities 7, Loose hay pile, and 8, Pooled floor water, only where their established placement intersects the visible frame. Their grid positions are not supplied, so do not invent foreground placement to force their visibility. Keep neutral ambient illumination consistent across the consuming shots, without an unsupported source or color. The held wet detail in S59_Shot8 is a shot-specific cue, not a new permanent fixture.\n  - negative_continuity_directive: The ignore_numbered_elements and ignored_state_overlay_marker_numbers lists are empty. Avoid relocating base markers 1–6 to make them simultaneously visible, treating visibility supersets as guaranteed coverage, or placing units 5 and 6 inside this forward view. Avoid converting overlays 7 and 8 into fixed structure or transferring one consuming shot's subject-specific state into another. Preserve opening marker 3 and boundary unit 2 in their base-plan relationship.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [4, 5]\n  - look_at_unit: 4\n  - look_at_cell: [8, 8]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad base coverage from unit 1 toward opening marker 3 at the edge of unit 4. Both coordinates are copied from the camera-unit-1 candidate arrays. The exact look-at candidate takes precedence over the differing direction-record endpoint for unit 4. Consuming close shots use restricted portions of this background; visibility supersets do not establish visibility of every target unit.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward portion of unit 1 toward boundary unit 2 and opening marker 3, with only the portion of unit 4 exposed through that boundary or opening. Preserve marker 3 at the southeast portion of the boundary and its outward opening relationship to unit 4. Units 5 and 6 remain fixed in their base-plan positions behind this chosen viewing direction and need not appear.\n  - camera_framing_directive: Use camera unit 1 at [4, 5], looking toward the opening-3 edge of unit 4 at [8, 8], with a wide lens and 90-degree FOV for broad background coverage. Preserve enough boundary context for the narrow right-edge background required by S59_Shot48. The close framing of S59_Shot8 and S59_Shot24 should consume limited background margins, not force distant target markers into their crops.\n  - subject_position_directive: Treat the committed subjects as shot-specific composition cues, not simultaneous occupants to bake into the background. S59_Shot8 places the assisting fingertips in the lower-left foreground and the receiving face immediately beyond at right, with the held detail below the nose. S59_Shot24 centers the exposed abdomen, retaining fingers and the raised hem at the upper edge while the face stays outside the crop. S59_Shot48 places the reacting face across the left half with an outward eyeline toward the right-edge boundary. Staging supplies no exact subject grid cells; invent none.\n  - state_cue_directive: clean_background_expected=false; retain the committed overlay identities 7, Loose hay pile, and 8, Pooled floor water, only where their established placement intersects the visible frame. Their grid positions are not supplied, so do not invent foreground placement to force their visibility. Keep neutral ambient illumination consistent across the consuming shots, without an unsupported source or color. The held wet detail in S59_Shot8 is a shot-specific cue, not a new permanent fixture.\n  - negative_continuity_directive: The ignore_numbered_elements and ignored_state_overlay_marker_numbers lists are empty. Avoid relocating base markers 1–6 to make them simultaneously visible, treating visibility supersets as guaranteed coverage, or placing units 5 and 6 inside this forward view. Avoid converting overlays 7 and 8 into fixed structure or transferring one consuming shot's subject-specific state into another. Preserve opening marker 3 and boundary unit 2 in their base-plan relationship.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [4, 5]\n  - look_at_unit: 4\n  - look_at_cell: [8, 8]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad base coverage from unit 1 toward opening marker 3 at the edge of unit 4. Both coordinates are copied from the camera-unit-1 candidate arrays. The exact look-at candidate takes precedence over the differing direction-record endpoint for unit 4. Consuming close shots use restricted portions of this background; visibility supersets do not establish visibility of every target unit.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward portion of unit 1 toward boundary unit 2 and opening marker 3, with only the portion of unit 4 exposed through that boundary or opening. Preserve marker 3 at the southeast portion of the boundary and its outward opening relationship to unit 4. Units 5 and 6 remain fixed in their base-plan positions behind this chosen viewing direction and need not appear.\n  - camera_framing_directive: Use camera unit 1 at [4, 5], looking toward the opening-3 edge of unit 4 at [8, 8], with a wide lens and 90-degree FOV for broad background coverage. Preserve enough boundary context for the narrow right-edge background required by S59_Shot48. The close framing of S59_Shot8 and S59_Shot24 should consume limited background margins, not force distant target markers into their crops.\n  - subject_position_directive: Treat the committed subjects as shot-specific composition cues, not simultaneous occupants to bake into the background. S59_Shot8 places the assisting fingertips in the lower-left foreground and the receiving face immediately beyond at right, with the held detail below the nose. S59_Shot24 centers the exposed abdomen, retaining fingers and the raised hem at the upper edge while the face stays outside the crop. S59_Shot48 places the reacting face across the left half with an outward eyeline toward the right-edge boundary. Staging supplies no exact subject grid cells; invent none.\n  - state_cue_directive: clean_background_expected=false; retain the committed overlay identities 7, Loose hay pile, and 8, Pooled floor water, only where their established placement intersects the visible frame. Their grid positions are not supplied, so do not invent foreground placement to force their visibility. Keep neutral ambient illumination consistent across the consuming shots, without an unsupported source or color. The held wet detail in S59_Shot8 is a shot-specific cue, not a new permanent fixture.\n  - negative_continuity_directive: The ignore_numbered_elements and ignored_state_overlay_marker_numbers lists are empty. Avoid relocating base markers 1–6 to make them simultaneously visible, treating visibility supersets as guaranteed coverage, or placing units 5 and 6 inside this forward view. Avoid converting overlays 7 and 8 into fixed structure or transferring one consuming shot's subject-specific state into another. Preserve opening marker 3 and boundary unit 2 in their base-plan relationship.\n\n2069년 대한민국의 자원 부족 환경에 남아 있는 낡은 지하감옥을 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 감방의 실제 장소 기록 사진으로, 미래라는 이유로 첨단 설비를 덧붙이지 않는다. 낮이지만 지하 내부는 어둡고, 복도 쪽에서 간접적으로 도달하는 희미한 자연광이 바닥과 뒤쪽 벽의 질감을 가까스로 드러낸다. 밝은 부분과 그늘의 차이는 실제 저조도 공간처럼 자연스럽게 유지한다.\n카메라는 감방 남쪽 쇠창살 바로 바깥의 좁은 복도에 두고, 약 1.4미터 높이의 낮은 선 자세 눈높이에서 북쪽을 바라본다. 35밀리미터 풀프레임 미러리스 카메라의 28밀리미터 광각 렌즈로 촬영하되 과도한 원근 왜곡은 피한다. 쇠창살 사이의 열린 시야로 직사각형 감방 내부를 담아, 왼쪽 뒤에는 건초 보관 구석이, 오른쪽 뒤에는 벽에 붙은 빈 바닥 휴식 공간이 보이게 한다. 남쪽 경계의 쇠창살과 양옆의 막힌 벽이 공간을 구획하며, 복도 방향으로 열리는 구조의 쇠창살 출입문은 화면 오른쪽 가장자리에 놓인다. 출입문에서 오른쪽 뒤 바닥 공간으로 이어지는 중앙 통로는 비어 있다.\n왼쪽 뒤 북서쪽 모서리의 벽 아래에는 낱줄기가 느슨하게 얽힌 건초 더미가 놓여 있다. 그 구석 바로 남쪽인 왼쪽 바닥에는 얕게 고인 물이 있어 희미한 주변광을 불규칙하게 반사한다. 고인 물은 건초 가까이에 머물며 중앙 이동 통로를 침범하지 않는다. 건초와 고인 물의 위치와 범위는 그대로 유지된 상태다.\n거친 실제 콘크리트 벽과 바닥의 미세한 요철, 오래된 생활 얼룩과 마모, 쇠창살의 산화된 금속 표면, 건초 줄기의 섬유질을 사실적으로 보여준다. 가까운 쇠창살과 내부 사이에는 자연스러운 심도 차이가 있지만 뒤쪽 두 구석의 공간 관계는 읽을 수 있다. 사람, 얼굴, 인체 형태의 형상은 전혀 없는 배경만 촬영한다. 과도하게 정돈된 광고 사진이 아니라 후처리 없이 기록한 현장 사진이며, 삽화나 컴퓨터 합성 이미지 또는 건축 시각화가 아니다. 위에서 내려다보는 시점이나 평면도 구도가 아닌 수평에 가까운 눈높이 사진. 16:9 가로 비율, 실제 카메라 촬영본",
        "camera_decision": {
          "camera_unit": 1,
          "camera_cell": [
            4,
            5
          ],
          "look_at_unit": 4,
          "look_at_cell": [
            8,
            8
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad base coverage from unit 1 toward opening marker 3 at the edge of unit 4. Both coordinates are copied from the camera-unit-1 candidate arrays. The exact look-at candidate takes precedence over the differing direction-record endpoint for unit 4. Consuming close shots use restricted portions of this background; visibility supersets do not establish visibility of every target unit."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Show the forward portion of unit 1 toward boundary unit 2 and opening marker 3, with only the portion of unit 4 exposed through that boundary or opening. Preserve marker 3 at the southeast portion of the boundary and its outward opening relationship to unit 4. Units 5 and 6 remain fixed in their base-plan positions behind this chosen viewing direction and need not appear.",
          "camera_framing_directive": "Use camera unit 1 at [4, 5], looking toward the opening-3 edge of unit 4 at [8, 8], with a wide lens and 90-degree FOV for broad background coverage. Preserve enough boundary context for the narrow right-edge background required by S59_Shot48. The close framing of S59_Shot8 and S59_Shot24 should consume limited background margins, not force distant target markers into their crops.",
          "subject_position_directive": "Treat the committed subjects as shot-specific composition cues, not simultaneous occupants to bake into the background. S59_Shot8 places the assisting fingertips in the lower-left foreground and the receiving face immediately beyond at right, with the held detail below the nose. S59_Shot24 centers the exposed abdomen, retaining fingers and the raised hem at the upper edge while the face stays outside the crop. S59_Shot48 places the reacting face across the left half with an outward eyeline toward the right-edge boundary. Staging supplies no exact subject grid cells; invent none.",
          "state_cue_directive": "clean_background_expected=false; retain the committed overlay identities 7, Loose hay pile, and 8, Pooled floor water, only where their established placement intersects the visible frame. Their grid positions are not supplied, so do not invent foreground placement to force their visibility. Keep neutral ambient illumination consistent across the consuming shots, without an unsupported source or color. The held wet detail in S59_Shot8 is a shot-specific cue, not a new permanent fixture.",
          "negative_continuity_directive": "The ignore_numbered_elements and ignored_state_overlay_marker_numbers lists are empty. Avoid relocating base markers 1–6 to make them simultaneously visible, treating visibility supersets as guaranteed coverage, or placing units 5 and 6 inside this forward view. Avoid converting overlays 7 and 8 into fixed structure or transferring one consuming shot's subject-specific state into another. Preserve opening marker 3 and boundary unit 2 in their base-plan relationship."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_prison_cell",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_prison_cell"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L87B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L87",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L87B01.png",
        "t2i_prompt": "2069년 대한민국의 자원 부족 마을에 마련된 야외 격투장을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실제 장소 기록 사진과 구별되지 않는 사실적인 배경으로, 사람이나 얼굴, 인체 형태의 형상은 전혀 없다. 재사용한 목재와 철재, 오래된 콘크리트로 구성된 소박한 시설에 현실적인 목재 결, 금속의 산화와 접합부, 콘크리트의 거친 표면과 오래된 생활 얼룩이 보인다. 미래라는 이유로 새 첨단 설비를 추가하지 않는다.\n\n남쪽 출입구를 막 지난 안쪽에서 남동쪽 횃불 거치대 방향으로 조금 치우친 위치에 카메라를 둔다. 높이는 지면에서 약 1.6미터인 서 있는 사람의 눈높이이며, 35밀리미터 규격의 전면형 감지기를 갖춘 미러리스 카메라와 28밀리미터 광각 렌즈로 북북서쪽을 바라본다. 중앙의 넓은 직사각형 격투장 바닥을 전경과 중경에 두고, 서쪽 관중석과 북쪽 단상을 주요 배경으로 잡는다. 동쪽 관중석은 오른쪽 가장자리에서 공간의 폭을 설명한다. 두 관중석은 중앙을 향해 마주 보고, 북쪽 단상 뒤편 중앙에는 남향 좌석이 있으며 단상 앞 중앙에는 접근 계단이 있다. 격투장 남서쪽의 승강 개구부와 그 안에 들어앉은 철제 우리는 중앙 공간과 떨어져 있다. 우리의 출입문은 북쪽의 중앙 격투 공간을 향한다. 관중석 남쪽에 있는 동서 출입 틈과 남쪽 중앙 출입구, 관중석과 단상 뒤로 이어지는 외곽 통로의 연결 관계를 참조 배치에 맞게 유지한다. 격투장 경계의 네 모서리에 횃불 거치대가 있고, 남서쪽 거치대는 우리의 승강 공간을 침범하지 않는다. 모든 시설을 한눈에 보여주기 위해 시점을 높이지 않으며, 가까운 것과 먼 것의 자연스러운 겹침을 허용한다.\n\n관중석 사이에서 발생한 짙은 회갈색 연기와 흙먼지가 중앙 격투장으로 번져 넓게 덮고 있다. 특정 지점을 발생 중심으로 강조하지 않고, 관중석 쪽에서 흘러든 여러 농도의 연무가 중경을 가로지르는 모습으로 표현한다. 낮게 퍼진 먼지 너머로 중앙 바닥의 일부가 드러나고, 더 먼 관중석과 단상은 연기 농도에 따라 부분적으로 흐려져 빈 중앙 공간의 고립감이 생긴다. 낮게 기운 노을의 역광이 연기 가장자리에 옅은 따뜻한 빛을 만들고, 모서리 횃불의 실제 불빛은 주변 표면에만 국소적으로 닿는다. 그늘은 자연스럽게 차갑고 어두우며, 먼지 속에서도 재료의 질감과 거리 차이가 읽힌다. 실제 노출과 자연스러운 피사계 심도를 유지하고 과장된 빛 효과나 인위적인 색 보정을 사용하지 않는다. 삽화나 컴퓨터 생성 영상, 건축 시각화가 아닌 현실의 현장 사진이며, 위에서 내려다보는 시점이나 평면도 구도가 아니다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S60_Shot75",
            "guide_text": "남쪽 입구 안쪽의 약간 동쪽 위치에서 높이 약 1.6미터, 28밀리미터 광각 시야로 북북서쪽을 바라본다. 서쪽 관중석과 북쪽 단상을 뒤에 두고 중앙 바닥을 넓게 확보한다. 관중석에서 번지는 연기와 먼지가 중앙을 덮되, 바닥 일부와 단상의 윤곽이 농도 차이 사이로 읽히게 한다. 노을 역광과 모서리 횃불의 국소적인 빛을 유지하며 빈 중앙의 고립감을 강조한다. 사람, 얼굴, 인체 형태의 형상 없이 배경만 촬영한 구도로 구성한다."
          }
        ],
        "shot_ids": [
          "S60_Shot75"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Just inside number 11, slightly toward number 19, facing north-northwest across number 1 toward numbers 2 and 4.",
          "camera_height": "Standing eye-level, approximately 1.6 m",
          "lens_hint": "28mm wide angle",
          "framing_notes": "Keep the central fighting ground dominant and leave space for an isolated subject supplied separately. Include both spectator edges and the distant dais, with numbers 6–8 near the left foreground. Side access gaps may remain at the frame edges; the outer escape lanes need not be visible. Apply number 20 only in the background overlay: smoke and dust spread from the stands across the center, partially obscuring rather than relocating persistent structures. Preserve readable central negative space. Torch flames and low sunset backlight belong to the downstream background, never the plan; use the western side as a continuity choice for the sunset."
        },
        "reference_decision": {
          "bg_id": "L87B01",
          "fp_id": "fp_village_arena",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L87B01 is ready and is the sole supplied anchor candidate. Select it as the fresh floor-plan identity anchor without prior references. The candidate metadata explicitly uses a minimum-transient fallback; clean_background_expected remains false and marker 20 remains committed. For S60_Shot75, camera unit 4 looking across unit 1 toward the listed [8, 5] target provides broad coverage for the held high-oblique entry composition, with substantial visible floor around the centrally staged subjects.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/floor_plan/fp_village_arena.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "not_applicable_anchor",
            "why_single_ref_or_two_refs": "No reference is selected: this is the first and only node, and the same-fp candidate reference catalog is empty.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 4,
            "camera_cell": [
              2,
              4
            ],
            "look_at_unit": 1,
            "look_at_cell": [
              8,
              5
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Use the exact listed camera and look-at cells for a broad view across unit 1 toward marker 11. Apply the shot's held high-oblique entry staging; this plate represents the initial composition, not the subsequent descent. Preserve substantial floor coverage around the subjects."
          },
          "render_guidance": {
            "visible_space_directive": "Establish unit 1 as the principal visible space from unit 4, looking toward [8, 5] at marker 11. Preserve the base-plan positions of openings 6 and 8 and fixed marker 7 within the forward-facing portion of unit 1, together with markers 18 and 19 where visible. Peripheral portions of unit 3 may enter the broad frame. Treat the visible-unit and visible-opening lists as supersets, not requirements to display every listed marker; other target units remain in their plan positions even when outside this view.",
            "camera_framing_directive": "Frame from camera unit 4 at [2, 4], looking across unit 1 toward look-at cell [8, 5], using wide coverage at 90 degrees. Follow the committed held, high-oblique overview, looking down across the two subjects rather than along either frontal axis. Keep their combined full-body footprint below one third of the image and retain substantial surrounding floor.",
            "subject_position_directive": "For S60_Shot75, place 찰리 just left of image center and the larger, heavier B-200 just right, with their backs touching near the middle of unit 1. Preserve 찰리's three_quarter_left angle and shifting weight while scanning, and B-200's three_quarter_right angle and bracing back against companion. Both gaze off-screen toward opposite sides; keep their full bodies and back-to-back contact legible, with the surrounding fighting outside the frame.",
            "state_cue_directive": "Carry transient marker 20, labeled Attack smoke and dust. The staged smoke lingers thickly and softens distant boundaries while preserving distinct subject contours and their contact. Use the committed dusk light and established torchlight softened by explosion smoke. clean_background_expected is false; retain this supplied transient state without adding uncommitted structural changes.",
            "negative_continuity_directive": "The ignore_numbered_elements and ignored_state_overlay_marker_numbers lists are empty. Avoid relocating base markers to force all target units into the frame, treating visibility supersets as guaranteed co-visibility, or bringing units outside the chosen cone into view. Preserve the shared-cell relationship of markers 6 and 7 without duplicating either. Keep marker 20 a transient overlay rather than a permanent change to base markers 1–19."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [2, 4]\n  - look_at_unit: 1\n  - look_at_cell: [8, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Use the exact listed camera and look-at cells for a broad view across unit 1 toward marker 11. Apply the shot's held high-oblique entry staging; this plate represents the initial composition, not the subsequent descent. Preserve substantial floor coverage around the subjects.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 1 as the principal visible space from unit 4, looking toward [8, 5] at marker 11. Preserve the base-plan positions of openings 6 and 8 and fixed marker 7 within the forward-facing portion of unit 1, together with markers 18 and 19 where visible. Peripheral portions of unit 3 may enter the broad frame. Treat the visible-unit and visible-opening lists as supersets, not requirements to display every listed marker; other target units remain in their plan positions even when outside this view.\n  - camera_framing_directive: Frame from camera unit 4 at [2, 4], looking across unit 1 toward look-at cell [8, 5], using wide coverage at 90 degrees. Follow the committed held, high-oblique overview, looking down across the two subjects rather than along either frontal axis. Keep their combined full-body footprint below one third of the image and retain substantial surrounding floor.\n  - subject_position_directive: For S60_Shot75, place 찰리 just left of image center and the larger, heavier B-200 just right, with their backs touching near the middle of unit 1. Preserve 찰리's three_quarter_left angle and shifting weight while scanning, and B-200's three_quarter_right angle and bracing back against companion. Both gaze off-screen toward opposite sides; keep their full bodies and back-to-back contact legible, with the surrounding fighting outside the frame.\n  - state_cue_directive: Carry transient marker 20, labeled Attack smoke and dust. The staged smoke lingers thickly and softens distant boundaries while preserving distinct subject contours and their contact. Use the committed dusk light and established torchlight softened by explosion smoke. clean_background_expected is false; retain this supplied transient state without adding uncommitted structural changes.\n  - negative_continuity_directive: The ignore_numbered_elements and ignored_state_overlay_marker_numbers lists are empty. Avoid relocating base markers to force all target units into the frame, treating visibility supersets as guaranteed co-visibility, or bringing units outside the chosen cone into view. Preserve the shared-cell relationship of markers 6 and 7 without duplicating either. Keep marker 20 a transient overlay rather than a permanent change to base markers 1–19.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [2, 4]\n  - look_at_unit: 1\n  - look_at_cell: [8, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Use the exact listed camera and look-at cells for a broad view across unit 1 toward marker 11. Apply the shot's held high-oblique entry staging; this plate represents the initial composition, not the subsequent descent. Preserve substantial floor coverage around the subjects.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 1 as the principal visible space from unit 4, looking toward [8, 5] at marker 11. Preserve the base-plan positions of openings 6 and 8 and fixed marker 7 within the forward-facing portion of unit 1, together with markers 18 and 19 where visible. Peripheral portions of unit 3 may enter the broad frame. Treat the visible-unit and visible-opening lists as supersets, not requirements to display every listed marker; other target units remain in their plan positions even when outside this view.\n  - camera_framing_directive: Frame from camera unit 4 at [2, 4], looking across unit 1 toward look-at cell [8, 5], using wide coverage at 90 degrees. Follow the committed held, high-oblique overview, looking down across the two subjects rather than along either frontal axis. Keep their combined full-body footprint below one third of the image and retain substantial surrounding floor.\n  - subject_position_directive: For S60_Shot75, place 찰리 just left of image center and the larger, heavier B-200 just right, with their backs touching near the middle of unit 1. Preserve 찰리's three_quarter_left angle and shifting weight while scanning, and B-200's three_quarter_right angle and bracing back against companion. Both gaze off-screen toward opposite sides; keep their full bodies and back-to-back contact legible, with the surrounding fighting outside the frame.\n  - state_cue_directive: Carry transient marker 20, labeled Attack smoke and dust. The staged smoke lingers thickly and softens distant boundaries while preserving distinct subject contours and their contact. Use the committed dusk light and established torchlight softened by explosion smoke. clean_background_expected is false; retain this supplied transient state without adding uncommitted structural changes.\n  - negative_continuity_directive: The ignore_numbered_elements and ignored_state_overlay_marker_numbers lists are empty. Avoid relocating base markers to force all target units into the frame, treating visibility supersets as guaranteed co-visibility, or bringing units outside the chosen cone into view. Preserve the shared-cell relationship of markers 6 and 7 without duplicating either. Keep marker 20 a transient overlay rather than a permanent change to base markers 1–19.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [2, 4]\n  - look_at_unit: 1\n  - look_at_cell: [8, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Use the exact listed camera and look-at cells for a broad view across unit 1 toward marker 11. Apply the shot's held high-oblique entry staging; this plate represents the initial composition, not the subsequent descent. Preserve substantial floor coverage around the subjects.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 1 as the principal visible space from unit 4, looking toward [8, 5] at marker 11. Preserve the base-plan positions of openings 6 and 8 and fixed marker 7 within the forward-facing portion of unit 1, together with markers 18 and 19 where visible. Peripheral portions of unit 3 may enter the broad frame. Treat the visible-unit and visible-opening lists as supersets, not requirements to display every listed marker; other target units remain in their plan positions even when outside this view.\n  - camera_framing_directive: Frame from camera unit 4 at [2, 4], looking across unit 1 toward look-at cell [8, 5], using wide coverage at 90 degrees. Follow the committed held, high-oblique overview, looking down across the two subjects rather than along either frontal axis. Keep their combined full-body footprint below one third of the image and retain substantial surrounding floor.\n  - subject_position_directive: For S60_Shot75, place 찰리 just left of image center and the larger, heavier B-200 just right, with their backs touching near the middle of unit 1. Preserve 찰리's three_quarter_left angle and shifting weight while scanning, and B-200's three_quarter_right angle and bracing back against companion. Both gaze off-screen toward opposite sides; keep their full bodies and back-to-back contact legible, with the surrounding fighting outside the frame.\n  - state_cue_directive: Carry transient marker 20, labeled Attack smoke and dust. The staged smoke lingers thickly and softens distant boundaries while preserving distinct subject contours and their contact. Use the committed dusk light and established torchlight softened by explosion smoke. clean_background_expected is false; retain this supplied transient state without adding uncommitted structural changes.\n  - negative_continuity_directive: The ignore_numbered_elements and ignored_state_overlay_marker_numbers lists are empty. Avoid relocating base markers to force all target units into the frame, treating visibility supersets as guaranteed co-visibility, or bringing units outside the chosen cone into view. Preserve the shared-cell relationship of markers 6 and 7 without duplicating either. Keep marker 20 a transient overlay rather than a permanent change to base markers 1–19.\n\n2069년 대한민국의 자원 부족 마을에 마련된 야외 격투장을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실제 장소 기록 사진과 구별되지 않는 사실적인 배경으로, 사람이나 얼굴, 인체 형태의 형상은 전혀 없다. 재사용한 목재와 철재, 오래된 콘크리트로 구성된 소박한 시설에 현실적인 목재 결, 금속의 산화와 접합부, 콘크리트의 거친 표면과 오래된 생활 얼룩이 보인다. 미래라는 이유로 새 첨단 설비를 추가하지 않는다.\n\n남쪽 출입구를 막 지난 안쪽에서 남동쪽 횃불 거치대 방향으로 조금 치우친 위치에 카메라를 둔다. 높이는 지면에서 약 1.6미터인 서 있는 사람의 눈높이이며, 35밀리미터 규격의 전면형 감지기를 갖춘 미러리스 카메라와 28밀리미터 광각 렌즈로 북북서쪽을 바라본다. 중앙의 넓은 직사각형 격투장 바닥을 전경과 중경에 두고, 서쪽 관중석과 북쪽 단상을 주요 배경으로 잡는다. 동쪽 관중석은 오른쪽 가장자리에서 공간의 폭을 설명한다. 두 관중석은 중앙을 향해 마주 보고, 북쪽 단상 뒤편 중앙에는 남향 좌석이 있으며 단상 앞 중앙에는 접근 계단이 있다. 격투장 남서쪽의 승강 개구부와 그 안에 들어앉은 철제 우리는 중앙 공간과 떨어져 있다. 우리의 출입문은 북쪽의 중앙 격투 공간을 향한다. 관중석 남쪽에 있는 동서 출입 틈과 남쪽 중앙 출입구, 관중석과 단상 뒤로 이어지는 외곽 통로의 연결 관계를 참조 배치에 맞게 유지한다. 격투장 경계의 네 모서리에 횃불 거치대가 있고, 남서쪽 거치대는 우리의 승강 공간을 침범하지 않는다. 모든 시설을 한눈에 보여주기 위해 시점을 높이지 않으며, 가까운 것과 먼 것의 자연스러운 겹침을 허용한다.\n\n관중석 사이에서 발생한 짙은 회갈색 연기와 흙먼지가 중앙 격투장으로 번져 넓게 덮고 있다. 특정 지점을 발생 중심으로 강조하지 않고, 관중석 쪽에서 흘러든 여러 농도의 연무가 중경을 가로지르는 모습으로 표현한다. 낮게 퍼진 먼지 너머로 중앙 바닥의 일부가 드러나고, 더 먼 관중석과 단상은 연기 농도에 따라 부분적으로 흐려져 빈 중앙 공간의 고립감이 생긴다. 낮게 기운 노을의 역광이 연기 가장자리에 옅은 따뜻한 빛을 만들고, 모서리 횃불의 실제 불빛은 주변 표면에만 국소적으로 닿는다. 그늘은 자연스럽게 차갑고 어두우며, 먼지 속에서도 재료의 질감과 거리 차이가 읽힌다. 실제 노출과 자연스러운 피사계 심도를 유지하고 과장된 빛 효과나 인위적인 색 보정을 사용하지 않는다. 삽화나 컴퓨터 생성 영상, 건축 시각화가 아닌 현실의 현장 사진이며, 위에서 내려다보는 시점이나 평면도 구도가 아니다. 16:9 가로 비율, 실제 카메라 촬영본",
        "camera_decision": {
          "camera_unit": 4,
          "camera_cell": [
            2,
            4
          ],
          "look_at_unit": 1,
          "look_at_cell": [
            8,
            5
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Use the exact listed camera and look-at cells for a broad view across unit 1 toward marker 11. Apply the shot's held high-oblique entry staging; this plate represents the initial composition, not the subsequent descent. Preserve substantial floor coverage around the subjects."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Establish unit 1 as the principal visible space from unit 4, looking toward [8, 5] at marker 11. Preserve the base-plan positions of openings 6 and 8 and fixed marker 7 within the forward-facing portion of unit 1, together with markers 18 and 19 where visible. Peripheral portions of unit 3 may enter the broad frame. Treat the visible-unit and visible-opening lists as supersets, not requirements to display every listed marker; other target units remain in their plan positions even when outside this view.",
          "camera_framing_directive": "Frame from camera unit 4 at [2, 4], looking across unit 1 toward look-at cell [8, 5], using wide coverage at 90 degrees. Follow the committed held, high-oblique overview, looking down across the two subjects rather than along either frontal axis. Keep their combined full-body footprint below one third of the image and retain substantial surrounding floor.",
          "subject_position_directive": "For S60_Shot75, place 찰리 just left of image center and the larger, heavier B-200 just right, with their backs touching near the middle of unit 1. Preserve 찰리's three_quarter_left angle and shifting weight while scanning, and B-200's three_quarter_right angle and bracing back against companion. Both gaze off-screen toward opposite sides; keep their full bodies and back-to-back contact legible, with the surrounding fighting outside the frame.",
          "state_cue_directive": "Carry transient marker 20, labeled Attack smoke and dust. The staged smoke lingers thickly and softens distant boundaries while preserving distinct subject contours and their contact. Use the committed dusk light and established torchlight softened by explosion smoke. clean_background_expected is false; retain this supplied transient state without adding uncommitted structural changes.",
          "negative_continuity_directive": "The ignore_numbered_elements and ignored_state_overlay_marker_numbers lists are empty. Avoid relocating base markers to force all target units into the frame, treating visibility supersets as guaranteed co-visibility, or bringing units outside the chosen cone into view. Preserve the shared-cell relationship of markers 6 and 7 without duplicating either. Keep marker 20 a transient overlay rather than a permanent change to base markers 1–19."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_village_arena",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_village_arena"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L87B03": {
        "status": "ok",
        "location_id": "L87",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L87B03.png",
        "t2i_prompt": "2069년 대한민국의 자원이 부족한 마을에서 물탱크가 붕괴한 직후, 젖고 파손된 외부 공간만 담은 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실제 미러리스 카메라와 35밀리미터급 렌즈를 사용하여 지면에서 약 1.6미터 높이의 서 있는 사람 눈높이에서 수평으로 촬영한다. 얼굴 근접 촬영에 나중에 사용할 배경판이므로 사람이나 얼굴은 전혀 넣지 않고, 화면 중앙에는 시선을 빼앗는 구조물 없이 부드럽게 흐려진 마을 외벽 면을 둔다. 가까운 빈 전경 거리에 초점을 고정하고 개방 조리개로 촬영하여, 뒤쪽의 붕괴 잔해와 건물은 자연스러운 얕은 심도로 흐려지되 장소의 재질과 파손 상태는 알아볼 수 있게 한다.\n화면 하단과 측면에 찌그러져 내려앉은 금속 물탱크의 곡면 외피, 꺾인 철제 지지대, 끊어진 급수관과 흩어진 콘크리트 조각이 부분적으로 보인다. 유출된 물이 거친 콘크리트 바닥을 적시고 얕은 물웅덩이와 불규칙한 물길을 이루며, 잔해 표면에는 물방울과 젖은 먼지가 남아 있다. 뒤편에는 대한민국의 오래된 저층 마을에서 볼 수 있는 시멘트 미장 외벽, 보수 흔적이 있는 콘크리트 블록 담장, 낡은 금속 창틀과 덧댄 함석 처마가 희미하게 이어진다. 오래 사용하고 수리해 온 생활 기반 시설의 모습이며, 미래라는 이유로 발광 장치나 새로운 첨단 설비를 추가하지 않는다.\n붉은 노을이 남아 있는 해 질 무렵의 자연광을 유지한다. 낮게 들어오는 붉은 햇빛이 젖은 금속 가장자리와 물웅덩이에 제한적으로 반사되고, 그늘에는 저녁 하늘의 차가운 빛이 자연스럽게 남는다. 붉은색은 노을과 그 반사에만 한정하고 물은 흙먼지가 섞인 평범한 유출수로 보이게 한다. 실제 콘크리트의 거친 입자, 금속의 녹과 산화 얼룩, 벗겨진 도장, 오랜 사용 흔적과 새로 물에 젖은 부분의 차이를 사실적으로 표현한다. 인물, 얼굴, 신체 일부, 시신, 혈흔, 상처나 피부 조직을 연상시키는 얼룩은 없다. 과장된 재난 효과나 인공 안개 없이 실제 현장 기록 사진처럼 담백하게 촬영하며, 과도한 보정이나 인위적인 흐림 없이 렌즈의 광학적 심도만 사용한다. 정돈된 광고 사진이나 컴퓨터 생성 이미지가 아닌 실제 장소 촬영본이며, 위에서 내려다본 시점이나 평면도, 건축 도해가 아니다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S60_Shot104",
            "guide_text": "얼굴 근접 촬영에 사용할 빈 배경만 준비한다. 약 1.6미터 눈높이의 수평 시점과 35밀리미터급 렌즈를 유지하고, 가까운 빈 전경에 초점을 두어 뒤의 젖은 외벽과 붕괴 잔해를 자연스럽게 흐린다. 중앙에 선명한 구조물이나 강한 반사점을 두지 않으며 물탱크 외피와 꺾인 지지대는 가장자리에서만 부분적으로 보이게 한다. 붉은 노을과 물기 어린 반사를 유지하되 인물, 얼굴, 피부 손상, 혈흔은 그리지 않는다."
          }
        ],
        "shot_ids": [
          "S60_Shot104"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {},
        "reference_decision": {
          "mode": "surface_role_direct_plate",
          "surface_role": "exterior_plate",
          "fp_id": "",
          "source_bg_ids": []
        },
        "effective_render_prompt": "2069년 대한민국의 자원이 부족한 마을에서 물탱크가 붕괴한 직후, 젖고 파손된 외부 공간만 담은 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실제 미러리스 카메라와 35밀리미터급 렌즈를 사용하여 지면에서 약 1.6미터 높이의 서 있는 사람 눈높이에서 수평으로 촬영한다. 얼굴 근접 촬영에 나중에 사용할 배경판이므로 사람이나 얼굴은 전혀 넣지 않고, 화면 중앙에는 시선을 빼앗는 구조물 없이 부드럽게 흐려진 마을 외벽 면을 둔다. 가까운 빈 전경 거리에 초점을 고정하고 개방 조리개로 촬영하여, 뒤쪽의 붕괴 잔해와 건물은 자연스러운 얕은 심도로 흐려지되 장소의 재질과 파손 상태는 알아볼 수 있게 한다.\n화면 하단과 측면에 찌그러져 내려앉은 금속 물탱크의 곡면 외피, 꺾인 철제 지지대, 끊어진 급수관과 흩어진 콘크리트 조각이 부분적으로 보인다. 유출된 물이 거친 콘크리트 바닥을 적시고 얕은 물웅덩이와 불규칙한 물길을 이루며, 잔해 표면에는 물방울과 젖은 먼지가 남아 있다. 뒤편에는 대한민국의 오래된 저층 마을에서 볼 수 있는 시멘트 미장 외벽, 보수 흔적이 있는 콘크리트 블록 담장, 낡은 금속 창틀과 덧댄 함석 처마가 희미하게 이어진다. 오래 사용하고 수리해 온 생활 기반 시설의 모습이며, 미래라는 이유로 발광 장치나 새로운 첨단 설비를 추가하지 않는다.\n붉은 노을이 남아 있는 해 질 무렵의 자연광을 유지한다. 낮게 들어오는 붉은 햇빛이 젖은 금속 가장자리와 물웅덩이에 제한적으로 반사되고, 그늘에는 저녁 하늘의 차가운 빛이 자연스럽게 남는다. 붉은색은 노을과 그 반사에만 한정하고 물은 흙먼지가 섞인 평범한 유출수로 보이게 한다. 실제 콘크리트의 거친 입자, 금속의 녹과 산화 얼룩, 벗겨진 도장, 오랜 사용 흔적과 새로 물에 젖은 부분의 차이를 사실적으로 표현한다. 인물, 얼굴, 신체 일부, 시신, 혈흔, 상처나 피부 조직을 연상시키는 얼룩은 없다. 과장된 재난 효과나 인공 안개 없이 실제 현장 기록 사진처럼 담백하게 촬영하며, 과도한 보정이나 인위적인 흐림 없이 렌즈의 광학적 심도만 사용한다. 정돈된 광고 사진이나 컴퓨터 생성 이미지가 아닌 실제 장소 촬영본이며, 위에서 내려다본 시점이나 평면도, 건축 도해가 아니다. 16:9 가로 비율, 실제 카메라 촬영본\n\nOne attached image is a PHOTOREAL RENDER of this SAME place — the same physical location, possibly seen from a different angle or at a different moment. Treat it as the PLACE IDENTITY reference. Keep this render consistent with it: the same spatial layout and architecture, the same surface materials and colors, and the same permanently installed fixtures and furniture. Lettering visible in the reference is reproduced EXACTLY — same characters, same mark, same position; never invent different wording from render to render. Camera angle, framing, lighting, time of day and weather follow THIS prompt — do NOT copy the reference's composition or mood; only the place's physical identity carries over.",
        "shot_aware_plan_mode": "surface_role_direct_plate",
        "attached_reference_lineage": {
          "fp_id": "",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "same_loc_anchor:L87B01"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        },
        "same_loc_anchor_ref": {
          "anchor_bg_id": "L87B01",
          "loc_id": "L87"
        }
      },
      "L87B02": {
        "status": "ok",
        "location_id": "L87",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L87B02.png",
        "t2i_prompt": "대한민국의 마을 외곽을 벗어난 낮은 능선에서 지는 해를 바라보며 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 2069년의 생활권 바깥이지만 근거 없는 미래형 시설이나 폐허를 덧붙이지 않은, 한국 야산의 소박한 지형이다. 사람 없는 흙 능선에 잔돌과 풍화된 바위, 듬성듬성한 풀과 낮은 관목이 있고, 멀리 완만하게 겹친 산등성이가 보인다. 밟혀 다져진 흙의 불규칙한 표면, 돌의 거친 결, 마른 풀잎과 살아 있는 풀의 자연스러운 차이를 실제 장소처럼 담는다. 시간이 흐르고 소란이 가라앉은 고요한 해 질 녘이며, 먼 능선 가까이 낮아진 해와 옅은 주황빛 수평선, 위로 갈수록 회청색으로 바뀌는 열린 하늘이 넓게 드러난다. 석양의 따뜻한 자연광과 지면의 서늘한 그늘을 과장 없이 기록하고, 어두운 흙과 풀의 질감도 알아볼 수 있도록 자연스럽게 노출한다. 능선 위 평탄한 지점에서 약 1.6미터의 서 있는 눈높이, 35밀리미터급 렌즈로 수평에 가깝게 먼 산과 일몰 방향을 바라본다. 가까운 능선 윤곽은 화면 아래쪽 약 3분의 1에 낮게 두고, 중앙에는 두 대상이 나란히 배치될 수 있는 비어 있는 지면과 그 위의 넓고 밝은 하늘을 확보한다. 중앙 윤곽을 가릴 키 큰 수목이나 시설물은 두지 않으며, 해는 중앙에서 조금 비껴나게 배치한다. 실제 촬영에 맞는 자연스러운 피사계 심도와 먼 산의 대기 원근감, 가공하지 않은 색과 생활권 외곽의 소소한 풍화 흔적. 매끈한 광고 사진이 아닌 실제 현장 기록 사진이며, 삽화나 컴퓨터 생성 이미지, 건축 조감도, 평면도가 아니다. 인물, 얼굴, 사람 모양 실루엣, 로봇, 시신, 혈흔 없이 비어 있는 배경만 촬영한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S60_Shot129",
            "guide_text": "손을 맞잡은 두 인물의 후면 실루엣을 후속 단계에서 배치할 수 있도록 화면 중앙 하단에 나란히 설 빈 지면을 남긴다. 두 인물의 몸과 맞잡은 손이 놓일 영역 뒤에는 관목이나 바위 대신 밝고 단순한 노을 하늘이 이어지도록 한다. 배경 자체에는 인물이나 실루엣을 그리지 않는다. 능선은 낮게, 하늘은 넓게 유지하고 해는 인물 배치 영역에서 살짝 벗어나게 두어 윤곽을 방해하지 않는다. 시간이 지난 뒤의 고요함을 차분한 자연광과 정적인 지형으로 표현하며 소란, 전투, 연기 같은 사건 흔적을 임의로 추가하지 않는다."
          }
        ],
        "shot_ids": [
          "S60_Shot129"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {},
        "reference_decision": {
          "mode": "surface_role_direct_plate",
          "surface_role": "exterior_plate",
          "fp_id": "",
          "source_bg_ids": []
        },
        "effective_render_prompt": "대한민국의 마을 외곽을 벗어난 낮은 능선에서 지는 해를 바라보며 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 2069년의 생활권 바깥이지만 근거 없는 미래형 시설이나 폐허를 덧붙이지 않은, 한국 야산의 소박한 지형이다. 사람 없는 흙 능선에 잔돌과 풍화된 바위, 듬성듬성한 풀과 낮은 관목이 있고, 멀리 완만하게 겹친 산등성이가 보인다. 밟혀 다져진 흙의 불규칙한 표면, 돌의 거친 결, 마른 풀잎과 살아 있는 풀의 자연스러운 차이를 실제 장소처럼 담는다. 시간이 흐르고 소란이 가라앉은 고요한 해 질 녘이며, 먼 능선 가까이 낮아진 해와 옅은 주황빛 수평선, 위로 갈수록 회청색으로 바뀌는 열린 하늘이 넓게 드러난다. 석양의 따뜻한 자연광과 지면의 서늘한 그늘을 과장 없이 기록하고, 어두운 흙과 풀의 질감도 알아볼 수 있도록 자연스럽게 노출한다. 능선 위 평탄한 지점에서 약 1.6미터의 서 있는 눈높이, 35밀리미터급 렌즈로 수평에 가깝게 먼 산과 일몰 방향을 바라본다. 가까운 능선 윤곽은 화면 아래쪽 약 3분의 1에 낮게 두고, 중앙에는 두 대상이 나란히 배치될 수 있는 비어 있는 지면과 그 위의 넓고 밝은 하늘을 확보한다. 중앙 윤곽을 가릴 키 큰 수목이나 시설물은 두지 않으며, 해는 중앙에서 조금 비껴나게 배치한다. 실제 촬영에 맞는 자연스러운 피사계 심도와 먼 산의 대기 원근감, 가공하지 않은 색과 생활권 외곽의 소소한 풍화 흔적. 매끈한 광고 사진이 아닌 실제 현장 기록 사진이며, 삽화나 컴퓨터 생성 이미지, 건축 조감도, 평면도가 아니다. 인물, 얼굴, 사람 모양 실루엣, 로봇, 시신, 혈흔 없이 비어 있는 배경만 촬영한다. 16:9 가로 비율, 실제 카메라 촬영본\n\nOne attached image is a PHOTOREAL RENDER of this SAME place — the same physical location, possibly seen from a different angle or at a different moment. Treat it as the PLACE IDENTITY reference. Keep this render consistent with it: the same spatial layout and architecture, the same surface materials and colors, and the same permanently installed fixtures and furniture. Lettering visible in the reference is reproduced EXACTLY — same characters, same mark, same position; never invent different wording from render to render. Camera angle, framing, lighting, time of day and weather follow THIS prompt — do NOT copy the reference's composition or mood; only the place's physical identity carries over.",
        "shot_aware_plan_mode": "surface_role_direct_plate",
        "attached_reference_lineage": {
          "fp_id": "",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "same_loc_anchor:L87B01"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        },
        "same_loc_anchor_ref": {
          "anchor_bg_id": "L87B01",
          "loc_id": "L87"
        }
      },
      "L98B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L98",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L98B01.png",
        "t2i_prompt": "대한민국의 오래된 산업용 폐창고 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 2069년의 자원 부족 환경에서 오래된 창고와 재사용하던 대형 기계 부품이 함께 남아 있는 현실적인 장소다. 실제 콘크리트의 거친 표면과 오래된 얼룩, 금속의 산화와 마찰 자국, 상자 표면의 닳은 질감을 세밀하지만 과장 없이 담는다. 새로 정비된 전시장이나 매끈한 미래 시설처럼 만들지 않는다.\n카메라는 남쪽 중앙의 반쯤 열린 출입문을 막 지나 문턱 서쪽에 있으며, 약 1.6미터의 서 있는 사람 눈높이에서 북북동쪽을 바라본다. 35밀리미터 규격의 실제 미러리스 카메라와 28밀리미터 광각 렌즈를 사용한 자연스러운 원근감으로, 남북으로 이어지는 중앙 통로와 양옆의 기계 보관 구역, 뒤쪽 양 모서리가 함께 읽히게 한다. 바닥을 내려다보는 시점이 아니라 공간 안에서 바라본 수평에 가까운 구도이며, 자연스러운 피사계 심도로 뒤쪽 구석의 위치도 알아볼 수 있다.\n직사각형 창고의 중앙 통로는 비워져 있다. 서쪽 중간과 동쪽 중간에는 거대한 기계 부품이 보관되어 있고, 북서쪽 벽 모서리에는 고장 난 로봇 부품 더미가 있다. 이 더미는 얼굴이나 온전한 신체 윤곽이 없는 금속 외장 조각과 기계 부속의 집적으로 표현한다. 북동쪽에는 동쪽 기계 보관 구역 뒤로 숨은 작은 은신 공간이 있으며, 중앙 통로 쪽으로 열려 있다. 그 안 북쪽 벽에 붙은 둥지 용기의 위치는 고정한다.\n이동식 가림 상자는 둥지 용기 앞에서 내부를 가린다. 기본 사진에서는 상자로 가려진 상태를 촬영한다. 둥지가 공개된 상태를 촬영할 때만 같은 가림 상자를 은신 공간 안의 옆자리로 옮겨 고정된 용기 속 둥지가 보이게 하며, 두 상태를 한 화면에 중복해서 배치하지 않는다. 둥지와 용기는 옮기지 않는다.\n낮이지만 내부는 어둡고 정적이다. 남쪽의 반쯤 열린 문으로 들어오는 실제 외광이 문턱과 중앙 통로 가까운 바닥을 밝히고, 안쪽으로 갈수록 약해진 간접광만 남는다. 기계의 모서리에는 은은한 반사광이 맺히고 은신 구석은 깊은 그늘 속에서도 재질과 경계를 겨우 구분할 수 있다. 인공적인 발광이나 과장된 광선 없이 실제 실내외 노출 차이를 유지한다. 사람, 얼굴, 신체 형태의 형상, 새를 포함한 생물은 없는 배경만 촬영한다. 실제 장소 기록 사진과 구별할 수 없는 물성과 자연광을 유지하며, 삽화나 컴퓨터 생성 영상, 건축 시각화, 평면도, 부감도가 아니다. 과도한 보정이나 광고 사진 같은 정돈된 연출 없이 촬영한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S64_Shot9",
            "guide_text": "가림 상자가 둥지 용기 앞을 가리는 기본 상태를 사용한다. 출입문에서 이어지는 중앙 통로와 양쪽 기계 부품의 규모, 북동쪽 은신 구석의 위치가 읽히도록 한다. 가려진 내부를 투시해 보여주지 않으며, 낮의 외광과 어두운 창고 안쪽의 밝기 차이를 유지한다. 인물이나 생물은 배경에 넣지 않는다."
          },
          {
            "shot_id": "S64_Shot18",
            "guide_text": "둥지는 계속 같은 가림 상자 뒤에 숨겨져 있다. 북동쪽 은신 공간이 동쪽 기계 보관 구역 뒤에 놓인 관계와 북서쪽 로봇 부품 더미의 위치를 유지한다. 장면의 정서 때문에 조명, 물체 배치 또는 표면 상태를 바꾸지 않는다. 배경에는 인물이나 신체 형태의 형상을 추가하지 않는다."
          },
          {
            "shot_id": "S64_Shot27",
            "guide_text": "가림 상자를 북동쪽 은신 공간 안의 옆자리로 옮긴 공개 상태를 사용한다. 북쪽 벽에 붙어 있던 둥지 용기와 그 안의 둥지는 원래 자리에 그대로 두고, 상자의 가림이 해소되어 보이게 한다. 상자를 복제하거나 창고 밖으로 없애지 않는다. 다른 기계 부품과 로봇 부품 더미, 출입문의 열림 정도와 낮의 어두운 자연광은 동일하게 유지한다. 상자를 옮기는 인물이나 새는 배경에 그리지 않는다."
          }
        ],
        "shot_ids": [
          "S64_Shot9",
          "S64_Shot18",
          "S64_Shot27"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Just inside number 3 (entrance door), near the west side of number 2 (threshold), facing north-northeast along number 1 (warehouse hall) toward number 6 (broken robot pile) and number 7 (secluded refuge).",
          "camera_height": "Standing eye level, approximately 1.6 m",
          "lens_hint": "28mm wide angle",
          "framing_notes": "Use the same camera for all listed shots. Retain the entrance edge in the near foreground, both machinery storage masses as spatial anchors, and a sightline into the refuge beside the east machinery. The interior remains dim despite daytime exterior light through the half-open door; this is background appearance, not floor-plan shading. Number 8 stays in the same location throughout but its contents must remain concealed before the reveal. Apply number 9 as a shot-scoped overlay: keep the covering box in its concealing position for S64_Shot9 and S64_Shot18, then move it aside for S64_Shot27 to reveal the nest. Do not bake either cover position into the shared base background. Threatening or gentle character behavior does not alter the environment."
        },
        "reference_decision": {
          "bg_id": "L98B01",
          "fp_id": "fp_warehouse_interior",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L98B01 is the sole ready BG and the sole supplied anchor candidate. Render it fresh without references. The candidate metadata explicitly permits this fallback despite clean_background_expected=false and transient marker 9. Camera unit 2 looking toward marker 8 within unit 7 provides broad coverage toward the target of S64_Shot27. The three consuming shots commit different subject compositions and viewing angles; this single discrete camera decision represents a shared spatial plate, not all three exact shot framings. In particular, the marker 6 context requested by S64_Shot9 is not established as visible in this chosen view.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/floor_plan/fp_warehouse_interior.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The sole anchor is rendered from the floor plan; the same-fp reference catalog is empty.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 2,
            "camera_cell": [
              8,
              4
            ],
            "look_at_unit": 7,
            "look_at_cell": [
              0,
              9
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad coverage from unit 2 toward marker 8 in unit 7, across unit 1. Both coordinates are exact copies from the candidate arrays for camera unit 2. This is a representative spatial plate; the supplied discrete geometry does not encode the distinct heights and subject-relative axes of all three consuming shots."
          },
          "render_guidance": {
            "visible_space_directive": "Show the forward portion of unit 1 toward unit 7 from unit 2, with marker 8 retained against the north wall within unit 7 and marker 5 retained south of unit 7. Respect actual occlusion rather than treating visibility supersets as guarantees. Markers 3, 4, and 6 retain their floor-plan positions but must not be forced into this forward view. No opening adjacency is established by the readback.",
            "camera_framing_directive": "Use camera unit 2 at [8, 4], looking toward unit 7 at [0, 9], with a wide lens and 90-degree field of view. Maintain broad spatial coverage toward marker 8. Do not reinterpret this geometry as the close framing of S64_Shot18 or as a committed elevated viewpoint for S64_Shot27; those exact shot-specific framings are not represented by this camera candidate.",
            "subject_position_directive": "Keep the consuming-shot compositions separate rather than combining their subjects or poses into one tableau. S64_Shot9 commits a cropped near shoulder and chest at the left foreground edge and a crouched counterpart center-right. S64_Shot18 commits portions of two seated torsos, a fingertip left of center, and a chest target just right of center with a visible gap. S64_Shot27 commits a seated subject upper-left and the revealed small subjects lower-right near marker 8. No exact subject grid cells are supplied, so do not invent fixed subject placements in the shared spatial plate.",
            "state_cue_directive": "This BG is not marked clean. Account for transient marker 9 separately from persistent marker 8: S64_Shot27 commits the cover shifted aside at the frame periphery while marker 8 remains fixed. Do not assume that reveal state is committed for the other consuming shots. Preserve the supplied subdued illumination; the restrained warm accent belongs to S64_Shot27 rather than a new permanent fixture. No additional state cues are committed.",
            "negative_continuity_directive": "No ignored numbered elements or ignored overlay markers are listed. Avoid relocating markers 4, 5, 6, or 8 to satisfy different shot compositions. Avoid treating marker 9 as permanent structure or baking its S64_Shot27 placement into every consuming shot. Do not force markers 3, 4, or 6 into the chosen view, infer opening adjacency from visibility supersets, or merge the three shot-specific subject arrangements."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [8, 4]\n  - look_at_unit: 7\n  - look_at_cell: [0, 9]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad coverage from unit 2 toward marker 8 in unit 7, across unit 1. Both coordinates are exact copies from the candidate arrays for camera unit 2. This is a representative spatial plate; the supplied discrete geometry does not encode the distinct heights and subject-relative axes of all three consuming shots.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward portion of unit 1 toward unit 7 from unit 2, with marker 8 retained against the north wall within unit 7 and marker 5 retained south of unit 7. Respect actual occlusion rather than treating visibility supersets as guarantees. Markers 3, 4, and 6 retain their floor-plan positions but must not be forced into this forward view. No opening adjacency is established by the readback.\n  - camera_framing_directive: Use camera unit 2 at [8, 4], looking toward unit 7 at [0, 9], with a wide lens and 90-degree field of view. Maintain broad spatial coverage toward marker 8. Do not reinterpret this geometry as the close framing of S64_Shot18 or as a committed elevated viewpoint for S64_Shot27; those exact shot-specific framings are not represented by this camera candidate.\n  - subject_position_directive: Keep the consuming-shot compositions separate rather than combining their subjects or poses into one tableau. S64_Shot9 commits a cropped near shoulder and chest at the left foreground edge and a crouched counterpart center-right. S64_Shot18 commits portions of two seated torsos, a fingertip left of center, and a chest target just right of center with a visible gap. S64_Shot27 commits a seated subject upper-left and the revealed small subjects lower-right near marker 8. No exact subject grid cells are supplied, so do not invent fixed subject placements in the shared spatial plate.\n  - state_cue_directive: This BG is not marked clean. Account for transient marker 9 separately from persistent marker 8: S64_Shot27 commits the cover shifted aside at the frame periphery while marker 8 remains fixed. Do not assume that reveal state is committed for the other consuming shots. Preserve the supplied subdued illumination; the restrained warm accent belongs to S64_Shot27 rather than a new permanent fixture. No additional state cues are committed.\n  - negative_continuity_directive: No ignored numbered elements or ignored overlay markers are listed. Avoid relocating markers 4, 5, 6, or 8 to satisfy different shot compositions. Avoid treating marker 9 as permanent structure or baking its S64_Shot27 placement into every consuming shot. Do not force markers 3, 4, or 6 into the chosen view, infer opening adjacency from visibility supersets, or merge the three shot-specific subject arrangements.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [8, 4]\n  - look_at_unit: 7\n  - look_at_cell: [0, 9]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad coverage from unit 2 toward marker 8 in unit 7, across unit 1. Both coordinates are exact copies from the candidate arrays for camera unit 2. This is a representative spatial plate; the supplied discrete geometry does not encode the distinct heights and subject-relative axes of all three consuming shots.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward portion of unit 1 toward unit 7 from unit 2, with marker 8 retained against the north wall within unit 7 and marker 5 retained south of unit 7. Respect actual occlusion rather than treating visibility supersets as guarantees. Markers 3, 4, and 6 retain their floor-plan positions but must not be forced into this forward view. No opening adjacency is established by the readback.\n  - camera_framing_directive: Use camera unit 2 at [8, 4], looking toward unit 7 at [0, 9], with a wide lens and 90-degree field of view. Maintain broad spatial coverage toward marker 8. Do not reinterpret this geometry as the close framing of S64_Shot18 or as a committed elevated viewpoint for S64_Shot27; those exact shot-specific framings are not represented by this camera candidate.\n  - subject_position_directive: Keep the consuming-shot compositions separate rather than combining their subjects or poses into one tableau. S64_Shot9 commits a cropped near shoulder and chest at the left foreground edge and a crouched counterpart center-right. S64_Shot18 commits portions of two seated torsos, a fingertip left of center, and a chest target just right of center with a visible gap. S64_Shot27 commits a seated subject upper-left and the revealed small subjects lower-right near marker 8. No exact subject grid cells are supplied, so do not invent fixed subject placements in the shared spatial plate.\n  - state_cue_directive: This BG is not marked clean. Account for transient marker 9 separately from persistent marker 8: S64_Shot27 commits the cover shifted aside at the frame periphery while marker 8 remains fixed. Do not assume that reveal state is committed for the other consuming shots. Preserve the supplied subdued illumination; the restrained warm accent belongs to S64_Shot27 rather than a new permanent fixture. No additional state cues are committed.\n  - negative_continuity_directive: No ignored numbered elements or ignored overlay markers are listed. Avoid relocating markers 4, 5, 6, or 8 to satisfy different shot compositions. Avoid treating marker 9 as permanent structure or baking its S64_Shot27 placement into every consuming shot. Do not force markers 3, 4, or 6 into the chosen view, infer opening adjacency from visibility supersets, or merge the three shot-specific subject arrangements.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [8, 4]\n  - look_at_unit: 7\n  - look_at_cell: [0, 9]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad coverage from unit 2 toward marker 8 in unit 7, across unit 1. Both coordinates are exact copies from the candidate arrays for camera unit 2. This is a representative spatial plate; the supplied discrete geometry does not encode the distinct heights and subject-relative axes of all three consuming shots.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward portion of unit 1 toward unit 7 from unit 2, with marker 8 retained against the north wall within unit 7 and marker 5 retained south of unit 7. Respect actual occlusion rather than treating visibility supersets as guarantees. Markers 3, 4, and 6 retain their floor-plan positions but must not be forced into this forward view. No opening adjacency is established by the readback.\n  - camera_framing_directive: Use camera unit 2 at [8, 4], looking toward unit 7 at [0, 9], with a wide lens and 90-degree field of view. Maintain broad spatial coverage toward marker 8. Do not reinterpret this geometry as the close framing of S64_Shot18 or as a committed elevated viewpoint for S64_Shot27; those exact shot-specific framings are not represented by this camera candidate.\n  - subject_position_directive: Keep the consuming-shot compositions separate rather than combining their subjects or poses into one tableau. S64_Shot9 commits a cropped near shoulder and chest at the left foreground edge and a crouched counterpart center-right. S64_Shot18 commits portions of two seated torsos, a fingertip left of center, and a chest target just right of center with a visible gap. S64_Shot27 commits a seated subject upper-left and the revealed small subjects lower-right near marker 8. No exact subject grid cells are supplied, so do not invent fixed subject placements in the shared spatial plate.\n  - state_cue_directive: This BG is not marked clean. Account for transient marker 9 separately from persistent marker 8: S64_Shot27 commits the cover shifted aside at the frame periphery while marker 8 remains fixed. Do not assume that reveal state is committed for the other consuming shots. Preserve the supplied subdued illumination; the restrained warm accent belongs to S64_Shot27 rather than a new permanent fixture. No additional state cues are committed.\n  - negative_continuity_directive: No ignored numbered elements or ignored overlay markers are listed. Avoid relocating markers 4, 5, 6, or 8 to satisfy different shot compositions. Avoid treating marker 9 as permanent structure or baking its S64_Shot27 placement into every consuming shot. Do not force markers 3, 4, or 6 into the chosen view, infer opening adjacency from visibility supersets, or merge the three shot-specific subject arrangements.\n\n대한민국의 오래된 산업용 폐창고 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 2069년의 자원 부족 환경에서 오래된 창고와 재사용하던 대형 기계 부품이 함께 남아 있는 현실적인 장소다. 실제 콘크리트의 거친 표면과 오래된 얼룩, 금속의 산화와 마찰 자국, 상자 표면의 닳은 질감을 세밀하지만 과장 없이 담는다. 새로 정비된 전시장이나 매끈한 미래 시설처럼 만들지 않는다.\n카메라는 남쪽 중앙의 반쯤 열린 출입문을 막 지나 문턱 서쪽에 있으며, 약 1.6미터의 서 있는 사람 눈높이에서 북북동쪽을 바라본다. 35밀리미터 규격의 실제 미러리스 카메라와 28밀리미터 광각 렌즈를 사용한 자연스러운 원근감으로, 남북으로 이어지는 중앙 통로와 양옆의 기계 보관 구역, 뒤쪽 양 모서리가 함께 읽히게 한다. 바닥을 내려다보는 시점이 아니라 공간 안에서 바라본 수평에 가까운 구도이며, 자연스러운 피사계 심도로 뒤쪽 구석의 위치도 알아볼 수 있다.\n직사각형 창고의 중앙 통로는 비워져 있다. 서쪽 중간과 동쪽 중간에는 거대한 기계 부품이 보관되어 있고, 북서쪽 벽 모서리에는 고장 난 로봇 부품 더미가 있다. 이 더미는 얼굴이나 온전한 신체 윤곽이 없는 금속 외장 조각과 기계 부속의 집적으로 표현한다. 북동쪽에는 동쪽 기계 보관 구역 뒤로 숨은 작은 은신 공간이 있으며, 중앙 통로 쪽으로 열려 있다. 그 안 북쪽 벽에 붙은 둥지 용기의 위치는 고정한다.\n이동식 가림 상자는 둥지 용기 앞에서 내부를 가린다. 기본 사진에서는 상자로 가려진 상태를 촬영한다. 둥지가 공개된 상태를 촬영할 때만 같은 가림 상자를 은신 공간 안의 옆자리로 옮겨 고정된 용기 속 둥지가 보이게 하며, 두 상태를 한 화면에 중복해서 배치하지 않는다. 둥지와 용기는 옮기지 않는다.\n낮이지만 내부는 어둡고 정적이다. 남쪽의 반쯤 열린 문으로 들어오는 실제 외광이 문턱과 중앙 통로 가까운 바닥을 밝히고, 안쪽으로 갈수록 약해진 간접광만 남는다. 기계의 모서리에는 은은한 반사광이 맺히고 은신 구석은 깊은 그늘 속에서도 재질과 경계를 겨우 구분할 수 있다. 인공적인 발광이나 과장된 광선 없이 실제 실내외 노출 차이를 유지한다. 사람, 얼굴, 신체 형태의 형상, 새를 포함한 생물은 없는 배경만 촬영한다. 실제 장소 기록 사진과 구별할 수 없는 물성과 자연광을 유지하며, 삽화나 컴퓨터 생성 영상, 건축 시각화, 평면도, 부감도가 아니다. 과도한 보정이나 광고 사진 같은 정돈된 연출 없이 촬영한다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 2,
          "camera_cell": [
            8,
            4
          ],
          "look_at_unit": 7,
          "look_at_cell": [
            0,
            9
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad coverage from unit 2 toward marker 8 in unit 7, across unit 1. Both coordinates are exact copies from the candidate arrays for camera unit 2. This is a representative spatial plate; the supplied discrete geometry does not encode the distinct heights and subject-relative axes of all three consuming shots."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Show the forward portion of unit 1 toward unit 7 from unit 2, with marker 8 retained against the north wall within unit 7 and marker 5 retained south of unit 7. Respect actual occlusion rather than treating visibility supersets as guarantees. Markers 3, 4, and 6 retain their floor-plan positions but must not be forced into this forward view. No opening adjacency is established by the readback.",
          "camera_framing_directive": "Use camera unit 2 at [8, 4], looking toward unit 7 at [0, 9], with a wide lens and 90-degree field of view. Maintain broad spatial coverage toward marker 8. Do not reinterpret this geometry as the close framing of S64_Shot18 or as a committed elevated viewpoint for S64_Shot27; those exact shot-specific framings are not represented by this camera candidate.",
          "subject_position_directive": "Keep the consuming-shot compositions separate rather than combining their subjects or poses into one tableau. S64_Shot9 commits a cropped near shoulder and chest at the left foreground edge and a crouched counterpart center-right. S64_Shot18 commits portions of two seated torsos, a fingertip left of center, and a chest target just right of center with a visible gap. S64_Shot27 commits a seated subject upper-left and the revealed small subjects lower-right near marker 8. No exact subject grid cells are supplied, so do not invent fixed subject placements in the shared spatial plate.",
          "state_cue_directive": "This BG is not marked clean. Account for transient marker 9 separately from persistent marker 8: S64_Shot27 commits the cover shifted aside at the frame periphery while marker 8 remains fixed. Do not assume that reveal state is committed for the other consuming shots. Preserve the supplied subdued illumination; the restrained warm accent belongs to S64_Shot27 rather than a new permanent fixture. No additional state cues are committed.",
          "negative_continuity_directive": "No ignored numbered elements or ignored overlay markers are listed. Avoid relocating markers 4, 5, 6, or 8 to satisfy different shot compositions. Avoid treating marker 9 as permanent structure or baking its S64_Shot27 placement into every consuming shot. Do not force markers 3, 4, or 6 into the chosen view, infer opening adjacency from visibility supersets, or merge the three shot-specific subject arrangements."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_warehouse_interior",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_warehouse_interior"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L100B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L100",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L100B01.png",
        "t2i_prompt": "2069년 대한민국의 오래된 백화점 외부를 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 낮의 고요한 폐허이며, 한국의 대형 상업건물에 쓰이던 철근콘크리트 외벽의 두께와 규모감이 자연스럽게 드러난다. 참고 평면도는 공간의 배치와 기존 구조물의 관계만 파악하는 자료로 사용한다. 사진은 평면도나 수직으로 내려다보는 구도가 아닌, 현장에 서서 바라본 입체적인 시점이다.\n\n건물은 공간 북쪽에 자리하며 사진 바깥으로 이어진다. 남쪽 외벽 중앙에는 진입할 수 있는 틈새가 있고 그 양쪽에 반쯤 붕괴된 외벽이 남아 있다. 그 바로 남쪽의 진입 문턱으로 앞마당 남쪽에서 굽이쳐 올라오는 접근로가 연결된다. 동쪽 외벽에 인접한 북동쪽의 기존 잔해 지형은 높게 솟아 있으며, 그 남쪽 가장자리의 높은 지점에서 북서쪽 외벽 틈새를 비스듬히 내려다본다. 카메라는 이 높은 발 디딤면에서 약 1.6미터 높이에 놓고, 35밀리미터 광각 렌즈로 촬영한다. 가까운 잔해와 구조물 아래 깊은 그늘을 화면 가장자리에 포함하되, 아래쪽 진입 틈새와 문턱, 이어지는 접근로를 분명하게 볼 수 있게 한다.\n\n넓은 화면 안에 접근로 서쪽의 남서쪽 웅덩이와, 접근로와 동쪽 식생 사이의 웅덩이를 함께 담는다. 서쪽 웅덩이 북쪽에는 무성한 나무가 자라고, 동쪽 나무 군락은 높은 잔해 지점 남쪽이자 동쪽 웅덩이 동편에 자리한다. 진입 문턱 서쪽 가장자리와 접근로 상단 옆에는 꽃이 모여 피어 있으며, 서쪽 나무 군락과 접근로 사이의 지면에는 이끼가 덮여 있다. 식생은 실제 한국의 야외에서 자란 듯 불규칙한 밀도와 크기를 지닌다. 공간은 기존 상태 그대로 고요하고 흐트러짐 없이 유지되어 있다.\n\n자연광을 받은 앞마당과 가까운 깊은 그늘의 밝기 차이를 실제 카메라의 노출처럼 표현하고, 그늘에서도 구조물 표면과 아래 진입부가 읽히도록 한다. 콘크리트의 거친 골재와 오래된 풍화, 습기에 밴 재질의 색 차이, 이끼의 촉촉한 표면, 나무껍질과 잎맥, 웅덩이에 비친 낮 하늘을 사실적으로 기록한다. 초록 잎과 꽃의 색은 과장 없이 자연스럽게 보이고, 공간의 깊이와 식생 위치를 알아볼 수 있는 자연스러운 피사계 심도를 유지한다. 인물, 얼굴, 인체 형태의 형상은 전혀 없는 배경만 촬영한다. 과도한 보정이나 인공적인 미화 없이 실제 장소 기록 사진과 구별되지 않는 질감과 광학적 원근감. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S65_Shot4",
            "guide_text": "공통 배경의 넓은 구도를 기준으로 사용한다. 높은 잔해 지점의 그늘에서 아래 진입 틈새와 문턱, 굽이치는 접근로가 연결되어 보이게 하며, 두 웅덩이와 양쪽 나무 군락, 문턱 서쪽 꽃밭의 공간 관계를 유지한다. 배경에는 인물이나 휴대 소품을 포함하지 않는다."
          },
          {
            "shot_id": "S65_Shot11",
            "guide_text": "같은 카메라 위치와 높이, 방향을 유지한다. 좁은 구도가 필요하면 공통 배경을 잘라 사용하고, 배경 구조물이나 식생을 옮겨 재배치하지 않는다. 확대된 구도에서도 동일한 나무와 이끼, 꽃의 위치 및 낮 자연광이 이어지게 하며, 휴대 측정기는 배경에 그리지 않는다."
          },
          {
            "shot_id": "S65_Shot17",
            "guide_text": "같은 높은 잔해 지점에서 촬영한 배경을 사용하고, 근접 구도는 화면을 잘라 조정한다. 전경을 위한 구도에서도 뒤쪽 식생의 종류와 위치, 진입 틈새의 방향, 그늘과 햇빛의 관계를 바꾸지 않는다. 얼굴이나 인체 형태, 가면은 배경에 포함하지 않는다."
          }
        ],
        "shot_ids": [
          "S65_Shot4",
          "S65_Shot11",
          "S65_Shot17"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_2",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "At number 8 (rubble lookout), looking obliquely downward and northwest toward number 4 (facade breach), with number 3 (threshold) and number 2 (approach) below; include the surrounding pools and vegetation in the wider reference frame.",
          "camera_height": "Eye-level relative to the elevated rubble lookout; absolute elevation is unspecified, but clearly above the entrance threshold.",
          "lens_hint": "28–35mm wide angle for the shared background master",
          "framing_notes": "Use this same camera setup for all assigned shots, with tighter crops rather than relocated background geometry. Keep the lower breach readable from the sheltered lookout and preserve the positions of numbers 11–14 behind close-up foreground subjects. The background may show daylight and shelter beneath broken structure, but the floor plan itself must not draw shadows. Do not bake people, the handheld meter, or masks into the background."
        },
        "reference_decision": {
          "bg_id": "L100B01",
          "fp_id": "fp_store_exterior",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L100B01 is the sole clean anchor candidate and the sole readiness-ok BG. Seed its fixed identity directly from the floor plan; no reference catalog entries exist. Camera unit 8 with wide coverage toward opening marker 4 at the boundary of unit 1 best supports S65_Shot17's explicit foreground-to-opening spatial contract. S65_Shot4 and S65_Shot11 supply close-detail continuity requirements, not additional simultaneous views; their downward and upward framings cannot both be represented by this single committed camera.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/floor_plan/fp_store_exterior.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "This first node establishes the same-fp identity from the floor plan without prior background references.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 8,
            "camera_cell": [
              5,
              8
            ],
            "look_at_unit": 1,
            "look_at_cell": [
              2,
              4
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad oblique coverage from unit 8 toward unit 1, targeting opening marker 4 with the verbatim look-at candidate. Prioritize S65_Shot17's elevated over-shoulder staging and lower-right opening contract. The look-at cell identifies the opening boundary rather than unit 1's marker center; candidate coordinates take precedence over the direction-record endpoint."
          },
          "render_guidance": {
            "visible_space_directive": "Establish unit 8 as the camera-side foreground, with unit 3 and opening marker 4 leading toward unit 1. Keep the visible portions of units 5 and 6 in their base-plan positions on opposite sides of marker 4. Include only portions of other base markers that fall within this oblique wide view; the visible-unit supersets do not require all markers 1–14 to appear, and they do not establish unobstructed visibility through unit 1.",
            "camera_framing_directive": "Use camera unit 8 at [5, 8], looking toward unit 1 at the supplied boundary target [2, 4], with wide 90-degree coverage. Apply the elevated, downward-looking framing committed by S65_Shot17, preserving foreground separation and its lower-right placement requirement for marker 4. Treat the close framings of S65_Shot4 and S65_Shot11 as separate consuming-shot requirements rather than combining their opposing vertical views into this plate.",
            "subject_position_directive": "Keep the clean background plate subject-free while reserving S65_Shot17's committed composition: the back-facing observer occupies the left foreground at unit 8, and the entering pair occupy lower right at marker 4, whose near edge conceals approximately half of each body. Preserve separation so the foreground shoulder would not block either figure. S65_Shot4 commits a supporting hand below its central detail with the face outside the crop; S65_Shot11 commits a face center-right and upper chest along the lower edge. These are consuming-shot subject cues, not additional subjects to bake into this plate.",
            "state_cue_directive": "No committed transient-marker state cue beyond \"clean residential space\" applies; refrain from inventing additional cues. This clean-background designation does not erase the base structure: retain the partly collapsed condition and open passage committed by the consuming shots and base markers. Use the supplied daytime context, with S65_Shot17's foreground shadow contrasting with the more readable opening. Keep S65_Shot4's zero-reading detail and the subjects' actions as shot-specific layers rather than fixed background changes.",
            "negative_continuity_directive": "No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating marker 4 or changing its relationship to units 1, 3, 5 and 6. Avoid forcing every marker in the visibility supersets into the frame, exposing unsupported portions of unit 1, or importing the incompatible close-shot framing into this camera view. Do not bake subject layers into L100B01 or invent additional overlay markers."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 8\n  - camera_cell: [5, 8]\n  - look_at_unit: 1\n  - look_at_cell: [2, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad oblique coverage from unit 8 toward unit 1, targeting opening marker 4 with the verbatim look-at candidate. Prioritize S65_Shot17's elevated over-shoulder staging and lower-right opening contract. The look-at cell identifies the opening boundary rather than unit 1's marker center; candidate coordinates take precedence over the direction-record endpoint.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 8 as the camera-side foreground, with unit 3 and opening marker 4 leading toward unit 1. Keep the visible portions of units 5 and 6 in their base-plan positions on opposite sides of marker 4. Include only portions of other base markers that fall within this oblique wide view; the visible-unit supersets do not require all markers 1–14 to appear, and they do not establish unobstructed visibility through unit 1.\n  - camera_framing_directive: Use camera unit 8 at [5, 8], looking toward unit 1 at the supplied boundary target [2, 4], with wide 90-degree coverage. Apply the elevated, downward-looking framing committed by S65_Shot17, preserving foreground separation and its lower-right placement requirement for marker 4. Treat the close framings of S65_Shot4 and S65_Shot11 as separate consuming-shot requirements rather than combining their opposing vertical views into this plate.\n  - subject_position_directive: Keep the clean background plate subject-free while reserving S65_Shot17's committed composition: the back-facing observer occupies the left foreground at unit 8, and the entering pair occupy lower right at marker 4, whose near edge conceals approximately half of each body. Preserve separation so the foreground shoulder would not block either figure. S65_Shot4 commits a supporting hand below its central detail with the face outside the crop; S65_Shot11 commits a face center-right and upper chest along the lower edge. These are consuming-shot subject cues, not additional subjects to bake into this plate.\n  - state_cue_directive: No committed transient-marker state cue beyond \"clean residential space\" applies; refrain from inventing additional cues. This clean-background designation does not erase the base structure: retain the partly collapsed condition and open passage committed by the consuming shots and base markers. Use the supplied daytime context, with S65_Shot17's foreground shadow contrasting with the more readable opening. Keep S65_Shot4's zero-reading detail and the subjects' actions as shot-specific layers rather than fixed background changes.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating marker 4 or changing its relationship to units 1, 3, 5 and 6. Avoid forcing every marker in the visibility supersets into the frame, exposing unsupported portions of unit 1, or importing the incompatible close-shot framing into this camera view. Do not bake subject layers into L100B01 or invent additional overlay markers.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 8\n  - camera_cell: [5, 8]\n  - look_at_unit: 1\n  - look_at_cell: [2, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad oblique coverage from unit 8 toward unit 1, targeting opening marker 4 with the verbatim look-at candidate. Prioritize S65_Shot17's elevated over-shoulder staging and lower-right opening contract. The look-at cell identifies the opening boundary rather than unit 1's marker center; candidate coordinates take precedence over the direction-record endpoint.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 8 as the camera-side foreground, with unit 3 and opening marker 4 leading toward unit 1. Keep the visible portions of units 5 and 6 in their base-plan positions on opposite sides of marker 4. Include only portions of other base markers that fall within this oblique wide view; the visible-unit supersets do not require all markers 1–14 to appear, and they do not establish unobstructed visibility through unit 1.\n  - camera_framing_directive: Use camera unit 8 at [5, 8], looking toward unit 1 at the supplied boundary target [2, 4], with wide 90-degree coverage. Apply the elevated, downward-looking framing committed by S65_Shot17, preserving foreground separation and its lower-right placement requirement for marker 4. Treat the close framings of S65_Shot4 and S65_Shot11 as separate consuming-shot requirements rather than combining their opposing vertical views into this plate.\n  - subject_position_directive: Keep the clean background plate subject-free while reserving S65_Shot17's committed composition: the back-facing observer occupies the left foreground at unit 8, and the entering pair occupy lower right at marker 4, whose near edge conceals approximately half of each body. Preserve separation so the foreground shoulder would not block either figure. S65_Shot4 commits a supporting hand below its central detail with the face outside the crop; S65_Shot11 commits a face center-right and upper chest along the lower edge. These are consuming-shot subject cues, not additional subjects to bake into this plate.\n  - state_cue_directive: No committed transient-marker state cue beyond \"clean residential space\" applies; refrain from inventing additional cues. This clean-background designation does not erase the base structure: retain the partly collapsed condition and open passage committed by the consuming shots and base markers. Use the supplied daytime context, with S65_Shot17's foreground shadow contrasting with the more readable opening. Keep S65_Shot4's zero-reading detail and the subjects' actions as shot-specific layers rather than fixed background changes.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating marker 4 or changing its relationship to units 1, 3, 5 and 6. Avoid forcing every marker in the visibility supersets into the frame, exposing unsupported portions of unit 1, or importing the incompatible close-shot framing into this camera view. Do not bake subject layers into L100B01 or invent additional overlay markers.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 8\n  - camera_cell: [5, 8]\n  - look_at_unit: 1\n  - look_at_cell: [2, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad oblique coverage from unit 8 toward unit 1, targeting opening marker 4 with the verbatim look-at candidate. Prioritize S65_Shot17's elevated over-shoulder staging and lower-right opening contract. The look-at cell identifies the opening boundary rather than unit 1's marker center; candidate coordinates take precedence over the direction-record endpoint.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 8 as the camera-side foreground, with unit 3 and opening marker 4 leading toward unit 1. Keep the visible portions of units 5 and 6 in their base-plan positions on opposite sides of marker 4. Include only portions of other base markers that fall within this oblique wide view; the visible-unit supersets do not require all markers 1–14 to appear, and they do not establish unobstructed visibility through unit 1.\n  - camera_framing_directive: Use camera unit 8 at [5, 8], looking toward unit 1 at the supplied boundary target [2, 4], with wide 90-degree coverage. Apply the elevated, downward-looking framing committed by S65_Shot17, preserving foreground separation and its lower-right placement requirement for marker 4. Treat the close framings of S65_Shot4 and S65_Shot11 as separate consuming-shot requirements rather than combining their opposing vertical views into this plate.\n  - subject_position_directive: Keep the clean background plate subject-free while reserving S65_Shot17's committed composition: the back-facing observer occupies the left foreground at unit 8, and the entering pair occupy lower right at marker 4, whose near edge conceals approximately half of each body. Preserve separation so the foreground shoulder would not block either figure. S65_Shot4 commits a supporting hand below its central detail with the face outside the crop; S65_Shot11 commits a face center-right and upper chest along the lower edge. These are consuming-shot subject cues, not additional subjects to bake into this plate.\n  - state_cue_directive: No committed transient-marker state cue beyond \"clean residential space\" applies; refrain from inventing additional cues. This clean-background designation does not erase the base structure: retain the partly collapsed condition and open passage committed by the consuming shots and base markers. Use the supplied daytime context, with S65_Shot17's foreground shadow contrasting with the more readable opening. Keep S65_Shot4's zero-reading detail and the subjects' actions as shot-specific layers rather than fixed background changes.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating marker 4 or changing its relationship to units 1, 3, 5 and 6. Avoid forcing every marker in the visibility supersets into the frame, exposing unsupported portions of unit 1, or importing the incompatible close-shot framing into this camera view. Do not bake subject layers into L100B01 or invent additional overlay markers.\n\n2069년 대한민국의 오래된 백화점 외부를 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 낮의 고요한 폐허이며, 한국의 대형 상업건물에 쓰이던 철근콘크리트 외벽의 두께와 규모감이 자연스럽게 드러난다. 참고 평면도는 공간의 배치와 기존 구조물의 관계만 파악하는 자료로 사용한다. 사진은 평면도나 수직으로 내려다보는 구도가 아닌, 현장에 서서 바라본 입체적인 시점이다.\n\n건물은 공간 북쪽에 자리하며 사진 바깥으로 이어진다. 남쪽 외벽 중앙에는 진입할 수 있는 틈새가 있고 그 양쪽에 반쯤 붕괴된 외벽이 남아 있다. 그 바로 남쪽의 진입 문턱으로 앞마당 남쪽에서 굽이쳐 올라오는 접근로가 연결된다. 동쪽 외벽에 인접한 북동쪽의 기존 잔해 지형은 높게 솟아 있으며, 그 남쪽 가장자리의 높은 지점에서 북서쪽 외벽 틈새를 비스듬히 내려다본다. 카메라는 이 높은 발 디딤면에서 약 1.6미터 높이에 놓고, 35밀리미터 광각 렌즈로 촬영한다. 가까운 잔해와 구조물 아래 깊은 그늘을 화면 가장자리에 포함하되, 아래쪽 진입 틈새와 문턱, 이어지는 접근로를 분명하게 볼 수 있게 한다.\n\n넓은 화면 안에 접근로 서쪽의 남서쪽 웅덩이와, 접근로와 동쪽 식생 사이의 웅덩이를 함께 담는다. 서쪽 웅덩이 북쪽에는 무성한 나무가 자라고, 동쪽 나무 군락은 높은 잔해 지점 남쪽이자 동쪽 웅덩이 동편에 자리한다. 진입 문턱 서쪽 가장자리와 접근로 상단 옆에는 꽃이 모여 피어 있으며, 서쪽 나무 군락과 접근로 사이의 지면에는 이끼가 덮여 있다. 식생은 실제 한국의 야외에서 자란 듯 불규칙한 밀도와 크기를 지닌다. 공간은 기존 상태 그대로 고요하고 흐트러짐 없이 유지되어 있다.\n\n자연광을 받은 앞마당과 가까운 깊은 그늘의 밝기 차이를 실제 카메라의 노출처럼 표현하고, 그늘에서도 구조물 표면과 아래 진입부가 읽히도록 한다. 콘크리트의 거친 골재와 오래된 풍화, 습기에 밴 재질의 색 차이, 이끼의 촉촉한 표면, 나무껍질과 잎맥, 웅덩이에 비친 낮 하늘을 사실적으로 기록한다. 초록 잎과 꽃의 색은 과장 없이 자연스럽게 보이고, 공간의 깊이와 식생 위치를 알아볼 수 있는 자연스러운 피사계 심도를 유지한다. 인물, 얼굴, 인체 형태의 형상은 전혀 없는 배경만 촬영한다. 과도한 보정이나 인공적인 미화 없이 실제 장소 기록 사진과 구별되지 않는 질감과 광학적 원근감. 16:9 가로 비율, 실제 카메라 촬영본\n\nThe LAST attached image is a TOP-DOWN INTERIOR FLOOR PLAN of the building at this location — a STRUCTURAL REFERENCE ONLY, never content to draw. It defines the building's real scale: its footprint, room count, and the placement of its doors and windows. Render the scene so the building's exterior size, number of storeys, and the scale and placement of its doors and windows stay consistent with that plan. Do NOT draw the floor plan itself, its lines, text or numbers anywhere in the image.",
        "camera_decision": {
          "camera_unit": 8,
          "camera_cell": [
            5,
            8
          ],
          "look_at_unit": 1,
          "look_at_cell": [
            2,
            4
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad oblique coverage from unit 8 toward unit 1, targeting opening marker 4 with the verbatim look-at candidate. Prioritize S65_Shot17's elevated over-shoulder staging and lower-right opening contract. The look-at cell identifies the opening boundary rather than unit 1's marker center; candidate coordinates take precedence over the direction-record endpoint."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Establish unit 8 as the camera-side foreground, with unit 3 and opening marker 4 leading toward unit 1. Keep the visible portions of units 5 and 6 in their base-plan positions on opposite sides of marker 4. Include only portions of other base markers that fall within this oblique wide view; the visible-unit supersets do not require all markers 1–14 to appear, and they do not establish unobstructed visibility through unit 1.",
          "camera_framing_directive": "Use camera unit 8 at [5, 8], looking toward unit 1 at the supplied boundary target [2, 4], with wide 90-degree coverage. Apply the elevated, downward-looking framing committed by S65_Shot17, preserving foreground separation and its lower-right placement requirement for marker 4. Treat the close framings of S65_Shot4 and S65_Shot11 as separate consuming-shot requirements rather than combining their opposing vertical views into this plate.",
          "subject_position_directive": "Keep the clean background plate subject-free while reserving S65_Shot17's committed composition: the back-facing observer occupies the left foreground at unit 8, and the entering pair occupy lower right at marker 4, whose near edge conceals approximately half of each body. Preserve separation so the foreground shoulder would not block either figure. S65_Shot4 commits a supporting hand below its central detail with the face outside the crop; S65_Shot11 commits a face center-right and upper chest along the lower edge. These are consuming-shot subject cues, not additional subjects to bake into this plate.",
          "state_cue_directive": "No committed transient-marker state cue beyond \"clean residential space\" applies; refrain from inventing additional cues. This clean-background designation does not erase the base structure: retain the partly collapsed condition and open passage committed by the consuming shots and base markers. Use the supplied daytime context, with S65_Shot17's foreground shadow contrasting with the more readable opening. Keep S65_Shot4's zero-reading detail and the subjects' actions as shot-specific layers rather than fixed background changes.",
          "negative_continuity_directive": "No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating marker 4 or changing its relationship to units 1, 3, 5 and 6. Avoid forcing every marker in the visibility supersets into the frame, exposing unsupported portions of unit 1, or importing the incompatible close-shot framing into this camera view. Do not bake subject layers into L100B01 or invent additional overlay markers."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_store_exterior",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_store_exterior",
            "building_fp:fp_store_ground_floor"
          ],
          "ref_used": "refs_2",
          "db_write_policy": "checkpoint_only"
        },
        "building_fp_ref": {
          "fp_id": "fp_store_ground_floor",
          "indoor_loc_sid": "L101",
          "group_id": "bg_collapsed_department_store",
          "fp_asset_id": "0e61c7d9-e7db-4118-8ba5-92786ca6588f"
        }
      },
      "L101B02": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L101",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L101B02.png",
        "t2i_prompt": "2069년 대한민국의 지진 피해를 입은 낡은 상업시설 1층 내부를 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 기존 철근콘크리트 상업건물의 현실적인 구조와 오래 사용한 금속 마감을 유지한다. 실재 장소의 기록 사진처럼 콘크리트의 거친 골재, 오래된 표면 얼룩, 에스컬레이터 금속 표면의 마모와 산화를 자연스럽게 보여준다. 인물, 얼굴, 신체 일부, 사람 형태의 형상은 전혀 없는 배경이다.\n\n배치 참고 이미지에 있는 공간 관계를 따른다. 중앙과 남쪽의 1층 통행 공간에서 북쪽으로 에스컬레이터 진입부가 이어지고, 그 뒤에는 남북 방향으로 놓인 하행 에스컬레이터가 있다. 북쪽 접근 공간 양옆에 남은 서쪽과 동쪽 벽체가 보인다. 통행 공간 동쪽에는 바닥 슬래브가 띠처럼 남아 있으며, 그 바깥 동쪽 외벽의 틈으로 약한 자연광이 들어온다. 카메라는 이 남은 바닥의 남쪽 구간에서 북서쪽을 바라본다. 바닥 위 약 1.2미터의 낮춘 서 있는 시점, 35밀리미터 판형 미러리스 카메라의 28밀리미터 광각 렌즈로 촬영한다. 가까운 바닥 가장자리와 그 아래 공간을 함께 담도록 약간 아래로 기울이되, 뒤쪽 에스컬레이터 진입부와 벽체가 보여 공간의 깊이를 읽을 수 있게 한다. 수직으로 내려다보는 시점이나 평면도 구도가 아니다.\n\n통행 공간의 중앙 북쪽, 에스컬레이터 진입부 바로 남쪽이자 동쪽 잔존 슬래브 바로 서쪽에서 바닥이 막 추가로 무너지고 있다. 새로 열린 불규칙한 구멍과 하중을 잃고 꺾이는 가장자리, 슬래브에서 분리되어 아래로 떨어지는 콘크리트 조각을 한순간의 실제 사진처럼 포착한다. 거친 파단면에는 슬래브의 두께와 골재가 드러난다. 화면 가까이에 아직 이어져 있는 단단한 바닥 가장자리를 충분히 확보하고, 바로 옆에는 부서지는 경계와 아래로 열린 어두운 낙하 공간을 분명히 구분한다. 구멍 아래는 빛이 닿는 상단 단면에서 깊은 어둠으로 자연스럽게 이어지며 바닥이 보이지 않는다.\n\n동쪽 외벽 틈의 희미한 자연광과 화면 밖 손전등에서 닿는 제한적인 빛만으로 공간을 밝힌다. 빛이 닿은 파단면은 재질을 읽을 수 있지만 깊은 구멍과 뒤쪽 내부는 어둡게 남긴다. 실제 저조도 촬영의 자연스러운 명암과 심도, 가까운 슬래브 가장자리에 맞춘 초점, 절제된 배경 흐림을 사용한다. 과도한 보정 없이 실제 현장 기록 사진과 구별되지 않는 재질과 노출을 유지하며, 삽화나 컴퓨터 합성 이미지, 건축 시각화처럼 표현하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S66_Shot9",
            "guide_text": "동쪽에 남은 슬래브의 남쪽 구간에서 북서쪽을 보는 낮은 입식 시점을 사용한다. 가까운 화면에는 이어져 있는 바닥 가장자리, 중앙에는 막 무너지는 슬래브 경계와 낙하 중인 조각, 그 아래에는 깊고 어두운 개구부를 확보한다. 뒤쪽 에스컬레이터 진입부와 양옆 벽체를 남겨 위치 관계가 읽히도록 한다. 외벽 틈의 약한 자연광과 화면 밖 손전등 빛으로 가장자리의 두께와 파단면을 구분하며, 인물이나 손 등 신체는 그리지 않는다."
          }
        ],
        "shot_ids": [
          "S66_Shot9"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "On the southern continuation of number 9, facing north-northwest across number 11 toward number 5 and number 6, with the surviving eastern lip close to the camera.",
          "camera_height": "Low standing viewpoint approximately 1.2 m above the surviving ground-floor slab.",
          "lens_hint": "28mm wide angle",
          "framing_notes": "Keep number 9 large enough in the foreground to establish a reachable handhold and supporting floor. Show number 11 actively breaking into an open fall space, with the escalator approach beyond. This is the initial collapse state, not the later enlarged rescue opening. Lighting and falling fragments belong only to the background overlay, never the plan."
        },
        "reference_decision": {
          "bg_id": "L101B02",
          "fp_id": "fp_store_ground_floor",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L101B02 is the sole permitted anchor candidate and establishes identity without a prior reference. The supplied fallback metadata permits this selection despite clean_background_expected=false; marker 11 remains a committed state cue. Camera unit 9 faces toward unit 1 using an allowed look-at coordinate, with neutral coverage supporting the close staging of S66_Shot9. The grid supplies only horizontal coordinates; the shot's above-edge position and downward viewing angle remain staging requirements rather than inferred grid facts.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/floor_plan/fp_store_ground_floor.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The identity anchor is rendered from the base floor plan; the same-fp reference catalog is empty.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 9,
            "camera_cell": [
              5,
              8
            ],
            "look_at_unit": 1,
            "look_at_cell": [
              7,
              3
            ],
            "lens_enum": "normal",
            "fov_deg": 50,
            "framing_notes": "Neutral horizontal coverage from unit 9 toward unit 1, using the permitted aim coordinate at marker 4. This coordinate is an aiming reference, not a requirement to feature marker 4. Apply S66_Shot9's close, obliquely downward framing separately; elevation and the location of marker 11 are not encoded by the grid."
          },
          "render_guidance": {
            "visible_space_directive": "Establish the portion of unit 1 seen from unit 9, retaining base marker 9 as the camera-side structural context. Base markers 1, 5, 6, 7, 8, 9 and 10 define the supplied layout, not a requirement to show every marker in this close view. The visibility lists are supersets and do not establish that openings 3 or 10 appear in this framing.",
            "camera_framing_directive": "Use camera unit 9 at [5, 8], look-at unit 1 with the permitted look-at cell [7, 3], and a normal lens at 50 degrees for neutral coverage. For S66_Shot9, preserve the committed close distance, obliquely downward view, and narrow diagonal floor edge between body levels. Do not interpret the two-dimensional aim coordinate as an elevation specification.",
            "subject_position_directive": "For S66_Shot9, place 수빈's prone shoulder and downward-focused profile at upper left, with both arms extended and both hands locking around 이현우's single wrist centrally. Keep his suspended shoulder and upturned face partly visible below right, with the floor edge separating their body levels and negative space below the wrist. Add no uncommitted subjects.",
            "state_cue_directive": "Carry marker 11, Active initial floor collapse, with the committed Newly broken floor edge and Opening beneath the hands. Preserve the dim ambient illumination and sufficient local contrast for the gripping hands and suspended wrist. This BG is not marked clean; do not replace its committed broken-open state with an intact surface.",
            "negative_continuity_directive": "Exclude ignored overlay markers 12, 13 and 14. Avoid relocating base markers 1, 5, 6, 7, 8, 9 or 10 to fit the close composition. Do not force off-cone units or openings into view or treat visibility supersets as guaranteed co-visibility."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 9\n  - camera_cell: [5, 8]\n  - look_at_unit: 1\n  - look_at_cell: [7, 3]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: \"Neutral horizontal coverage from unit 9 toward unit 1, using the permitted aim coordinate at marker 4. This coordinate is an aiming reference, not a requirement to feature marker 4. Apply S66_Shot9's close, obliquely downward framing separately; elevation and the location of marker 11 are not encoded by the grid.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish the portion of unit 1 seen from unit 9, retaining base marker 9 as the camera-side structural context. Base markers 1, 5, 6, 7, 8, 9 and 10 define the supplied layout, not a requirement to show every marker in this close view. The visibility lists are supersets and do not establish that openings 3 or 10 appear in this framing.\n  - camera_framing_directive: Use camera unit 9 at [5, 8], look-at unit 1 with the permitted look-at cell [7, 3], and a normal lens at 50 degrees for neutral coverage. For S66_Shot9, preserve the committed close distance, obliquely downward view, and narrow diagonal floor edge between body levels. Do not interpret the two-dimensional aim coordinate as an elevation specification.\n  - subject_position_directive: For S66_Shot9, place 수빈's prone shoulder and downward-focused profile at upper left, with both arms extended and both hands locking around 이현우's single wrist centrally. Keep his suspended shoulder and upturned face partly visible below right, with the floor edge separating their body levels and negative space below the wrist. Add no uncommitted subjects.\n  - state_cue_directive: Carry marker 11, Active initial floor collapse, with the committed Newly broken floor edge and Opening beneath the hands. Preserve the dim ambient illumination and sufficient local contrast for the gripping hands and suspended wrist. This BG is not marked clean; do not replace its committed broken-open state with an intact surface.\n  - negative_continuity_directive: Exclude ignored overlay markers 12, 13 and 14. Avoid relocating base markers 1, 5, 6, 7, 8, 9 or 10 to fit the close composition. Do not force off-cone units or openings into view or treat visibility supersets as guaranteed co-visibility.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 9\n  - camera_cell: [5, 8]\n  - look_at_unit: 1\n  - look_at_cell: [7, 3]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: \"Neutral horizontal coverage from unit 9 toward unit 1, using the permitted aim coordinate at marker 4. This coordinate is an aiming reference, not a requirement to feature marker 4. Apply S66_Shot9's close, obliquely downward framing separately; elevation and the location of marker 11 are not encoded by the grid.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish the portion of unit 1 seen from unit 9, retaining base marker 9 as the camera-side structural context. Base markers 1, 5, 6, 7, 8, 9 and 10 define the supplied layout, not a requirement to show every marker in this close view. The visibility lists are supersets and do not establish that openings 3 or 10 appear in this framing.\n  - camera_framing_directive: Use camera unit 9 at [5, 8], look-at unit 1 with the permitted look-at cell [7, 3], and a normal lens at 50 degrees for neutral coverage. For S66_Shot9, preserve the committed close distance, obliquely downward view, and narrow diagonal floor edge between body levels. Do not interpret the two-dimensional aim coordinate as an elevation specification.\n  - subject_position_directive: For S66_Shot9, place 수빈's prone shoulder and downward-focused profile at upper left, with both arms extended and both hands locking around 이현우's single wrist centrally. Keep his suspended shoulder and upturned face partly visible below right, with the floor edge separating their body levels and negative space below the wrist. Add no uncommitted subjects.\n  - state_cue_directive: Carry marker 11, Active initial floor collapse, with the committed Newly broken floor edge and Opening beneath the hands. Preserve the dim ambient illumination and sufficient local contrast for the gripping hands and suspended wrist. This BG is not marked clean; do not replace its committed broken-open state with an intact surface.\n  - negative_continuity_directive: Exclude ignored overlay markers 12, 13 and 14. Avoid relocating base markers 1, 5, 6, 7, 8, 9 or 10 to fit the close composition. Do not force off-cone units or openings into view or treat visibility supersets as guaranteed co-visibility.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 9\n  - camera_cell: [5, 8]\n  - look_at_unit: 1\n  - look_at_cell: [7, 3]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: \"Neutral horizontal coverage from unit 9 toward unit 1, using the permitted aim coordinate at marker 4. This coordinate is an aiming reference, not a requirement to feature marker 4. Apply S66_Shot9's close, obliquely downward framing separately; elevation and the location of marker 11 are not encoded by the grid.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish the portion of unit 1 seen from unit 9, retaining base marker 9 as the camera-side structural context. Base markers 1, 5, 6, 7, 8, 9 and 10 define the supplied layout, not a requirement to show every marker in this close view. The visibility lists are supersets and do not establish that openings 3 or 10 appear in this framing.\n  - camera_framing_directive: Use camera unit 9 at [5, 8], look-at unit 1 with the permitted look-at cell [7, 3], and a normal lens at 50 degrees for neutral coverage. For S66_Shot9, preserve the committed close distance, obliquely downward view, and narrow diagonal floor edge between body levels. Do not interpret the two-dimensional aim coordinate as an elevation specification.\n  - subject_position_directive: For S66_Shot9, place 수빈's prone shoulder and downward-focused profile at upper left, with both arms extended and both hands locking around 이현우's single wrist centrally. Keep his suspended shoulder and upturned face partly visible below right, with the floor edge separating their body levels and negative space below the wrist. Add no uncommitted subjects.\n  - state_cue_directive: Carry marker 11, Active initial floor collapse, with the committed Newly broken floor edge and Opening beneath the hands. Preserve the dim ambient illumination and sufficient local contrast for the gripping hands and suspended wrist. This BG is not marked clean; do not replace its committed broken-open state with an intact surface.\n  - negative_continuity_directive: Exclude ignored overlay markers 12, 13 and 14. Avoid relocating base markers 1, 5, 6, 7, 8, 9 or 10 to fit the close composition. Do not force off-cone units or openings into view or treat visibility supersets as guaranteed co-visibility.\n\n2069년 대한민국의 지진 피해를 입은 낡은 상업시설 1층 내부를 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 기존 철근콘크리트 상업건물의 현실적인 구조와 오래 사용한 금속 마감을 유지한다. 실재 장소의 기록 사진처럼 콘크리트의 거친 골재, 오래된 표면 얼룩, 에스컬레이터 금속 표면의 마모와 산화를 자연스럽게 보여준다. 인물, 얼굴, 신체 일부, 사람 형태의 형상은 전혀 없는 배경이다.\n\n배치 참고 이미지에 있는 공간 관계를 따른다. 중앙과 남쪽의 1층 통행 공간에서 북쪽으로 에스컬레이터 진입부가 이어지고, 그 뒤에는 남북 방향으로 놓인 하행 에스컬레이터가 있다. 북쪽 접근 공간 양옆에 남은 서쪽과 동쪽 벽체가 보인다. 통행 공간 동쪽에는 바닥 슬래브가 띠처럼 남아 있으며, 그 바깥 동쪽 외벽의 틈으로 약한 자연광이 들어온다. 카메라는 이 남은 바닥의 남쪽 구간에서 북서쪽을 바라본다. 바닥 위 약 1.2미터의 낮춘 서 있는 시점, 35밀리미터 판형 미러리스 카메라의 28밀리미터 광각 렌즈로 촬영한다. 가까운 바닥 가장자리와 그 아래 공간을 함께 담도록 약간 아래로 기울이되, 뒤쪽 에스컬레이터 진입부와 벽체가 보여 공간의 깊이를 읽을 수 있게 한다. 수직으로 내려다보는 시점이나 평면도 구도가 아니다.\n\n통행 공간의 중앙 북쪽, 에스컬레이터 진입부 바로 남쪽이자 동쪽 잔존 슬래브 바로 서쪽에서 바닥이 막 추가로 무너지고 있다. 새로 열린 불규칙한 구멍과 하중을 잃고 꺾이는 가장자리, 슬래브에서 분리되어 아래로 떨어지는 콘크리트 조각을 한순간의 실제 사진처럼 포착한다. 거친 파단면에는 슬래브의 두께와 골재가 드러난다. 화면 가까이에 아직 이어져 있는 단단한 바닥 가장자리를 충분히 확보하고, 바로 옆에는 부서지는 경계와 아래로 열린 어두운 낙하 공간을 분명히 구분한다. 구멍 아래는 빛이 닿는 상단 단면에서 깊은 어둠으로 자연스럽게 이어지며 바닥이 보이지 않는다.\n\n동쪽 외벽 틈의 희미한 자연광과 화면 밖 손전등에서 닿는 제한적인 빛만으로 공간을 밝힌다. 빛이 닿은 파단면은 재질을 읽을 수 있지만 깊은 구멍과 뒤쪽 내부는 어둡게 남긴다. 실제 저조도 촬영의 자연스러운 명암과 심도, 가까운 슬래브 가장자리에 맞춘 초점, 절제된 배경 흐림을 사용한다. 과도한 보정 없이 실제 현장 기록 사진과 구별되지 않는 재질과 노출을 유지하며, 삽화나 컴퓨터 합성 이미지, 건축 시각화처럼 표현하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 9,
          "camera_cell": [
            5,
            8
          ],
          "look_at_unit": 1,
          "look_at_cell": [
            7,
            3
          ],
          "lens_enum": "normal",
          "fov_deg": 50,
          "framing_notes": "Neutral horizontal coverage from unit 9 toward unit 1, using the permitted aim coordinate at marker 4. This coordinate is an aiming reference, not a requirement to feature marker 4. Apply S66_Shot9's close, obliquely downward framing separately; elevation and the location of marker 11 are not encoded by the grid."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Establish the portion of unit 1 seen from unit 9, retaining base marker 9 as the camera-side structural context. Base markers 1, 5, 6, 7, 8, 9 and 10 define the supplied layout, not a requirement to show every marker in this close view. The visibility lists are supersets and do not establish that openings 3 or 10 appear in this framing.",
          "camera_framing_directive": "Use camera unit 9 at [5, 8], look-at unit 1 with the permitted look-at cell [7, 3], and a normal lens at 50 degrees for neutral coverage. For S66_Shot9, preserve the committed close distance, obliquely downward view, and narrow diagonal floor edge between body levels. Do not interpret the two-dimensional aim coordinate as an elevation specification.",
          "subject_position_directive": "For S66_Shot9, place 수빈's prone shoulder and downward-focused profile at upper left, with both arms extended and both hands locking around 이현우's single wrist centrally. Keep his suspended shoulder and upturned face partly visible below right, with the floor edge separating their body levels and negative space below the wrist. Add no uncommitted subjects.",
          "state_cue_directive": "Carry marker 11, Active initial floor collapse, with the committed Newly broken floor edge and Opening beneath the hands. Preserve the dim ambient illumination and sufficient local contrast for the gripping hands and suspended wrist. This BG is not marked clean; do not replace its committed broken-open state with an intact surface.",
          "negative_continuity_directive": "Exclude ignored overlay markers 12, 13 and 14. Avoid relocating base markers 1, 5, 6, 7, 8, 9 or 10 to fit the close composition. Do not force off-cone units or openings into view or treat visibility supersets as guaranteed co-visibility."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_store_ground_floor",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_store_ground_floor"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L101B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L101",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L101B01.png",
        "t2i_prompt": "2069년 대한민국의 노후 콘크리트 건물 지하에서 1층 바닥 슬래브를 올려다본, 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실제 장소 기록 사진과 구별되지 않는 물성과 노출로 표현한다. 35밀리미터급 감광면을 갖춘 미러리스 카메라에 24밀리미터 광각 렌즈를 사용하고, 지하 바닥에서 약 1.6미터 높이의 서 있는 사람 눈높이에 카메라를 둔 채 위쪽으로 기울인다. 위에서 내려다보는 시점이나 평면도 구도가 아니다.\n\n참조 평면도는 구조물의 위치 관계를 파악하는 데만 사용한다. 중앙 개구부의 동쪽과 외벽 사이에 남아 있는 띠 모양 슬래브의 위치를 유지한다. 구조용으로 확대된 바닥 구멍은 중심을 유지하면서 주로 서쪽과 남쪽으로 넓어져 있고, 동쪽의 잔존 슬래브는 보존되어 있다. 구멍의 위쪽 테두리와 아래에서 보이는 가장자리는 같은 두께의 콘크리트 판을 관통하는 하나의 일관된 윤곽으로 연결된다. 화면에는 슬래브 하부와 구멍의 동쪽 가장자리가 분명히 보이고, 동쪽 슬래브 위의 서 있을 수 있는 빈 공간과 상단 가장자리까지 시야가 막히지 않게 담는다.\n\n굵은 구조용 밧줄 한 줄이 구멍의 동쪽 가장자리, 남아 있는 슬래브 바로 옆에서 지하로 내려와 화면 아래로 이어진다. 밝기가 조금 더 높은 개구부를 배경으로 밧줄의 굵기와 실제 꼬인 섬유 결이 식별된다. 개구부 위쪽 틈과 동쪽 가장자리의 틈으로 빗물이 스며들고, 작은 물방울이 구멍을 통과해 아래로 떨어진다. 젖은 콘크리트의 어두워진 부분과 미세한 물 반사는 절제해서 표현한다.\n\n비 오는 낮의 약한 자연광이 위쪽 개구부로 들어오지만 지하 내부는 어둡다. 슬래브 아래의 그늘에서도 실제 콘크리트의 거친 골재, 오래된 표면 마모와 생활 환경에서 누적된 얼룩이 자연스럽게 읽히도록 한다. 시대가 흘러도 남아 있는 국내 노후 건물의 실용적인 콘크리트 구조를 보여주며, 과장된 미래 장식은 더하지 않는다. 자연스러운 심도와 실제 광각 원근감을 유지하고, 인위적인 색 보정 없이 흐린 날의 약간 차가운 자연광을 기록한다. 구조물은 정지해 있으며 붕괴가 진행되는 동작은 표현하지 않는다. 사람, 얼굴, 신체 일부, 사람 형태의 형상은 전혀 없는 배경 사진이다. 삽화나 건축 시각화가 아닌 실제 현장 촬영의 불균일한 질감과 명암을 유지한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S66_Shot31",
            "guide_text": "지하의 서 있는 눈높이에서 위로 기울인 광각 구도를 사용한다. 확대된 구멍을 배경으로 동쪽 가장자리 옆의 밧줄을 명확히 보여주고, 슬래브 하부와 동쪽 잔존 띠를 공간 연속성의 기준으로 남긴다. 상단 가장자리와 그 위의 빈 디딤 공간이 가려지지 않게 한다. 약한 낮빛과 미세한 빗물 스밈만 반영하며 사람이나 신체 일부는 그리지 않는다."
          },
          {
            "shot_id": "S66_Shot40",
            "guide_text": "앞선 배정 샷과 카메라 위치, 약 1.6미터의 높이, 광각 렌즈와 위쪽 기울기를 동일하게 유지한다. 구멍의 윤곽과 슬래브 두께, 동쪽 테두리 및 밧줄이 내려오는 위치를 바꾸지 않는다. 상단의 빈 디딤 공간을 계속 보이게 하고, 어두운 지하와 흐린 낮의 개구부 밝기 차이 및 소량의 빗물 스밈을 유지한다. 사람이나 추가 붕괴 동작은 표현하지 않는다."
          }
        ],
        "shot_ids": [
          "S66_Shot31",
          "S66_Shot40"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "In the basement below the southwest portion of number 12, looking steeply upward and northeast toward number 13 and the underside of number 9.",
          "camera_height": "Eye-level standing approximately 1.6 m above the basement floor, below the ground-floor slab.",
          "lens_hint": "24mm wide angle with upward tilt",
          "framing_notes": "Use this single camera setup for both assigned shots. Frame the rope against the enlarged opening, retaining its eastern rim and the slab underside as continuity anchors. Leave an unobstructed view of the upper edge where a rescuer can stand on number 9. Keep the same opening contour throughout; do not show active slab failure. Include subtle rain seepage and subdued daylight only in the background treatment."
        },
        "reference_decision": {
          "bg_id": "L101B01",
          "fp_id": "fp_store_ground_floor",
          "node_index": 1,
          "mode": "same_physical_space_view",
          "is_dwelling_identity_anchor": false,
          "rationale": "L101B01 shares physical space with L101B02 through base marker 9 and overlapping target-unit identity, so its fixed layout must inherit from that anchor rather than be newly composed. Camera unit 1 looks toward the unit-9 side using the allowed coordinate at marker 10, providing a different broad horizontal view. Reuse is not a low-delta candidate: the camera/look-at pair changes from 9/1 to 1/9, the staged viewing direction changes, and marker 12 commits an enlarged structural opening relative to marker 11. S66_Shot31 and S66_Shot40 also specify different vertical positions and subject visibility; these must remain shot-specific rather than be merged into one simultaneous composition.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L101B02.png"
          ],
          "source_bg_ids": [
            "L101B02"
          ],
          "fp_included": false,
          "reference_decision": {
            "selected_refs": [
              {
                "ref_bg_id": "L101B02",
                "physical_space_id": "fp_store_ground_floor_space_01",
                "space_description": "Shared physical-space identity established by target units 1, 5, 7, 8 and 9, with base marker 9 linking the consuming BG."
              }
            ],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "single_same_physical_space_reference",
            "why_single_ref_or_two_refs": "L101B02 alone establishes the shared layout containing marker 9. Neither consuming shot establishes two distinct reference spaces requiring separate parents.",
            "physical_space_id_per_ref": [
              "fp_store_ground_floor_space_01"
            ],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 1,
            "camera_cell": [
              5,
              5
            ],
            "look_at_unit": 9,
            "look_at_cell": [
              2,
              8
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad horizontal coverage toward the unit-9 side, aimed at the permitted marker-10 coordinate. This is not the anchor's camera/look-at pair. The grid cannot encode the distinct lower-floor upward view in S66_Shot31 and upper-floor stage-entry view in S66_Shot40; retain those vertical compositions separately."
          },
          "render_guidance": {
            "visible_space_directive": "From unit 1, provide broad coverage toward target unit 9 and the marker-10 side of the plan. Keep marker 9 in its established position relative to unit 1 and opening 10, inheriting L101B02's fixed layout. Preserve the reference positions of fixtures 4 and 6 and structural units 5, 7 and 8 wherever visible, without forcing them into this view. Opening 10 is an aiming landmark and is not a substitute for overlay marker 12.",
            "camera_framing_directive": "Use camera unit 1 at [5, 5], look-at unit 9 with look-at cell [2, 8], and a wide lens at 90 degrees for broad coverage. In S66_Shot31 retain the steep, oblique upward endpoint, upper-center opening and descending line toward lower right, with surrounding surfaces conveying scale. In S66_Shot40 retain the low stage-entry, upward over-shoulder composition. These different vertical staging requirements are not resolved by the shared horizontal grid plan; do not combine their screen layouts.",
            "subject_position_directive": "For S66_Shot31, keep all people outside the frame. For S66_Shot40, retain 이현우's shoulder at the extreme left foreground, holding the rope after climbing and looking upward; place 정한수 head-to-feet in the right midground, feet braced and chin lowered, looking toward 이현우 rather than the lens. Preserve the unobstructed full silhouette and do not transfer these subjects into S66_Shot31.",
            "state_cue_directive": "Use base marker 9 and overlay markers 12, 13 and 14: Enlarged rescue opening, Lowered rescue rope and Rainwater seepage. Preserve the enlarged opening as the committed structural-state update while retaining surrounding fixed layout. In S66_Shot31 the free end is still descending; in S66_Shot40 only a short section is visible beside the cropped foreground body and is held after ascent. Keep the committed dim interior illumination without inventing a new light source or additional state cues.",
            "negative_continuity_directive": "Exclude ignored overlay marker 11 and do not copy its state from L101B02 over marker 12. Avoid repositioning marker 9, opening 10 or the inherited fixed fixtures to accommodate the new camera. Do not confuse overlay marker 12 with base openings 3 or 10, import off-cone content from L101B02, or merge the incompatible shot-specific subject and screen-position requirements."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L101B02' physical_space_id='fp_store_ground_floor_space_01'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [5, 5]\n  - look_at_unit: 9\n  - look_at_cell: [2, 8]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad horizontal coverage toward the unit-9 side, aimed at the permitted marker-10 coordinate. This is not the anchor's camera/look-at pair. The grid cannot encode the distinct lower-floor upward view in S66_Shot31 and upper-floor stage-entry view in S66_Shot40; retain those vertical compositions separately.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 1, provide broad coverage toward target unit 9 and the marker-10 side of the plan. Keep marker 9 in its established position relative to unit 1 and opening 10, inheriting L101B02's fixed layout. Preserve the reference positions of fixtures 4 and 6 and structural units 5, 7 and 8 wherever visible, without forcing them into this view. Opening 10 is an aiming landmark and is not a substitute for overlay marker 12.\n  - camera_framing_directive: Use camera unit 1 at [5, 5], look-at unit 9 with look-at cell [2, 8], and a wide lens at 90 degrees for broad coverage. In S66_Shot31 retain the steep, oblique upward endpoint, upper-center opening and descending line toward lower right, with surrounding surfaces conveying scale. In S66_Shot40 retain the low stage-entry, upward over-shoulder composition. These different vertical staging requirements are not resolved by the shared horizontal grid plan; do not combine their screen layouts.\n  - subject_position_directive: For S66_Shot31, keep all people outside the frame. For S66_Shot40, retain 이현우's shoulder at the extreme left foreground, holding the rope after climbing and looking upward; place 정한수 head-to-feet in the right midground, feet braced and chin lowered, looking toward 이현우 rather than the lens. Preserve the unobstructed full silhouette and do not transfer these subjects into S66_Shot31.\n  - state_cue_directive: Use base marker 9 and overlay markers 12, 13 and 14: Enlarged rescue opening, Lowered rescue rope and Rainwater seepage. Preserve the enlarged opening as the committed structural-state update while retaining surrounding fixed layout. In S66_Shot31 the free end is still descending; in S66_Shot40 only a short section is visible beside the cropped foreground body and is held after ascent. Keep the committed dim interior illumination without inventing a new light source or additional state cues.\n  - negative_continuity_directive: Exclude ignored overlay marker 11 and do not copy its state from L101B02 over marker 12. Avoid repositioning marker 9, opening 10 or the inherited fixed fixtures to accommodate the new camera. Do not confuse overlay marker 12 with base openings 3 or 10, import off-cone content from L101B02, or merge the incompatible shot-specific subject and screen-position requirements.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L101B02' physical_space_id='fp_store_ground_floor_space_01'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [5, 5]\n  - look_at_unit: 9\n  - look_at_cell: [2, 8]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad horizontal coverage toward the unit-9 side, aimed at the permitted marker-10 coordinate. This is not the anchor's camera/look-at pair. The grid cannot encode the distinct lower-floor upward view in S66_Shot31 and upper-floor stage-entry view in S66_Shot40; retain those vertical compositions separately.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 1, provide broad coverage toward target unit 9 and the marker-10 side of the plan. Keep marker 9 in its established position relative to unit 1 and opening 10, inheriting L101B02's fixed layout. Preserve the reference positions of fixtures 4 and 6 and structural units 5, 7 and 8 wherever visible, without forcing them into this view. Opening 10 is an aiming landmark and is not a substitute for overlay marker 12.\n  - camera_framing_directive: Use camera unit 1 at [5, 5], look-at unit 9 with look-at cell [2, 8], and a wide lens at 90 degrees for broad coverage. In S66_Shot31 retain the steep, oblique upward endpoint, upper-center opening and descending line toward lower right, with surrounding surfaces conveying scale. In S66_Shot40 retain the low stage-entry, upward over-shoulder composition. These different vertical staging requirements are not resolved by the shared horizontal grid plan; do not combine their screen layouts.\n  - subject_position_directive: For S66_Shot31, keep all people outside the frame. For S66_Shot40, retain 이현우's shoulder at the extreme left foreground, holding the rope after climbing and looking upward; place 정한수 head-to-feet in the right midground, feet braced and chin lowered, looking toward 이현우 rather than the lens. Preserve the unobstructed full silhouette and do not transfer these subjects into S66_Shot31.\n  - state_cue_directive: Use base marker 9 and overlay markers 12, 13 and 14: Enlarged rescue opening, Lowered rescue rope and Rainwater seepage. Preserve the enlarged opening as the committed structural-state update while retaining surrounding fixed layout. In S66_Shot31 the free end is still descending; in S66_Shot40 only a short section is visible beside the cropped foreground body and is held after ascent. Keep the committed dim interior illumination without inventing a new light source or additional state cues.\n  - negative_continuity_directive: Exclude ignored overlay marker 11 and do not copy its state from L101B02 over marker 12. Avoid repositioning marker 9, opening 10 or the inherited fixed fixtures to accommodate the new camera. Do not confuse overlay marker 12 with base openings 3 or 10, import off-cone content from L101B02, or merge the incompatible shot-specific subject and screen-position requirements.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L101B02' physical_space_id='fp_store_ground_floor_space_01'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [5, 5]\n  - look_at_unit: 9\n  - look_at_cell: [2, 8]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad horizontal coverage toward the unit-9 side, aimed at the permitted marker-10 coordinate. This is not the anchor's camera/look-at pair. The grid cannot encode the distinct lower-floor upward view in S66_Shot31 and upper-floor stage-entry view in S66_Shot40; retain those vertical compositions separately.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 1, provide broad coverage toward target unit 9 and the marker-10 side of the plan. Keep marker 9 in its established position relative to unit 1 and opening 10, inheriting L101B02's fixed layout. Preserve the reference positions of fixtures 4 and 6 and structural units 5, 7 and 8 wherever visible, without forcing them into this view. Opening 10 is an aiming landmark and is not a substitute for overlay marker 12.\n  - camera_framing_directive: Use camera unit 1 at [5, 5], look-at unit 9 with look-at cell [2, 8], and a wide lens at 90 degrees for broad coverage. In S66_Shot31 retain the steep, oblique upward endpoint, upper-center opening and descending line toward lower right, with surrounding surfaces conveying scale. In S66_Shot40 retain the low stage-entry, upward over-shoulder composition. These different vertical staging requirements are not resolved by the shared horizontal grid plan; do not combine their screen layouts.\n  - subject_position_directive: For S66_Shot31, keep all people outside the frame. For S66_Shot40, retain 이현우's shoulder at the extreme left foreground, holding the rope after climbing and looking upward; place 정한수 head-to-feet in the right midground, feet braced and chin lowered, looking toward 이현우 rather than the lens. Preserve the unobstructed full silhouette and do not transfer these subjects into S66_Shot31.\n  - state_cue_directive: Use base marker 9 and overlay markers 12, 13 and 14: Enlarged rescue opening, Lowered rescue rope and Rainwater seepage. Preserve the enlarged opening as the committed structural-state update while retaining surrounding fixed layout. In S66_Shot31 the free end is still descending; in S66_Shot40 only a short section is visible beside the cropped foreground body and is held after ascent. Keep the committed dim interior illumination without inventing a new light source or additional state cues.\n  - negative_continuity_directive: Exclude ignored overlay marker 11 and do not copy its state from L101B02 over marker 12. Avoid repositioning marker 9, opening 10 or the inherited fixed fixtures to accommodate the new camera. Do not confuse overlay marker 12 with base openings 3 or 10, import off-cone content from L101B02, or merge the incompatible shot-specific subject and screen-position requirements.\n\n2069년 대한민국의 노후 콘크리트 건물 지하에서 1층 바닥 슬래브를 올려다본, 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실제 장소 기록 사진과 구별되지 않는 물성과 노출로 표현한다. 35밀리미터급 감광면을 갖춘 미러리스 카메라에 24밀리미터 광각 렌즈를 사용하고, 지하 바닥에서 약 1.6미터 높이의 서 있는 사람 눈높이에 카메라를 둔 채 위쪽으로 기울인다. 위에서 내려다보는 시점이나 평면도 구도가 아니다.\n\n참조 평면도는 구조물의 위치 관계를 파악하는 데만 사용한다. 중앙 개구부의 동쪽과 외벽 사이에 남아 있는 띠 모양 슬래브의 위치를 유지한다. 구조용으로 확대된 바닥 구멍은 중심을 유지하면서 주로 서쪽과 남쪽으로 넓어져 있고, 동쪽의 잔존 슬래브는 보존되어 있다. 구멍의 위쪽 테두리와 아래에서 보이는 가장자리는 같은 두께의 콘크리트 판을 관통하는 하나의 일관된 윤곽으로 연결된다. 화면에는 슬래브 하부와 구멍의 동쪽 가장자리가 분명히 보이고, 동쪽 슬래브 위의 서 있을 수 있는 빈 공간과 상단 가장자리까지 시야가 막히지 않게 담는다.\n\n굵은 구조용 밧줄 한 줄이 구멍의 동쪽 가장자리, 남아 있는 슬래브 바로 옆에서 지하로 내려와 화면 아래로 이어진다. 밝기가 조금 더 높은 개구부를 배경으로 밧줄의 굵기와 실제 꼬인 섬유 결이 식별된다. 개구부 위쪽 틈과 동쪽 가장자리의 틈으로 빗물이 스며들고, 작은 물방울이 구멍을 통과해 아래로 떨어진다. 젖은 콘크리트의 어두워진 부분과 미세한 물 반사는 절제해서 표현한다.\n\n비 오는 낮의 약한 자연광이 위쪽 개구부로 들어오지만 지하 내부는 어둡다. 슬래브 아래의 그늘에서도 실제 콘크리트의 거친 골재, 오래된 표면 마모와 생활 환경에서 누적된 얼룩이 자연스럽게 읽히도록 한다. 시대가 흘러도 남아 있는 국내 노후 건물의 실용적인 콘크리트 구조를 보여주며, 과장된 미래 장식은 더하지 않는다. 자연스러운 심도와 실제 광각 원근감을 유지하고, 인위적인 색 보정 없이 흐린 날의 약간 차가운 자연광을 기록한다. 구조물은 정지해 있으며 붕괴가 진행되는 동작은 표현하지 않는다. 사람, 얼굴, 신체 일부, 사람 형태의 형상은 전혀 없는 배경 사진이다. 삽화나 건축 시각화가 아닌 실제 현장 촬영의 불균일한 질감과 명암을 유지한다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 1,
          "camera_cell": [
            5,
            5
          ],
          "look_at_unit": 9,
          "look_at_cell": [
            2,
            8
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad horizontal coverage toward the unit-9 side, aimed at the permitted marker-10 coordinate. This is not the anchor's camera/look-at pair. The grid cannot encode the distinct lower-floor upward view in S66_Shot31 and upper-floor stage-entry view in S66_Shot40; retain those vertical compositions separately."
        },
        "shot_aware_plan_node_index": 1,
        "shot_aware_plan_mode": "same_physical_space_view",
        "render_guidance": {
          "visible_space_directive": "From unit 1, provide broad coverage toward target unit 9 and the marker-10 side of the plan. Keep marker 9 in its established position relative to unit 1 and opening 10, inheriting L101B02's fixed layout. Preserve the reference positions of fixtures 4 and 6 and structural units 5, 7 and 8 wherever visible, without forcing them into this view. Opening 10 is an aiming landmark and is not a substitute for overlay marker 12.",
          "camera_framing_directive": "Use camera unit 1 at [5, 5], look-at unit 9 with look-at cell [2, 8], and a wide lens at 90 degrees for broad coverage. In S66_Shot31 retain the steep, oblique upward endpoint, upper-center opening and descending line toward lower right, with surrounding surfaces conveying scale. In S66_Shot40 retain the low stage-entry, upward over-shoulder composition. These different vertical staging requirements are not resolved by the shared horizontal grid plan; do not combine their screen layouts.",
          "subject_position_directive": "For S66_Shot31, keep all people outside the frame. For S66_Shot40, retain 이현우's shoulder at the extreme left foreground, holding the rope after climbing and looking upward; place 정한수 head-to-feet in the right midground, feet braced and chin lowered, looking toward 이현우 rather than the lens. Preserve the unobstructed full silhouette and do not transfer these subjects into S66_Shot31.",
          "state_cue_directive": "Use base marker 9 and overlay markers 12, 13 and 14: Enlarged rescue opening, Lowered rescue rope and Rainwater seepage. Preserve the enlarged opening as the committed structural-state update while retaining surrounding fixed layout. In S66_Shot31 the free end is still descending; in S66_Shot40 only a short section is visible beside the cropped foreground body and is held after ascent. Keep the committed dim interior illumination without inventing a new light source or additional state cues.",
          "negative_continuity_directive": "Exclude ignored overlay marker 11 and do not copy its state from L101B02 over marker 12. Avoid repositioning marker 9, opening 10 or the inherited fixed fixtures to accommodate the new camera. Do not confuse overlay marker 12 with base openings 3 or 10, import off-cone content from L101B02, or merge the incompatible shot-specific subject and screen-position requirements."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_store_ground_floor",
          "prior_bg_ids": [
            "L101B02"
          ],
          "attached_ref_labels": [
            "bg:L101B02"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L111B01": {
        "status": "ok",
        "location_id": "L111",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L111B01.png",
        "t2i_prompt": "2069년 대한민국의 야외 제비꽃밭 가장자리, 구조에 쓰이는 낡은 실용 트럭의 열린 탑승문 바로 바깥을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 급박한 탈출에 쓰일 빈 탑승 공간과 그 뒤로 이어지는 꽃밭을 담되 사람이나 행동 주체는 전혀 보이지 않는다. 실제 미러리스 카메라의 35밀리미터급 렌즈로 지면에서 약 1.6미터 높이, 탑승문 바깥의 비스듬한 위치에서 촬영한다. 화면 오른쪽에는 차체 가장자리와 문틀, 그 옆에는 바깥으로 활짝 열린 문짝의 안쪽 면이 보인다. 문짝이 시야 전체를 막지 않도록 하며, 중앙에는 비어 있는 출입구와 아래쪽 금속 승차 발판, 문틀의 손잡이가 명확히 드러난다. 출입구 안쪽으로 사용감 있는 좌석 일부와 어두운 내부 바닥만 자연스럽게 보인다. 왼쪽과 배경에는 낮게 자란 보랏빛 제비꽃 무리와 흙이 드러난 꽃밭 가장자리가 이어진다. 발판 아래의 흙바닥에서 뒤편 꽃밭까지 지면이 끊김 없이 연결되어, 꽃밭에서 곧바로 문에 접근할 수 있는 거리와 동선이 읽힌다.\n자원 부족 속에서 수리하며 운용하는 국내 상용차 계열의 실용적인 차체 비례와 구조. 세월이 밴 도장 강판, 모서리의 작은 긁힘과 드문 녹, 경첩의 기름때, 먼지 묻은 고무 문틀 패킹, 신발에 닳은 미끄럼 방지 발판, 실제 직물 짜임이 보이는 좌석 등 현실적인 재질과 생활 마모를 담는다. 미래라는 이유로 화려한 장식이나 공중 정보창, 근거 없는 첨단 장치를 추가하지 않는다. 낮은 저녁 해가 문짝 끝과 차체 가장자리, 꽃잎 일부에 따뜻한 빛을 비추고, 탑승구 내부와 차체 그늘에는 하늘에서 들어오는 차가운 자연광이 남는다. 노을의 따뜻함과 그늘의 명암 차이는 실제 현장 노출처럼 표현하고, 내부를 완전히 검게 뭉개지 않는다. 자연스러운 원근과 피사계 심도로 가까운 문틀과 발판은 선명하게, 뒤편 꽃밭은 형태와 공간 연결을 알아볼 수 있게 담는다. 추격의 긴박함은 열린 출입구와 가까운 촬영 거리로만 암시하며 추격자, 다른 차량, 폭발, 무기, 임의의 파손은 넣지 않는다. 사람, 얼굴, 신체 일부, 사람의 반사상, 시신이나 혈흔이 없는 배경 사진. 과도한 보정이나 광고용 정돈 없이 실제 장소 기록 사진과 구별되지 않는 사실성. 위에서 내려다본 시점이나 평면도, 건축 도해가 아닌 지상 눈높이 촬영. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S72_Shot38",
            "guide_text": "탑승문 바로 바깥에서 약 1.6미터 눈높이의 비스듬한 시선을 유지한다. 오른쪽 차체와 문틀을 가까운 기준점으로 두고, 열린 문짝이 중앙의 빈 탑승 동선을 가리지 않게 한다. 하단의 발판과 왼쪽 뒤편 꽃밭을 함께 보여 꽃밭에서 트럭으로 이어지는 접근 경로를 확보한다. 문 가장자리에는 노을빛, 탑승구 안에는 자연스러운 그늘을 유지한다. 탑승하는 인물이나 손, 추격 대상은 그리지 않고 빈 배경만 제공한다."
          }
        ],
        "shot_ids": [
          "S72_Shot38"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {},
        "reference_decision": {
          "mode": "surface_role_direct_plate",
          "surface_role": "exterior_plate",
          "fp_id": "",
          "source_bg_ids": []
        },
        "effective_render_prompt": "2069년 대한민국의 야외 제비꽃밭 가장자리, 구조에 쓰이는 낡은 실용 트럭의 열린 탑승문 바로 바깥을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 급박한 탈출에 쓰일 빈 탑승 공간과 그 뒤로 이어지는 꽃밭을 담되 사람이나 행동 주체는 전혀 보이지 않는다. 실제 미러리스 카메라의 35밀리미터급 렌즈로 지면에서 약 1.6미터 높이, 탑승문 바깥의 비스듬한 위치에서 촬영한다. 화면 오른쪽에는 차체 가장자리와 문틀, 그 옆에는 바깥으로 활짝 열린 문짝의 안쪽 면이 보인다. 문짝이 시야 전체를 막지 않도록 하며, 중앙에는 비어 있는 출입구와 아래쪽 금속 승차 발판, 문틀의 손잡이가 명확히 드러난다. 출입구 안쪽으로 사용감 있는 좌석 일부와 어두운 내부 바닥만 자연스럽게 보인다. 왼쪽과 배경에는 낮게 자란 보랏빛 제비꽃 무리와 흙이 드러난 꽃밭 가장자리가 이어진다. 발판 아래의 흙바닥에서 뒤편 꽃밭까지 지면이 끊김 없이 연결되어, 꽃밭에서 곧바로 문에 접근할 수 있는 거리와 동선이 읽힌다.\n자원 부족 속에서 수리하며 운용하는 국내 상용차 계열의 실용적인 차체 비례와 구조. 세월이 밴 도장 강판, 모서리의 작은 긁힘과 드문 녹, 경첩의 기름때, 먼지 묻은 고무 문틀 패킹, 신발에 닳은 미끄럼 방지 발판, 실제 직물 짜임이 보이는 좌석 등 현실적인 재질과 생활 마모를 담는다. 미래라는 이유로 화려한 장식이나 공중 정보창, 근거 없는 첨단 장치를 추가하지 않는다. 낮은 저녁 해가 문짝 끝과 차체 가장자리, 꽃잎 일부에 따뜻한 빛을 비추고, 탑승구 내부와 차체 그늘에는 하늘에서 들어오는 차가운 자연광이 남는다. 노을의 따뜻함과 그늘의 명암 차이는 실제 현장 노출처럼 표현하고, 내부를 완전히 검게 뭉개지 않는다. 자연스러운 원근과 피사계 심도로 가까운 문틀과 발판은 선명하게, 뒤편 꽃밭은 형태와 공간 연결을 알아볼 수 있게 담는다. 추격의 긴박함은 열린 출입구와 가까운 촬영 거리로만 암시하며 추격자, 다른 차량, 폭발, 무기, 임의의 파손은 넣지 않는다. 사람, 얼굴, 신체 일부, 사람의 반사상, 시신이나 혈흔이 없는 배경 사진. 과도한 보정이나 광고용 정돈 없이 실제 장소 기록 사진과 구별되지 않는 사실성. 위에서 내려다본 시점이나 평면도, 건축 도해가 아닌 지상 눈높이 촬영. 16:9 가로 비율, 실제 카메라 촬영본\n\nOne attached image is a PHOTOREAL RENDER of the SAME building/site this scene belongs to — it may show the outside while this scene is inside, or another part of the same place. Treat it as the BUILDING IDENTITY reference. Keep this render consistent with it: the same era, age and state of repair, the same palette and material quality, the same window and door frame styles, and anything visible through openings (windows, doorways, passages) must belong to that same building and its surroundings. Lettering visible in the reference is reproduced EXACTLY — same characters, same mark, same position; never invent different wording from render to render. Lighting and time of day follow THIS prompt. Do NOT copy the reference's composition, framing or camera angle; only the building's physical identity carries over.",
        "shot_aware_plan_mode": "surface_role_direct_plate",
        "attached_reference_lineage": {
          "fp_id": "",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "building_anchor:L111B03"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        },
        "building_anchor_ref": {
          "anchor_bg_id": "L111B03",
          "group_id": "bg_coastal_abandoned_laboratory"
        }
      },
      "L111B03": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L111",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L111B03.png",
        "t2i_prompt": "2069년 대한민국의 자원이 부족한 지역에서 오래 사용해 온 화물 트럭의 짐칸 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 연료가 떨어져 도로에 멈춘 차량의 어두운 내부이며, 과장된 미래 장비 없이 기존 상용차의 실용적인 구조와 낡은 금속 재질을 보여준다. 참조 평면도는 짐칸의 공간 관계와 왼쪽 벽 뒤쪽에 있는 측면 창의 위치를 파악하는 데만 사용한다. 짐칸 오른쪽 뒤 모서리에서 왼쪽 뒤 바닥의 빈 자리와 측면 창을 향해 대각선으로 바라본다. 실제 미러리스 카메라와 35밀리미터급 렌즈를 사용하고, 약 1.6미터의 서 있는 사람 눈높이에서 바닥까지 충분히 포함한다. 창을 화면 왼쪽에 두고 어두운 내부 공간이 오른쪽으로 이어지게 한다.\n왼쪽 측면 창 바깥에는 가느다란 빗줄기와 흐린 대기가 보이며, 유리 외측의 빗방울이 약한 회색 자연광을 흩뜨린다. 화면 밖 승하차 쪽 외부에도 같은 비가 이어지는 상황이지만, 참조에 없는 출입구 구조를 새로 만들지 않는다. 외부의 흐린 자연광만으로 내부 금속 면과 바닥의 형태가 가까스로 읽히며, 그늘을 인위적으로 밝히지 않는다. 금속 표면의 실제 도장 마모, 산화 흔적, 바닥의 오래된 생활 얼룩을 절제된 수준으로 표현한다. 왼쪽 창 가까운 뒤편 바닥은 비워 둔다. 이 자리의 출혈은 부상자와 그 신체에 접촉한 의복에만 한정되는 요소이므로, 인물이 없는 배경에서는 혈흔을 바닥이나 벽으로 옮겨 그리지 않는다.\n사람, 얼굴, 신체 일부, 사람 형태의 물체나 반사상은 전혀 없는 빈 배경이다. 실제 장소 기록 사진과 구별되지 않는 물성과 자연스러운 피사계 심도, 어두운 공간의 현실적인 노출을 유지한다. 인위적인 색 보정이나 미화 없이 촬영하며, 삽화나 컴퓨터 생성 영상, 건축 시각화, 위에서 내려다본 도면으로 표현하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S72_Shot61",
            "guide_text": "오른쪽 뒤에서 왼쪽 창과 그 아래 뒤편의 빈 바닥을 함께 보는 대각선 구도를 사용한다. 왼쪽 뒤 공간은 후속 장면의 인물 배치를 위해 비워 두고, 창밖 비와 약한 회색 자연광으로 정차한 짐칸의 어두운 상태를 유지한다. 출혈은 후속 인물 및 접촉 의복 표현에서만 국소적으로 처리하며 배경 바닥에 이어지는 혈흔을 추가하지 않는다. 인물이나 인체 형태의 대체물은 배경에 포함하지 않는다."
          }
        ],
        "shot_ids": [
          "S72_Shot61"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Inside number 2, near the rear-right corner behind number 14, facing diagonally toward the rear-left occupant space and number 13.",
          "camera_height": "low seated eye level, approximately 1.0 m",
          "lens_hint": "32–35mm wide angle",
          "framing_notes": "Keep the cargo floor and number 13 prominent, leaving room for the injured occupant and companions without adding furniture. The stopped vehicle interior is dark, with rain outside the window. Apply number 17 only to the occupant layer and contacting clothing; do not invent blood on the vehicle floor. Any character reflection must belong to the actual character rather than an additional figure. The boarding door remains closed and rescue cues are absent."
        },
        "reference_decision": {
          "bg_id": "L111B03",
          "fp_id": "fp_truck_layout",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L111B03 is the sole supplied anchor candidate and is staged for S72_Shot61. Use the declared ramped fallback: this BG is not clean and retains committed transient markers 17 and 18. Seed its fixed identity from the floor plan without a prior reference. Camera unit 2 looking within unit 2 toward marker 13 supports the restrained oblique interior composition rather than the later opening-facing view.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/floor_plan/fp_truck_layout.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The first node establishes the dwelling identity directly from the floor plan; no earlier reference is available or required.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 2,
            "camera_cell": [
              6,
              5
            ],
            "look_at_unit": 2,
            "look_at_cell": [
              7,
              3
            ],
            "lens_enum": "normal",
            "fov_deg": 50,
            "framing_notes": "Neutral coverage within unit 2, aimed toward opening marker 13 at the exact listed look-at cell. Apply S72_Shot61's elevated, downward oblique staging and medium framing; the grid specifies the horizontal placement, not camera height."
          },
          "render_guidance": {
            "visible_space_directive": "Show the enclosing floor and inner side of unit 2, with opening marker 13 as the referenced structural margin where the crop permits. Establish these elements at their floor-plan positions. The visibility supersets do not require additional units or openings to appear.",
            "camera_framing_directive": "Use camera unit 2 at [6, 5], looking within unit 2 toward [7, 3], with a normal lens and 50-degree neutral coverage. Follow the committed above-head, downward oblique medium composition, retaining restrained interior margins around the staged subjects.",
            "subject_position_directive": "For S72_Shot61, place the hunched seated upper body at left-center and the limp companion diagonally across the lower-right, enclosed by both arms. The seated subject looks down toward the companion's face; the companion's eyes remain closed. Keep the other committed companion outside this tighter frame and introduce no additional subjects.",
            "state_cue_directive": "Retain transient marker 17, Localized injury blood, and marker 18, Rain at exterior openings, only where their associated surfaces or subjects are visible. The committed state is stopped with subdued nighttime ambient illumination. Emphasize the enclosing shoulder contraction without anticipating later lighting cues; clean_background_expected is false.",
            "negative_continuity_directive": "Exclude overlay markers 19, 20, and 21 as specified by both ignore lists. Avoid additional units or openings outside the chosen framing, invented subjects, and displacement of base markers 2 or 13."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [6, 5]\n  - look_at_unit: 2\n  - look_at_cell: [7, 3]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: \"Neutral coverage within unit 2, aimed toward opening marker 13 at the exact listed look-at cell. Apply S72_Shot61's elevated, downward oblique staging and medium framing; the grid specifies the horizontal placement, not camera height.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the enclosing floor and inner side of unit 2, with opening marker 13 as the referenced structural margin where the crop permits. Establish these elements at their floor-plan positions. The visibility supersets do not require additional units or openings to appear.\n  - camera_framing_directive: Use camera unit 2 at [6, 5], looking within unit 2 toward [7, 3], with a normal lens and 50-degree neutral coverage. Follow the committed above-head, downward oblique medium composition, retaining restrained interior margins around the staged subjects.\n  - subject_position_directive: For S72_Shot61, place the hunched seated upper body at left-center and the limp companion diagonally across the lower-right, enclosed by both arms. The seated subject looks down toward the companion's face; the companion's eyes remain closed. Keep the other committed companion outside this tighter frame and introduce no additional subjects.\n  - state_cue_directive: Retain transient marker 17, Localized injury blood, and marker 18, Rain at exterior openings, only where their associated surfaces or subjects are visible. The committed state is stopped with subdued nighttime ambient illumination. Emphasize the enclosing shoulder contraction without anticipating later lighting cues; clean_background_expected is false.\n  - negative_continuity_directive: Exclude overlay markers 19, 20, and 21 as specified by both ignore lists. Avoid additional units or openings outside the chosen framing, invented subjects, and displacement of base markers 2 or 13.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [6, 5]\n  - look_at_unit: 2\n  - look_at_cell: [7, 3]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: \"Neutral coverage within unit 2, aimed toward opening marker 13 at the exact listed look-at cell. Apply S72_Shot61's elevated, downward oblique staging and medium framing; the grid specifies the horizontal placement, not camera height.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the enclosing floor and inner side of unit 2, with opening marker 13 as the referenced structural margin where the crop permits. Establish these elements at their floor-plan positions. The visibility supersets do not require additional units or openings to appear.\n  - camera_framing_directive: Use camera unit 2 at [6, 5], looking within unit 2 toward [7, 3], with a normal lens and 50-degree neutral coverage. Follow the committed above-head, downward oblique medium composition, retaining restrained interior margins around the staged subjects.\n  - subject_position_directive: For S72_Shot61, place the hunched seated upper body at left-center and the limp companion diagonally across the lower-right, enclosed by both arms. The seated subject looks down toward the companion's face; the companion's eyes remain closed. Keep the other committed companion outside this tighter frame and introduce no additional subjects.\n  - state_cue_directive: Retain transient marker 17, Localized injury blood, and marker 18, Rain at exterior openings, only where their associated surfaces or subjects are visible. The committed state is stopped with subdued nighttime ambient illumination. Emphasize the enclosing shoulder contraction without anticipating later lighting cues; clean_background_expected is false.\n  - negative_continuity_directive: Exclude overlay markers 19, 20, and 21 as specified by both ignore lists. Avoid additional units or openings outside the chosen framing, invented subjects, and displacement of base markers 2 or 13.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [6, 5]\n  - look_at_unit: 2\n  - look_at_cell: [7, 3]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: \"Neutral coverage within unit 2, aimed toward opening marker 13 at the exact listed look-at cell. Apply S72_Shot61's elevated, downward oblique staging and medium framing; the grid specifies the horizontal placement, not camera height.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the enclosing floor and inner side of unit 2, with opening marker 13 as the referenced structural margin where the crop permits. Establish these elements at their floor-plan positions. The visibility supersets do not require additional units or openings to appear.\n  - camera_framing_directive: Use camera unit 2 at [6, 5], looking within unit 2 toward [7, 3], with a normal lens and 50-degree neutral coverage. Follow the committed above-head, downward oblique medium composition, retaining restrained interior margins around the staged subjects.\n  - subject_position_directive: For S72_Shot61, place the hunched seated upper body at left-center and the limp companion diagonally across the lower-right, enclosed by both arms. The seated subject looks down toward the companion's face; the companion's eyes remain closed. Keep the other committed companion outside this tighter frame and introduce no additional subjects.\n  - state_cue_directive: Retain transient marker 17, Localized injury blood, and marker 18, Rain at exterior openings, only where their associated surfaces or subjects are visible. The committed state is stopped with subdued nighttime ambient illumination. Emphasize the enclosing shoulder contraction without anticipating later lighting cues; clean_background_expected is false.\n  - negative_continuity_directive: Exclude overlay markers 19, 20, and 21 as specified by both ignore lists. Avoid additional units or openings outside the chosen framing, invented subjects, and displacement of base markers 2 or 13.\n\n2069년 대한민국의 자원이 부족한 지역에서 오래 사용해 온 화물 트럭의 짐칸 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 연료가 떨어져 도로에 멈춘 차량의 어두운 내부이며, 과장된 미래 장비 없이 기존 상용차의 실용적인 구조와 낡은 금속 재질을 보여준다. 참조 평면도는 짐칸의 공간 관계와 왼쪽 벽 뒤쪽에 있는 측면 창의 위치를 파악하는 데만 사용한다. 짐칸 오른쪽 뒤 모서리에서 왼쪽 뒤 바닥의 빈 자리와 측면 창을 향해 대각선으로 바라본다. 실제 미러리스 카메라와 35밀리미터급 렌즈를 사용하고, 약 1.6미터의 서 있는 사람 눈높이에서 바닥까지 충분히 포함한다. 창을 화면 왼쪽에 두고 어두운 내부 공간이 오른쪽으로 이어지게 한다.\n왼쪽 측면 창 바깥에는 가느다란 빗줄기와 흐린 대기가 보이며, 유리 외측의 빗방울이 약한 회색 자연광을 흩뜨린다. 화면 밖 승하차 쪽 외부에도 같은 비가 이어지는 상황이지만, 참조에 없는 출입구 구조를 새로 만들지 않는다. 외부의 흐린 자연광만으로 내부 금속 면과 바닥의 형태가 가까스로 읽히며, 그늘을 인위적으로 밝히지 않는다. 금속 표면의 실제 도장 마모, 산화 흔적, 바닥의 오래된 생활 얼룩을 절제된 수준으로 표현한다. 왼쪽 창 가까운 뒤편 바닥은 비워 둔다. 이 자리의 출혈은 부상자와 그 신체에 접촉한 의복에만 한정되는 요소이므로, 인물이 없는 배경에서는 혈흔을 바닥이나 벽으로 옮겨 그리지 않는다.\n사람, 얼굴, 신체 일부, 사람 형태의 물체나 반사상은 전혀 없는 빈 배경이다. 실제 장소 기록 사진과 구별되지 않는 물성과 자연스러운 피사계 심도, 어두운 공간의 현실적인 노출을 유지한다. 인위적인 색 보정이나 미화 없이 촬영하며, 삽화나 컴퓨터 생성 영상, 건축 시각화, 위에서 내려다본 도면으로 표현하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 2,
          "camera_cell": [
            6,
            5
          ],
          "look_at_unit": 2,
          "look_at_cell": [
            7,
            3
          ],
          "lens_enum": "normal",
          "fov_deg": 50,
          "framing_notes": "Neutral coverage within unit 2, aimed toward opening marker 13 at the exact listed look-at cell. Apply S72_Shot61's elevated, downward oblique staging and medium framing; the grid specifies the horizontal placement, not camera height."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Show the enclosing floor and inner side of unit 2, with opening marker 13 as the referenced structural margin where the crop permits. Establish these elements at their floor-plan positions. The visibility supersets do not require additional units or openings to appear.",
          "camera_framing_directive": "Use camera unit 2 at [6, 5], looking within unit 2 toward [7, 3], with a normal lens and 50-degree neutral coverage. Follow the committed above-head, downward oblique medium composition, retaining restrained interior margins around the staged subjects.",
          "subject_position_directive": "For S72_Shot61, place the hunched seated upper body at left-center and the limp companion diagonally across the lower-right, enclosed by both arms. The seated subject looks down toward the companion's face; the companion's eyes remain closed. Keep the other committed companion outside this tighter frame and introduce no additional subjects.",
          "state_cue_directive": "Retain transient marker 17, Localized injury blood, and marker 18, Rain at exterior openings, only where their associated surfaces or subjects are visible. The committed state is stopped with subdued nighttime ambient illumination. Emphasize the enclosing shoulder contraction without anticipating later lighting cues; clean_background_expected is false.",
          "negative_continuity_directive": "Exclude overlay markers 19, 20, and 21 as specified by both ignore lists. Avoid additional units or openings outside the chosen framing, invented subjects, and displacement of base markers 2 or 13."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_truck_layout",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_truck_layout"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L111B02": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L111",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L111B02.png",
        "t2i_prompt": "2069년 대한민국의 비 내리는 밤, 도로에 정차한 낡은 화물 트럭 내부에서 활짝 열린 측면 승차문 너머를 촬영한 실제 카메라로 촬영한 다큐멘터리 풍 사진. 첨부 배치도는 화물칸과 오른쪽 미닫이 승차문, 문턱, 문 바로 바깥의 좁은 접근 공간 사이의 위치 관계만 참고한다. 화물칸 뒤쪽 왼편에서 앞쪽 오른편을 비스듬히 바라보며, 약 1.6미터의 서 있는 눈높이에서 풀프레임 미러리스 카메라와 35밀리미터급 렌즈로 촬영한다. 열린 출입구를 화면의 주요 부분으로 잡고 아래쪽 문턱과 그 너머의 좁은 도로 면을 함께 보여준다. 내부 전경에는 충분한 빈 공간을 남긴다.\n오른쪽 벽을 따라 미닫이 문짝이 밀려나 출입구가 완전히 드러나 있다. 문밖에서는 밤비가 계속 내리며, 손전등 빛에 걸린 빗방울과 젖은 도로의 불규칙한 반사가 보인다. 출입구 바깥 화면 밖에서 여러 손전등 광선이 화물칸 안으로 강하게 들어온다. 실제 광학 현상에 맞게 빗방울 주변에서만 빛줄기가 드러나고, 문턱과 내부 금속 표면에는 강한 국소 조명과 자연스러운 밝기 감쇠가 생긴다. 어두운 내부 전체가 균일하게 밝아지지는 않는다. 손전등 본체와 광원을 든 대상은 보이지 않는다.\n오랫동안 운용한 실용 차량의 실제 도장 금속 질감, 가장자리의 마모, 이음부의 옅은 산화와 일상적인 사용감을 세밀하게 담는다. 자원 접근이 불균등한 미래에도 재사용되는 기존 차량이라는 현실감을 유지한다. 조명은 밤의 미약한 주변광과 외부 손전등에 한정하며, 자연스러운 피사계 심도와 실제 야간 노출을 따른다. 바닥과 고정 표면에는 혈흔을 추가하지 않는다. 내부와 문밖 모두 사람, 얼굴, 신체 형태의 형상이나 그림자 없이 비워 둔다. 실제 장소 기록 사진과 구별되지 않는 재질과 노출이며, 인위적 색 보정이나 미화 없이 담는다. 조감도나 평면도가 아닌 눈높이 현장 사진이다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S72_Shot65",
            "guide_text": "화물칸 뒤쪽 왼편에서 오른쪽의 열린 승차문을 대각선으로 바라본다. 출입구와 문턱, 비에 젖은 좁은 외부 도로 면을 함께 확보하고 내부 전경은 비워 둔다. 손전등 빛은 문밖에서 안쪽으로 들어오도록 방향을 고정한다. 이후 인물 합성 시 구조 인력은 문밖 접근 공간에만 배치하며, 이 배경 자체에는 실루엣이나 사람 모양 그림자를 넣지 않는다. 부상 표현이 필요하면 해당 인물과 접촉 의복에만 한정하고 배경 표면에는 혈흔을 추가하지 않는다."
          }
        ],
        "shot_ids": [
          "S72_Shot65"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "Inside number 2, near the rear-left wall below number 13, facing diagonally forward-right toward number 14, across number 3 and out to number 16.",
          "camera_height": "seated or crouched eye level, approximately 1.1 m",
          "lens_hint": "28–32mm wide angle",
          "framing_notes": "Frame the open boarding doorway prominently with its sill and a narrow exterior strip visible. Leave interior foreground space for occupants reacting to the incoming flashlights. Adult male silhouettes occupy the exterior side of the doorway, not the cabin. Maintain night rain outside. Preserve localized injury continuity only if the injured occupant enters the foreground; do not transfer blood to fixed surfaces. All beams, silhouettes, rain, and door-state changes belong to the background overlay, never the base plan."
        },
        "reference_decision": {
          "bg_id": "L111B02",
          "fp_id": "fp_truck_layout",
          "node_index": 1,
          "mode": "same_physical_space_view",
          "is_dwelling_identity_anchor": false,
          "rationale": "S72_Shot65 remains inside the same physical unit 2 established by L111B03, but turns toward opening marker 14 and target units 3 and 16. Preserve the established layout rather than treating this as a new space. The wide opening-facing view reveals a different structural slice from the anchor's normal view toward marker 13, so its transient changes alone do not justify low-delta reuse.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L111B03.png"
          ],
          "source_bg_ids": [
            "L111B03"
          ],
          "fp_included": false,
          "reference_decision": {
            "selected_refs": [
              {
                "ref_bg_id": "L111B03",
                "physical_space_id": "fp_truck_layout:unit_2",
                "space_description": "Unit 2, established with base markers 2 and 13."
              }
            ],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "single_same_physical_space_reference",
            "why_single_ref_or_two_refs": "L111B03 supplies the fixed identity of the shared unit 2. S72_Shot65 includes targets 3 and 16 through opening 14, but no earlier distinct-space reference exists or is needed for those floor-plan-defined elements.",
            "physical_space_id_per_ref": [
              "fp_truck_layout:unit_2"
            ],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 2,
            "camera_cell": [
              6,
              5
            ],
            "look_at_unit": 3,
            "look_at_cell": [
              5,
              6
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad opening-facing coverage from inside unit 2, aimed at opening marker 14 adjoining target unit 3. The look-at cell is the listed opening coordinate, not the unit centroid. Follow S72_Shot65's off-axis seated-shoulder-height, slightly upward oblique staging."
          },
          "render_guidance": {
            "visible_space_directive": "Show unit 2's interior edge framing opening marker 14, with target unit 3 at that opening and the visible portion of unit 16 beyond it. Keep unit 2's fixed boundaries and marker 13's established position consistent with L111B03; retain marker 14 and units 3 and 16 at their supplied floor-plan positions. Their inclusion is supported by S72_Shot65 and the base inventory, not by treating the visibility supersets as mandatory coverage.",
            "camera_framing_directive": "Use camera unit 2 at [6, 5], looking toward unit 3 at the listed opening coordinate [5, 6], with a wide lens and 90-degree broad coverage. Keep both opening edges visible obliquely from inside, at the committed seated shoulder height and slight upward angle. Represent the paused view rather than adding camera movement.",
            "subject_position_directive": "For S72_Shot65, distribute the staged men's silhouettes across the middle and upper frame outside the opening. Keep the occupants inside below the crop. The men attend to those occupants rather than the lens, with varied weight distribution, head angles, and flashlight-holding heights.",
            "state_cue_directive": "Apply committed markers 17 through 21: localized injury blood only where visible, rain at exterior openings, incoming flashlight illumination, the fully open state of marker 14, and the staged silhouettes. Preserve the stopped nighttime state. Express the powerful incoming glare and dense silhouettes without visible atmospheric beams, as required by S72_Shot65; do not expose below-crop occupants merely to display marker 17.",
            "negative_continuity_directive": "The ignore lists are empty. Avoid relocating unit 2's fixed boundaries or markers 13 and 14 relative to L111B03 and the floor plan. Do not copy L111B03's subject framing or suppress this BG's committed markers 19, 20, and 21. Avoid forcing marker 13, unit 1, or other out-of-cone elements into this opening-facing view."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L111B03' physical_space_id='fp_truck_layout:unit_2'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [6, 5]\n  - look_at_unit: 3\n  - look_at_cell: [5, 6]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad opening-facing coverage from inside unit 2, aimed at opening marker 14 adjoining target unit 3. The look-at cell is the listed opening coordinate, not the unit centroid. Follow S72_Shot65's off-axis seated-shoulder-height, slightly upward oblique staging.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 2's interior edge framing opening marker 14, with target unit 3 at that opening and the visible portion of unit 16 beyond it. Keep unit 2's fixed boundaries and marker 13's established position consistent with L111B03; retain marker 14 and units 3 and 16 at their supplied floor-plan positions. Their inclusion is supported by S72_Shot65 and the base inventory, not by treating the visibility supersets as mandatory coverage.\n  - camera_framing_directive: Use camera unit 2 at [6, 5], looking toward unit 3 at the listed opening coordinate [5, 6], with a wide lens and 90-degree broad coverage. Keep both opening edges visible obliquely from inside, at the committed seated shoulder height and slight upward angle. Represent the paused view rather than adding camera movement.\n  - subject_position_directive: For S72_Shot65, distribute the staged men's silhouettes across the middle and upper frame outside the opening. Keep the occupants inside below the crop. The men attend to those occupants rather than the lens, with varied weight distribution, head angles, and flashlight-holding heights.\n  - state_cue_directive: Apply committed markers 17 through 21: localized injury blood only where visible, rain at exterior openings, incoming flashlight illumination, the fully open state of marker 14, and the staged silhouettes. Preserve the stopped nighttime state. Express the powerful incoming glare and dense silhouettes without visible atmospheric beams, as required by S72_Shot65; do not expose below-crop occupants merely to display marker 17.\n  - negative_continuity_directive: The ignore lists are empty. Avoid relocating unit 2's fixed boundaries or markers 13 and 14 relative to L111B03 and the floor plan. Do not copy L111B03's subject framing or suppress this BG's committed markers 19, 20, and 21. Avoid forcing marker 13, unit 1, or other out-of-cone elements into this opening-facing view.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L111B03' physical_space_id='fp_truck_layout:unit_2'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [6, 5]\n  - look_at_unit: 3\n  - look_at_cell: [5, 6]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad opening-facing coverage from inside unit 2, aimed at opening marker 14 adjoining target unit 3. The look-at cell is the listed opening coordinate, not the unit centroid. Follow S72_Shot65's off-axis seated-shoulder-height, slightly upward oblique staging.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 2's interior edge framing opening marker 14, with target unit 3 at that opening and the visible portion of unit 16 beyond it. Keep unit 2's fixed boundaries and marker 13's established position consistent with L111B03; retain marker 14 and units 3 and 16 at their supplied floor-plan positions. Their inclusion is supported by S72_Shot65 and the base inventory, not by treating the visibility supersets as mandatory coverage.\n  - camera_framing_directive: Use camera unit 2 at [6, 5], looking toward unit 3 at the listed opening coordinate [5, 6], with a wide lens and 90-degree broad coverage. Keep both opening edges visible obliquely from inside, at the committed seated shoulder height and slight upward angle. Represent the paused view rather than adding camera movement.\n  - subject_position_directive: For S72_Shot65, distribute the staged men's silhouettes across the middle and upper frame outside the opening. Keep the occupants inside below the crop. The men attend to those occupants rather than the lens, with varied weight distribution, head angles, and flashlight-holding heights.\n  - state_cue_directive: Apply committed markers 17 through 21: localized injury blood only where visible, rain at exterior openings, incoming flashlight illumination, the fully open state of marker 14, and the staged silhouettes. Preserve the stopped nighttime state. Express the powerful incoming glare and dense silhouettes without visible atmospheric beams, as required by S72_Shot65; do not expose below-crop occupants merely to display marker 17.\n  - negative_continuity_directive: The ignore lists are empty. Avoid relocating unit 2's fixed boundaries or markers 13 and 14 relative to L111B03 and the floor plan. Do not copy L111B03's subject framing or suppress this BG's committed markers 19, 20, and 21. Avoid forcing marker 13, unit 1, or other out-of-cone elements into this opening-facing view.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L111B03' physical_space_id='fp_truck_layout:unit_2'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [6, 5]\n  - look_at_unit: 3\n  - look_at_cell: [5, 6]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad opening-facing coverage from inside unit 2, aimed at opening marker 14 adjoining target unit 3. The look-at cell is the listed opening coordinate, not the unit centroid. Follow S72_Shot65's off-axis seated-shoulder-height, slightly upward oblique staging.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 2's interior edge framing opening marker 14, with target unit 3 at that opening and the visible portion of unit 16 beyond it. Keep unit 2's fixed boundaries and marker 13's established position consistent with L111B03; retain marker 14 and units 3 and 16 at their supplied floor-plan positions. Their inclusion is supported by S72_Shot65 and the base inventory, not by treating the visibility supersets as mandatory coverage.\n  - camera_framing_directive: Use camera unit 2 at [6, 5], looking toward unit 3 at the listed opening coordinate [5, 6], with a wide lens and 90-degree broad coverage. Keep both opening edges visible obliquely from inside, at the committed seated shoulder height and slight upward angle. Represent the paused view rather than adding camera movement.\n  - subject_position_directive: For S72_Shot65, distribute the staged men's silhouettes across the middle and upper frame outside the opening. Keep the occupants inside below the crop. The men attend to those occupants rather than the lens, with varied weight distribution, head angles, and flashlight-holding heights.\n  - state_cue_directive: Apply committed markers 17 through 21: localized injury blood only where visible, rain at exterior openings, incoming flashlight illumination, the fully open state of marker 14, and the staged silhouettes. Preserve the stopped nighttime state. Express the powerful incoming glare and dense silhouettes without visible atmospheric beams, as required by S72_Shot65; do not expose below-crop occupants merely to display marker 17.\n  - negative_continuity_directive: The ignore lists are empty. Avoid relocating unit 2's fixed boundaries or markers 13 and 14 relative to L111B03 and the floor plan. Do not copy L111B03's subject framing or suppress this BG's committed markers 19, 20, and 21. Avoid forcing marker 13, unit 1, or other out-of-cone elements into this opening-facing view.\n\n2069년 대한민국의 비 내리는 밤, 도로에 정차한 낡은 화물 트럭 내부에서 활짝 열린 측면 승차문 너머를 촬영한 실제 카메라로 촬영한 다큐멘터리 풍 사진. 첨부 배치도는 화물칸과 오른쪽 미닫이 승차문, 문턱, 문 바로 바깥의 좁은 접근 공간 사이의 위치 관계만 참고한다. 화물칸 뒤쪽 왼편에서 앞쪽 오른편을 비스듬히 바라보며, 약 1.6미터의 서 있는 눈높이에서 풀프레임 미러리스 카메라와 35밀리미터급 렌즈로 촬영한다. 열린 출입구를 화면의 주요 부분으로 잡고 아래쪽 문턱과 그 너머의 좁은 도로 면을 함께 보여준다. 내부 전경에는 충분한 빈 공간을 남긴다.\n오른쪽 벽을 따라 미닫이 문짝이 밀려나 출입구가 완전히 드러나 있다. 문밖에서는 밤비가 계속 내리며, 손전등 빛에 걸린 빗방울과 젖은 도로의 불규칙한 반사가 보인다. 출입구 바깥 화면 밖에서 여러 손전등 광선이 화물칸 안으로 강하게 들어온다. 실제 광학 현상에 맞게 빗방울 주변에서만 빛줄기가 드러나고, 문턱과 내부 금속 표면에는 강한 국소 조명과 자연스러운 밝기 감쇠가 생긴다. 어두운 내부 전체가 균일하게 밝아지지는 않는다. 손전등 본체와 광원을 든 대상은 보이지 않는다.\n오랫동안 운용한 실용 차량의 실제 도장 금속 질감, 가장자리의 마모, 이음부의 옅은 산화와 일상적인 사용감을 세밀하게 담는다. 자원 접근이 불균등한 미래에도 재사용되는 기존 차량이라는 현실감을 유지한다. 조명은 밤의 미약한 주변광과 외부 손전등에 한정하며, 자연스러운 피사계 심도와 실제 야간 노출을 따른다. 바닥과 고정 표면에는 혈흔을 추가하지 않는다. 내부와 문밖 모두 사람, 얼굴, 신체 형태의 형상이나 그림자 없이 비워 둔다. 실제 장소 기록 사진과 구별되지 않는 재질과 노출이며, 인위적 색 보정이나 미화 없이 담는다. 조감도나 평면도가 아닌 눈높이 현장 사진이다. 16:9 가로 비율, 실제 카메라 촬영본",
        "camera_decision": {
          "camera_unit": 2,
          "camera_cell": [
            6,
            5
          ],
          "look_at_unit": 3,
          "look_at_cell": [
            5,
            6
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad opening-facing coverage from inside unit 2, aimed at opening marker 14 adjoining target unit 3. The look-at cell is the listed opening coordinate, not the unit centroid. Follow S72_Shot65's off-axis seated-shoulder-height, slightly upward oblique staging."
        },
        "shot_aware_plan_node_index": 1,
        "shot_aware_plan_mode": "same_physical_space_view",
        "render_guidance": {
          "visible_space_directive": "Show unit 2's interior edge framing opening marker 14, with target unit 3 at that opening and the visible portion of unit 16 beyond it. Keep unit 2's fixed boundaries and marker 13's established position consistent with L111B03; retain marker 14 and units 3 and 16 at their supplied floor-plan positions. Their inclusion is supported by S72_Shot65 and the base inventory, not by treating the visibility supersets as mandatory coverage.",
          "camera_framing_directive": "Use camera unit 2 at [6, 5], looking toward unit 3 at the listed opening coordinate [5, 6], with a wide lens and 90-degree broad coverage. Keep both opening edges visible obliquely from inside, at the committed seated shoulder height and slight upward angle. Represent the paused view rather than adding camera movement.",
          "subject_position_directive": "For S72_Shot65, distribute the staged men's silhouettes across the middle and upper frame outside the opening. Keep the occupants inside below the crop. The men attend to those occupants rather than the lens, with varied weight distribution, head angles, and flashlight-holding heights.",
          "state_cue_directive": "Apply committed markers 17 through 21: localized injury blood only where visible, rain at exterior openings, incoming flashlight illumination, the fully open state of marker 14, and the staged silhouettes. Preserve the stopped nighttime state. Express the powerful incoming glare and dense silhouettes without visible atmospheric beams, as required by S72_Shot65; do not expose below-crop occupants merely to display marker 17.",
          "negative_continuity_directive": "The ignore lists are empty. Avoid relocating unit 2's fixed boundaries or markers 13 and 14 relative to L111B03 and the floor plan. Do not copy L111B03's subject framing or suppress this BG's committed markers 19, 20, and 21. Avoid forcing marker 13, unit 1, or other out-of-cone elements into this opening-facing view."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_truck_layout",
          "prior_bg_ids": [
            "L111B03"
          ],
          "attached_ref_labels": [
            "bg:L111B03"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L115B02": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L115",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L115B02.png",
        "t2i_prompt": "2069년 대한민국 남서부의 소규모 공공 보건소 병실을 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 오래된 지역 의료시설을 계속 사용하는 현실적인 실내이며, 미래라는 이유로 화려한 장비나 장식을 덧붙이지 않는다. 직사각형 병실의 남동쪽 안에서 북서쪽을 바라본다. 카메라 높이는 서 있는 사람 눈높이인 약 1.6미터, 렌즈는 35밀리미터급의 자연스러운 공간감을 유지하는 28밀리미터 광각으로, 가장자리의 과도한 늘어짐 없이 촬영한다. 북서쪽 침상은 머리 쪽이 북쪽, 발치가 남쪽을 향하고, 침상 머리 바로 동쪽에는 작은 침상 옆 수납장이 있다. 서쪽 벽 아래쪽의 출입문은 화면 왼쪽 가장자리에 두고, 문이 남서쪽 모서리를 향해 안으로 열리는 구조를 반영한다. 북쪽 벽 동쪽 절반의 창문은 화면 오른쪽에 보인다. 침상과 수납장을 안정적인 구도 기준으로 삼고, 침상 동쪽과 발치에 이어지는 중앙 바닥은 넓게 비워 둔다. 출입구에서 침상까지 이어지는 남서쪽 통로와 침상 서쪽 바닥도 자연스럽게 읽힌다.\n도장한 콘크리트 벽, 실용적인 바닥 마감, 금속 침상 틀, 평평하게 정돈된 면 침구, 소박한 수납장 표면, 금속 창틀의 실제 재료 질감을 담는다. 오랫동안 관리하며 사용한 재료의 미세한 마모와 부드럽게 닳은 모서리는 보이되 과장된 황폐함은 없다. 공간은 깨끗하고 정돈된 평온한 상태다. 밤의 조용한 병실로, 창밖은 어둡고 실내에는 낮은 밝기의 부드러운 주변광이 남아 있다. 창으로 스미는 미약한 야간 자연광과 실내의 은은한 빛이 실제 노출처럼 섞이며, 침상과 바닥의 구조가 식별될 만큼 명암을 확보한다. 빛과 그림자는 물리적으로 자연스럽고, 금속에는 약한 반사만 나타나며 면직물의 짜임과 벽의 잔잔한 표면 요철이 보인다. 사람이 없는 배경만 촬영하며, 얼굴이나 사람 형태의 형상은 반사면과 침구에도 나타나지 않는다. 자연스러운 피사계 심도로 침상과 출입구, 창문의 공간 관계를 읽을 수 있게 한다. 과도한 보정 없는 실제 장소 기록 사진이며, 광고용으로 지나치게 말끔한 사진이나 컴퓨터 생성 이미지, 삽화, 건축 시각화가 아니다. 위에서 내려다보는 시점이나 평면도, 설계 도식이 아닌 눈높이 실내 사진. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S73_Shot2",
            "guide_text": "남동쪽 눈높이에서 북서쪽 침상을 보는 기본 구도를 사용한다. 침상과 머리 옆 수납장을 중심 기준으로 잡고 왼쪽 가장자리에 출입구, 오른쪽에 창문을 포함한다. 침상 동쪽과 발치의 바닥을 가리지 않은 빈 병실 배경으로 유지하고, 밤의 낮고 부드러운 조명 아래 실제 재료 질감이 읽히게 한다."
          },
          {
            "shot_id": "S73_Shot8",
            "guide_text": "같은 병실의 침상 방향과 수납장 위치, 출입구와 창문의 화면상 관계를 일관되게 유지한다. 중앙에서 침상 동쪽과 발치로 이어지는 여유 공간 및 왼쪽 출입 동선이 분명히 보이도록 한다. 배경에는 인물이나 형상을 넣지 않고, 기존 구도와 정돈된 상태 및 야간 조명의 밝기를 유지한다."
          }
        ],
        "shot_ids": [
          "S73_Shot2",
          "S73_Shot8"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Inside the southeast side of number 1, facing northwest across number 3 toward number 5, with number 6 at the left edge and number 7 toward the right.",
          "camera_height": "eye-level standing, approximately 1.5-1.6 m",
          "lens_hint": "28mm wide angle",
          "framing_notes": "Include the bed and cabinet as stable anchors, retain the entrance at frame left for arrivals, and leave the gathering area unobstructed for visiting and reunion staging. Night and quiet post-treatment atmosphere belong to the downstream scene, not the plan."
        },
        "reference_decision": {
          "bg_id": "L115B02",
          "fp_id": "fp_mokpo_clinic_ward",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L115B02 is a ready clean-anchor candidate whose staged shots explicitly identify base markers 5 and 6. Establish the shared enclosure from unit 1 toward unit 2 with broad coverage for the shot-specific medium compositions. The exact supplied camera and look-at candidates provide a representative background plate, not separate camera trajectories for the two shots.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/floor_plan/fp_mokpo_clinic_ward.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "Seed the identity directly from the floor plan; no previously rendered reference is supplied.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 1,
            "camera_cell": [
              8,
              8
            ],
            "look_at_unit": 2,
            "look_at_cell": [
              2,
              2
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad representative plate aimed at marker 5 in unit 2. Preserve surrounding coverage for the distinct medium shot compositions; do not encode shot-specific camera travel into this fixed geometry."
          },
          "render_guidance": {
            "visible_space_directive": "Establish unit 1 and the portions of units 2, 3 and 4 within the broad view from [8, 8] toward [2, 2]. Place marker 5 in the northwest with its head north and foot south, marker 8 immediately east of its head, marker 6 on the lower west wall and marker 7 on the eastern half of the north wall. Treat opening visibility candidates as supersets: retain only their in-cone portions and infer no adjoining spaces through them.",
            "camera_framing_directive": "Use camera_unit 1 at [8, 8], looking toward unit 2 at [2, 2], with wide lens and 90-degree FOV. Supply broad structural coverage centered on marker 5, with marker 6 toward the peripheral west side where visible. The consuming shots specify medium compositions; their individual subject crops remain separate from this representative plate.",
            "subject_position_directive": "For S73_Shot2, preserve composition space for the staged leaning subject at upper left and the sleeping subject at lower right on marker 5, with the near side running diagonally beneath them. For S73_Shot8, preserve the staged embracing pair's left/right arrangement with marker 6 behind them in its shot composition. These are separate shot arrangements, not simultaneous occupants; keep the clean background plate free of baked-in subjects.",
            "state_cue_directive": "No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Retain the staged restrained nighttime ambient illumination; the occupied state of marker 5 and the arrival associated with marker 6 belong to their respective subject/action layers.",
            "negative_continuity_directive": "No ignored numbered elements or ignored overlay markers are supplied. Avoid relocating markers 5 and 8 or openings 6 and 7 to accommodate separate shot compositions. Avoid treating visibility supersets as proof of unobstructed visibility, adding spaces beyond the chosen cone, or merging separate shot subject arrangements into the plate."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [8, 8]\n  - look_at_unit: 2\n  - look_at_cell: [2, 2]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad representative plate aimed at marker 5 in unit 2. Preserve surrounding coverage for the distinct medium shot compositions; do not encode shot-specific camera travel into this fixed geometry.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 1 and the portions of units 2, 3 and 4 within the broad view from [8, 8] toward [2, 2]. Place marker 5 in the northwest with its head north and foot south, marker 8 immediately east of its head, marker 6 on the lower west wall and marker 7 on the eastern half of the north wall. Treat opening visibility candidates as supersets: retain only their in-cone portions and infer no adjoining spaces through them.\n  - camera_framing_directive: Use camera_unit 1 at [8, 8], looking toward unit 2 at [2, 2], with wide lens and 90-degree FOV. Supply broad structural coverage centered on marker 5, with marker 6 toward the peripheral west side where visible. The consuming shots specify medium compositions; their individual subject crops remain separate from this representative plate.\n  - subject_position_directive: For S73_Shot2, preserve composition space for the staged leaning subject at upper left and the sleeping subject at lower right on marker 5, with the near side running diagonally beneath them. For S73_Shot8, preserve the staged embracing pair's left/right arrangement with marker 6 behind them in its shot composition. These are separate shot arrangements, not simultaneous occupants; keep the clean background plate free of baked-in subjects.\n  - state_cue_directive: No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Retain the staged restrained nighttime ambient illumination; the occupied state of marker 5 and the arrival associated with marker 6 belong to their respective subject/action layers.\n  - negative_continuity_directive: No ignored numbered elements or ignored overlay markers are supplied. Avoid relocating markers 5 and 8 or openings 6 and 7 to accommodate separate shot compositions. Avoid treating visibility supersets as proof of unobstructed visibility, adding spaces beyond the chosen cone, or merging separate shot subject arrangements into the plate.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [8, 8]\n  - look_at_unit: 2\n  - look_at_cell: [2, 2]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad representative plate aimed at marker 5 in unit 2. Preserve surrounding coverage for the distinct medium shot compositions; do not encode shot-specific camera travel into this fixed geometry.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 1 and the portions of units 2, 3 and 4 within the broad view from [8, 8] toward [2, 2]. Place marker 5 in the northwest with its head north and foot south, marker 8 immediately east of its head, marker 6 on the lower west wall and marker 7 on the eastern half of the north wall. Treat opening visibility candidates as supersets: retain only their in-cone portions and infer no adjoining spaces through them.\n  - camera_framing_directive: Use camera_unit 1 at [8, 8], looking toward unit 2 at [2, 2], with wide lens and 90-degree FOV. Supply broad structural coverage centered on marker 5, with marker 6 toward the peripheral west side where visible. The consuming shots specify medium compositions; their individual subject crops remain separate from this representative plate.\n  - subject_position_directive: For S73_Shot2, preserve composition space for the staged leaning subject at upper left and the sleeping subject at lower right on marker 5, with the near side running diagonally beneath them. For S73_Shot8, preserve the staged embracing pair's left/right arrangement with marker 6 behind them in its shot composition. These are separate shot arrangements, not simultaneous occupants; keep the clean background plate free of baked-in subjects.\n  - state_cue_directive: No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Retain the staged restrained nighttime ambient illumination; the occupied state of marker 5 and the arrival associated with marker 6 belong to their respective subject/action layers.\n  - negative_continuity_directive: No ignored numbered elements or ignored overlay markers are supplied. Avoid relocating markers 5 and 8 or openings 6 and 7 to accommodate separate shot compositions. Avoid treating visibility supersets as proof of unobstructed visibility, adding spaces beyond the chosen cone, or merging separate shot subject arrangements into the plate.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [8, 8]\n  - look_at_unit: 2\n  - look_at_cell: [2, 2]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad representative plate aimed at marker 5 in unit 2. Preserve surrounding coverage for the distinct medium shot compositions; do not encode shot-specific camera travel into this fixed geometry.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 1 and the portions of units 2, 3 and 4 within the broad view from [8, 8] toward [2, 2]. Place marker 5 in the northwest with its head north and foot south, marker 8 immediately east of its head, marker 6 on the lower west wall and marker 7 on the eastern half of the north wall. Treat opening visibility candidates as supersets: retain only their in-cone portions and infer no adjoining spaces through them.\n  - camera_framing_directive: Use camera_unit 1 at [8, 8], looking toward unit 2 at [2, 2], with wide lens and 90-degree FOV. Supply broad structural coverage centered on marker 5, with marker 6 toward the peripheral west side where visible. The consuming shots specify medium compositions; their individual subject crops remain separate from this representative plate.\n  - subject_position_directive: For S73_Shot2, preserve composition space for the staged leaning subject at upper left and the sleeping subject at lower right on marker 5, with the near side running diagonally beneath them. For S73_Shot8, preserve the staged embracing pair's left/right arrangement with marker 6 behind them in its shot composition. These are separate shot arrangements, not simultaneous occupants; keep the clean background plate free of baked-in subjects.\n  - state_cue_directive: No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Retain the staged restrained nighttime ambient illumination; the occupied state of marker 5 and the arrival associated with marker 6 belong to their respective subject/action layers.\n  - negative_continuity_directive: No ignored numbered elements or ignored overlay markers are supplied. Avoid relocating markers 5 and 8 or openings 6 and 7 to accommodate separate shot compositions. Avoid treating visibility supersets as proof of unobstructed visibility, adding spaces beyond the chosen cone, or merging separate shot subject arrangements into the plate.\n\n2069년 대한민국 남서부의 소규모 공공 보건소 병실을 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 오래된 지역 의료시설을 계속 사용하는 현실적인 실내이며, 미래라는 이유로 화려한 장비나 장식을 덧붙이지 않는다. 직사각형 병실의 남동쪽 안에서 북서쪽을 바라본다. 카메라 높이는 서 있는 사람 눈높이인 약 1.6미터, 렌즈는 35밀리미터급의 자연스러운 공간감을 유지하는 28밀리미터 광각으로, 가장자리의 과도한 늘어짐 없이 촬영한다. 북서쪽 침상은 머리 쪽이 북쪽, 발치가 남쪽을 향하고, 침상 머리 바로 동쪽에는 작은 침상 옆 수납장이 있다. 서쪽 벽 아래쪽의 출입문은 화면 왼쪽 가장자리에 두고, 문이 남서쪽 모서리를 향해 안으로 열리는 구조를 반영한다. 북쪽 벽 동쪽 절반의 창문은 화면 오른쪽에 보인다. 침상과 수납장을 안정적인 구도 기준으로 삼고, 침상 동쪽과 발치에 이어지는 중앙 바닥은 넓게 비워 둔다. 출입구에서 침상까지 이어지는 남서쪽 통로와 침상 서쪽 바닥도 자연스럽게 읽힌다.\n도장한 콘크리트 벽, 실용적인 바닥 마감, 금속 침상 틀, 평평하게 정돈된 면 침구, 소박한 수납장 표면, 금속 창틀의 실제 재료 질감을 담는다. 오랫동안 관리하며 사용한 재료의 미세한 마모와 부드럽게 닳은 모서리는 보이되 과장된 황폐함은 없다. 공간은 깨끗하고 정돈된 평온한 상태다. 밤의 조용한 병실로, 창밖은 어둡고 실내에는 낮은 밝기의 부드러운 주변광이 남아 있다. 창으로 스미는 미약한 야간 자연광과 실내의 은은한 빛이 실제 노출처럼 섞이며, 침상과 바닥의 구조가 식별될 만큼 명암을 확보한다. 빛과 그림자는 물리적으로 자연스럽고, 금속에는 약한 반사만 나타나며 면직물의 짜임과 벽의 잔잔한 표면 요철이 보인다. 사람이 없는 배경만 촬영하며, 얼굴이나 사람 형태의 형상은 반사면과 침구에도 나타나지 않는다. 자연스러운 피사계 심도로 침상과 출입구, 창문의 공간 관계를 읽을 수 있게 한다. 과도한 보정 없는 실제 장소 기록 사진이며, 광고용으로 지나치게 말끔한 사진이나 컴퓨터 생성 이미지, 삽화, 건축 시각화가 아니다. 위에서 내려다보는 시점이나 평면도, 설계 도식이 아닌 눈높이 실내 사진. 16:9 가로 비율, 실제 카메라 촬영본",
        "camera_decision": {
          "camera_unit": 1,
          "camera_cell": [
            8,
            8
          ],
          "look_at_unit": 2,
          "look_at_cell": [
            2,
            2
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad representative plate aimed at marker 5 in unit 2. Preserve surrounding coverage for the distinct medium shot compositions; do not encode shot-specific camera travel into this fixed geometry."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Establish unit 1 and the portions of units 2, 3 and 4 within the broad view from [8, 8] toward [2, 2]. Place marker 5 in the northwest with its head north and foot south, marker 8 immediately east of its head, marker 6 on the lower west wall and marker 7 on the eastern half of the north wall. Treat opening visibility candidates as supersets: retain only their in-cone portions and infer no adjoining spaces through them.",
          "camera_framing_directive": "Use camera_unit 1 at [8, 8], looking toward unit 2 at [2, 2], with wide lens and 90-degree FOV. Supply broad structural coverage centered on marker 5, with marker 6 toward the peripheral west side where visible. The consuming shots specify medium compositions; their individual subject crops remain separate from this representative plate.",
          "subject_position_directive": "For S73_Shot2, preserve composition space for the staged leaning subject at upper left and the sleeping subject at lower right on marker 5, with the near side running diagonally beneath them. For S73_Shot8, preserve the staged embracing pair's left/right arrangement with marker 6 behind them in its shot composition. These are separate shot arrangements, not simultaneous occupants; keep the clean background plate free of baked-in subjects.",
          "state_cue_directive": "No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Retain the staged restrained nighttime ambient illumination; the occupied state of marker 5 and the arrival associated with marker 6 belong to their respective subject/action layers.",
          "negative_continuity_directive": "No ignored numbered elements or ignored overlay markers are supplied. Avoid relocating markers 5 and 8 or openings 6 and 7 to accommodate separate shot compositions. Avoid treating visibility supersets as proof of unobstructed visibility, adding spaces beyond the chosen cone, or merging separate shot subject arrangements into the plate."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_mokpo_clinic_ward",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_mokpo_clinic_ward"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L115B01": {
        "status": "ok",
        "is_reuse": true,
        "render_action": "reuse_existing_plate",
        "reuse_target_bg_id": "L115B02",
        "reused_from_bg_id": "L115B02",
        "location_id": "L115",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L115B02.png",
        "t2i_prompt": "2069년 대한민국 남서부의 소규모 공공 보건시설 병실을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 오래된 의료시설을 계속 사용하는 생활 여건이 드러나는 소박한 직사각형 공간으로, 과장된 미래 장식 없이 기존 건축과 가구의 실용적인 재질을 보여준다. 사람, 얼굴, 인체 형태의 형상 없이 비어 있는 배경만 촬영한다.\n\n병실 남동쪽 안쪽에서 북서쪽을 향해 바라본다. 실제 전자식 렌즈 교환 카메라의 35밀리미터 규격 촬상면과 28밀리미터 광각 렌즈를 사용하고, 카메라 높이는 서 있는 사람의 눈높이인 약 1.6미터로 한다. 지나친 광각 왜곡 없이 수직선을 자연스럽게 유지한다. 북서쪽에 놓인 병원 침상은 머리가 북쪽, 발치가 남쪽을 향하며, 머리맡 바로 동쪽에 작은 침상 옆 수납장이 있다. 서쪽 벽 하단의 출입문은 화면 왼쪽에, 북쪽 벽 동쪽 절반의 창문은 화면 오른쪽에 읽히도록 잡는다. 출입문은 남서쪽 모서리 방향으로 안여닫는 구조다. 침상 동쪽과 발치에 이어지는 중앙의 빈 바닥을 충분히 보여주고, 서쪽 출입구에서 침상으로 이어지는 남서쪽 통로도 가구에 가리지 않게 담는다.\n\n밤의 창밖은 어둡고, 실내의 일상적인 백색 조명이 침상과 주변 바닥을 현실적인 밝기로 비춘다. 창가와 방 모서리는 자연스럽게 조금 어두워지되 공간 구조와 이동 동선은 분명히 보인다. 밝기나 색을 극적으로 가공하지 않는다. 도장된 콘크리트 벽의 미세한 표면 질감, 오래 사용한 금속 침상 프레임의 은은한 광택 차이, 침상 직물의 실제 짜임, 수납장 표면의 생활 사용감을 담는다. 공간은 청결하고 정돈된 상태다.\n\n실제 장소 기록 사진처럼 자연스러운 원근과 피사계 심도, 재료마다 다른 빛의 반사와 부드러운 그림자를 유지한다. 지나치게 매끈한 광고 사진이나 컴퓨터 생성 이미지가 아니라 실제 병실의 사진이어야 한다. 내려다보는 시점, 평면도, 건축 도해가 아닌 눈높이의 실내 사진. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S76_Shot4",
            "guide_text": "남동쪽 눈높이에서 침상을 향한 기본 구도를 사용한다. 침상 전체와 머리맡 수납장의 위치를 읽을 수 있게 하고, 침상 동쪽 및 발치의 빈 바닥을 충분히 남긴다. 왼쪽 출입구와 오른쪽 창문을 공간 기준점으로 삼으며, 배경에는 인물이나 별도의 진료 소품을 그리지 않는다."
          },
          {
            "shot_id": "S76_Shot9",
            "guide_text": "동일한 야간 조명과 촬영 방향을 유지해 앞선 배경과 공간이 연속되도록 한다. 침상과 수납장, 출입구, 창문의 상대 위치를 바꾸지 않고 침상 곁 중앙 공간과 남서쪽 이동 통로가 잘 보이게 한다. 장면의 긴박함을 배경의 가구 이동이나 추가 장비로 표현하지 않는다."
          }
        ],
        "shot_ids": [
          "S76_Shot4",
          "S76_Shot9"
        ],
        "scenes": [],
        "parent_id": "L115B02",
        "ref_used": "reused_plate",
        "render_attempts": 0,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "Inside the southeast side of number 1, facing northwest across number 3 toward number 5, preserving the entrance at number 6 on the left and the window at number 7 on the right.",
          "camera_height": "eye-level standing, approximately 1.5-1.6 m",
          "lens_hint": "28mm wide angle",
          "framing_notes": "Maintain the quiet scene's architectural axis and furniture positions. Keep the bed, its accessible east side, and the central gathering area readable for urgent consultation; do not add an operating suite or rearrange furniture to signal urgency."
        },
        "reference_decision": {
          "mode": "reference_derived",
          "render_action": "reuse_existing_plate",
          "reuse_target_bg_id": "L115B02",
          "selected_refs": [
            {
              "ref_bg_id": "L115B02",
              "physical_space_id": "fp_mokpo_clinic_ward:unit_1",
              "space_description": "Shared enclosure containing target units 1, 2, 3 and 4 and base markers 5, 6, 7 and 8."
            }
          ]
        },
        "shot_aware_plan_node_index": 1,
        "shot_aware_plan_mode": "reference_derived",
        "render_guidance": {
          "visible_space_directive": "Retain L115B02's unit 1 enclosure and its in-cone portions of units 2, 3 and 4 from [8, 8] toward [2, 2]. Keep marker 5 northwest with its head north and foot south, marker 8 immediately east of its head, opening 6 on the lower west wall and opening 7 on the eastern half of the north wall. Preserve the reference's visible structural relationships and opening portions without inferring adjoining spaces.",
          "camera_framing_directive": "Match camera_unit 1 at [8, 8], look_at_unit 2 at [2, 2], wide lens and 90-degree FOV for broad reference-identical coverage. Reserve the consuming shots' medium framing for their individual compositions; retain the plate's fixed framing rather than inventing new camera coordinates or motion.",
          "subject_position_directive": "For S76_Shot4, preserve space for the cropped shoulder at left foreground, its near forearm entering lower center, and the leaning subject's face on the right above both gripping hands. For S76_Shot9, preserve space for the subject right of center with eyes and chest-level fists retained and open space to the left toward off-screen companions. Keep these separate shot arrangements out of the clean background plate rather than combining or inventing occupants.",
          "state_cue_directive": "No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Maintain the staged restrained nighttime ambient illumination; the selective blue eye-light cue in S76_Shot9 belongs to its subject layer rather than a persistent change to the enclosure.",
          "negative_continuity_directive": "No ignored numbered elements or ignored overlay markers are supplied. Avoid moving markers 5 and 8 or openings 6 and 7 relative to L115B02, carrying its shot-specific subject occupancy into this plate, or baking the current shots' gestures and selective subject light into fixed surfaces. Avoid adding spaces outside the selected cone or interpreting visibility supersets as guaranteed visibility."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_mokpo_clinic_ward",
          "prior_bg_ids": [
            "L115B02"
          ],
          "attached_ref_labels": [
            "bg:L115B02"
          ],
          "ref_used": "reused_plate",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L119B05": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L119",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L119B05.png",
        "t2i_prompt": "2069년 대한민국에 남아 있는 낡은 대형 격납고 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 과거부터 사용해 온 산업용 격납고의 실용적인 구조와 오래된 경비행기들이 그대로 남아 있는 실제 장소 기록 사진으로 표현한다. 풀프레임 미러리스 카메라와 28밀리미터 광각 렌즈를 사용하고, 남쪽의 넓은 격납고 출입구 바로 안쪽 문턱에서 약 1.6미터의 서 있는 사람 눈높이로 북쪽을 바라본다. 출입구 가장자리를 화면 전경 한쪽에 조금 남기고, 남쪽의 넓게 비어 있는 바닥에서 중앙 통로가 뒤쪽까지 끊김 없이 이어지게 구성한다. 평면도는 공간 배치의 참고로만 사용하며 위에서 내려다보는 시점이나 설계도 형태로 표현하지 않는다.\n왼쪽 앞 항공기 구역에는 기수가 남쪽 출입구를 향한 접근 가능한 경비행기가 놓여 있고, 왼쪽 뒤에는 오래전부터 날개가 파손된 경비행기가 중앙 통로를 침범하지 않은 채 자리한다. 오른쪽 뒤 구역의 경비행기도 기수가 남쪽을 향한다. 경비행기들의 낡은 금속 외피, 빛바랜 도장, 철제 부품의 오랜 녹과 부식, 파손된 날개의 거친 단면은 기존의 지속된 노후 상태로 보인다. 중앙 통로와 앞쪽 여유 공간은 분명하게 읽힌다. 왼쪽 앞 항공기 구역 가장자리 위, 오른쪽 앞 구역 가장자리 위, 중앙 통로 북쪽 끝 위에 각각 기존 전구 조명기구가 보이며 전구는 꺼져 있다.\n큰 출입구로 들어오는 약한 자연광이 앞쪽 콘크리트 바닥과 기체 표면에 닿고, 뒤쪽으로 갈수록 실제 실내처럼 점차 어두워진다. 어두운 부분에도 항공기의 윤곽과 구역 간 거리를 알아볼 수 있을 정도의 자연스러운 노출을 유지한다. 실제 콘크리트의 입자와 오래된 사용감, 금속 외피의 이음매와 무광택 질감을 과장 없이 담고, 광각 원근과 자연스러운 피사계 심도를 유지한다. 공간은 기존 배치가 흐트러지지 않은 정돈된 상태다. 사람, 얼굴, 인체 형태의 형상은 전혀 없는 배경만 촬영한다. 실제 현장 사진과 구별되지 않는 사실성을 유지하며, 인위적 색 보정이나 삽화 표현, 컴퓨터 생성 영상, 건축 시각화의 매끈한 표현을 사용하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S75_Shot4",
            "guide_text": "남쪽 문턱 바로 안쪽의 약 1.6미터 높이에서 북쪽으로 촬영하는 광각 전경. 출입구 가장자리와 넓은 앞쪽 바닥을 전경에 남기고, 왼쪽 앞 경비행기에서 좌우 뒤편 경비행기까지 배치가 읽히도록 한다. 중앙 통로는 끝까지 시각적으로 이어지며 항공기에 가리지 않는다. 천장 전구 조명기구의 위치를 포함하고, 소등된 실내에 출입구의 약한 자연광만 들어오는 밝기 관계를 유지한다. 오래된 기체 손상은 그대로 두고 인물이나 추가 소품 없이 정적인 배경으로 사용한다."
          }
        ],
        "shot_ids": [
          "S75_Shot4"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Just inside number 6 at number 4, facing north along number 3 toward numbers 7, 8, and 9.",
          "camera_height": "eye-level standing, approximately 1.6 m",
          "lens_hint": "28mm wide angle",
          "framing_notes": "Establish the abandoned aircraft arrangement and uninterrupted center aisle. Retain the doorway edge as a foreground reference and include the overhead fixture positions without startup effects. Keep the longstanding aircraft deterioration; do not add the helicopter inset to this background."
        },
        "reference_decision": {
          "bg_id": "L119B05",
          "fp_id": "fp_hangar_and_cabin",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L119B05 is a permitted clean anchor and S75_Shot4 supplies a subject-free, broad identity view. Camera unit 4 looking toward unit 1 establishes the fixed arrangement across units 1, 2 and 3 from the entry side. The listed coordinates support an off-axis inward composition without inventing a camera position.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/floor_plan/fp_hangar_and_cabin.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The identity anchor is seeded directly from the supplied floor plan; no prior reference is used.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 4,
            "camera_cell": [
              7,
              3
            ],
            "look_at_unit": 1,
            "look_at_cell": [
              2,
              1
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad, diagonally inward coverage from unit 4 toward marker 7 in unit 1. Apply the shot's elevated, downward-looking staging within the supplied camera cell; do not invent a lateral grid offset."
          },
          "render_guidance": {
            "visible_space_directive": "Establish units 1, 2 and 3 beyond unit 4, with markers 7, 8 and 9 distributed at their base-plan positions and fixtures 10, 11 and 12 retained overhead. Opening 6 is the near boundary at the camera cell, so show only the narrow interior-side edge committed by S75_Shot4. The visibility supersets do not establish a view into unit 13.",
            "camera_framing_directive": "Use camera unit 4 at [7, 3], looking toward unit 1 at [2, 1], with wide 90-degree coverage. Follow the elevated oblique-downward staging, separate foreground, middle-distance and rear elements, and keep each of markers 7, 8 and 9 below two-fifths of the image.",
            "subject_position_directive": "No committed in-frame subject cue is available beyond the listed facts: S75_Shot4 places the departing figures beyond the near frame edge and supplies no character angles. Keep the background free of invented subjects.",
            "state_cue_directive": "The clean-background flag and empty transient-marker list permit no additional overlay state cue beyond 'clean residential space'; refrain from inventing additional cues. Preserve the explicitly staged baseline of old, nonoperational aircraft with rust and broken wings, the opened entry, and low nighttime ambient illumination. Clean-background status does not erase these committed baseline facts.",
            "negative_continuity_directive": "Exclude markers 13, 14, 15, 16, 17, 18, 19, 20, 21 and 22. Avoid treating candidate visibility supersets as guaranteed sightlines. Do not relocate markers 7, 8, 9, 10, 11 or 12 to improve their screen distribution, and do not turn opening 6 into a distant opening."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [7, 3]\n  - look_at_unit: 1\n  - look_at_cell: [2, 1]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad, diagonally inward coverage from unit 4 toward marker 7 in unit 1. Apply the shot's elevated, downward-looking staging within the supplied camera cell; do not invent a lateral grid offset.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish units 1, 2 and 3 beyond unit 4, with markers 7, 8 and 9 distributed at their base-plan positions and fixtures 10, 11 and 12 retained overhead. Opening 6 is the near boundary at the camera cell, so show only the narrow interior-side edge committed by S75_Shot4. The visibility supersets do not establish a view into unit 13.\n  - camera_framing_directive: Use camera unit 4 at [7, 3], looking toward unit 1 at [2, 1], with wide 90-degree coverage. Follow the elevated oblique-downward staging, separate foreground, middle-distance and rear elements, and keep each of markers 7, 8 and 9 below two-fifths of the image.\n  - subject_position_directive: No committed in-frame subject cue is available beyond the listed facts: S75_Shot4 places the departing figures beyond the near frame edge and supplies no character angles. Keep the background free of invented subjects.\n  - state_cue_directive: The clean-background flag and empty transient-marker list permit no additional overlay state cue beyond 'clean residential space'; refrain from inventing additional cues. Preserve the explicitly staged baseline of old, nonoperational aircraft with rust and broken wings, the opened entry, and low nighttime ambient illumination. Clean-background status does not erase these committed baseline facts.\n  - negative_continuity_directive: Exclude markers 13, 14, 15, 16, 17, 18, 19, 20, 21 and 22. Avoid treating candidate visibility supersets as guaranteed sightlines. Do not relocate markers 7, 8, 9, 10, 11 or 12 to improve their screen distribution, and do not turn opening 6 into a distant opening.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [7, 3]\n  - look_at_unit: 1\n  - look_at_cell: [2, 1]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad, diagonally inward coverage from unit 4 toward marker 7 in unit 1. Apply the shot's elevated, downward-looking staging within the supplied camera cell; do not invent a lateral grid offset.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish units 1, 2 and 3 beyond unit 4, with markers 7, 8 and 9 distributed at their base-plan positions and fixtures 10, 11 and 12 retained overhead. Opening 6 is the near boundary at the camera cell, so show only the narrow interior-side edge committed by S75_Shot4. The visibility supersets do not establish a view into unit 13.\n  - camera_framing_directive: Use camera unit 4 at [7, 3], looking toward unit 1 at [2, 1], with wide 90-degree coverage. Follow the elevated oblique-downward staging, separate foreground, middle-distance and rear elements, and keep each of markers 7, 8 and 9 below two-fifths of the image.\n  - subject_position_directive: No committed in-frame subject cue is available beyond the listed facts: S75_Shot4 places the departing figures beyond the near frame edge and supplies no character angles. Keep the background free of invented subjects.\n  - state_cue_directive: The clean-background flag and empty transient-marker list permit no additional overlay state cue beyond 'clean residential space'; refrain from inventing additional cues. Preserve the explicitly staged baseline of old, nonoperational aircraft with rust and broken wings, the opened entry, and low nighttime ambient illumination. Clean-background status does not erase these committed baseline facts.\n  - negative_continuity_directive: Exclude markers 13, 14, 15, 16, 17, 18, 19, 20, 21 and 22. Avoid treating candidate visibility supersets as guaranteed sightlines. Do not relocate markers 7, 8, 9, 10, 11 or 12 to improve their screen distribution, and do not turn opening 6 into a distant opening.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [7, 3]\n  - look_at_unit: 1\n  - look_at_cell: [2, 1]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad, diagonally inward coverage from unit 4 toward marker 7 in unit 1. Apply the shot's elevated, downward-looking staging within the supplied camera cell; do not invent a lateral grid offset.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish units 1, 2 and 3 beyond unit 4, with markers 7, 8 and 9 distributed at their base-plan positions and fixtures 10, 11 and 12 retained overhead. Opening 6 is the near boundary at the camera cell, so show only the narrow interior-side edge committed by S75_Shot4. The visibility supersets do not establish a view into unit 13.\n  - camera_framing_directive: Use camera unit 4 at [7, 3], looking toward unit 1 at [2, 1], with wide 90-degree coverage. Follow the elevated oblique-downward staging, separate foreground, middle-distance and rear elements, and keep each of markers 7, 8 and 9 below two-fifths of the image.\n  - subject_position_directive: No committed in-frame subject cue is available beyond the listed facts: S75_Shot4 places the departing figures beyond the near frame edge and supplies no character angles. Keep the background free of invented subjects.\n  - state_cue_directive: The clean-background flag and empty transient-marker list permit no additional overlay state cue beyond 'clean residential space'; refrain from inventing additional cues. Preserve the explicitly staged baseline of old, nonoperational aircraft with rust and broken wings, the opened entry, and low nighttime ambient illumination. Clean-background status does not erase these committed baseline facts.\n  - negative_continuity_directive: Exclude markers 13, 14, 15, 16, 17, 18, 19, 20, 21 and 22. Avoid treating candidate visibility supersets as guaranteed sightlines. Do not relocate markers 7, 8, 9, 10, 11 or 12 to improve their screen distribution, and do not turn opening 6 into a distant opening.\n\n2069년 대한민국에 남아 있는 낡은 대형 격납고 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 과거부터 사용해 온 산업용 격납고의 실용적인 구조와 오래된 경비행기들이 그대로 남아 있는 실제 장소 기록 사진으로 표현한다. 풀프레임 미러리스 카메라와 28밀리미터 광각 렌즈를 사용하고, 남쪽의 넓은 격납고 출입구 바로 안쪽 문턱에서 약 1.6미터의 서 있는 사람 눈높이로 북쪽을 바라본다. 출입구 가장자리를 화면 전경 한쪽에 조금 남기고, 남쪽의 넓게 비어 있는 바닥에서 중앙 통로가 뒤쪽까지 끊김 없이 이어지게 구성한다. 평면도는 공간 배치의 참고로만 사용하며 위에서 내려다보는 시점이나 설계도 형태로 표현하지 않는다.\n왼쪽 앞 항공기 구역에는 기수가 남쪽 출입구를 향한 접근 가능한 경비행기가 놓여 있고, 왼쪽 뒤에는 오래전부터 날개가 파손된 경비행기가 중앙 통로를 침범하지 않은 채 자리한다. 오른쪽 뒤 구역의 경비행기도 기수가 남쪽을 향한다. 경비행기들의 낡은 금속 외피, 빛바랜 도장, 철제 부품의 오랜 녹과 부식, 파손된 날개의 거친 단면은 기존의 지속된 노후 상태로 보인다. 중앙 통로와 앞쪽 여유 공간은 분명하게 읽힌다. 왼쪽 앞 항공기 구역 가장자리 위, 오른쪽 앞 구역 가장자리 위, 중앙 통로 북쪽 끝 위에 각각 기존 전구 조명기구가 보이며 전구는 꺼져 있다.\n큰 출입구로 들어오는 약한 자연광이 앞쪽 콘크리트 바닥과 기체 표면에 닿고, 뒤쪽으로 갈수록 실제 실내처럼 점차 어두워진다. 어두운 부분에도 항공기의 윤곽과 구역 간 거리를 알아볼 수 있을 정도의 자연스러운 노출을 유지한다. 실제 콘크리트의 입자와 오래된 사용감, 금속 외피의 이음매와 무광택 질감을 과장 없이 담고, 광각 원근과 자연스러운 피사계 심도를 유지한다. 공간은 기존 배치가 흐트러지지 않은 정돈된 상태다. 사람, 얼굴, 인체 형태의 형상은 전혀 없는 배경만 촬영한다. 실제 현장 사진과 구별되지 않는 사실성을 유지하며, 인위적 색 보정이나 삽화 표현, 컴퓨터 생성 영상, 건축 시각화의 매끈한 표현을 사용하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 4,
          "camera_cell": [
            7,
            3
          ],
          "look_at_unit": 1,
          "look_at_cell": [
            2,
            1
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad, diagonally inward coverage from unit 4 toward marker 7 in unit 1. Apply the shot's elevated, downward-looking staging within the supplied camera cell; do not invent a lateral grid offset."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Establish units 1, 2 and 3 beyond unit 4, with markers 7, 8 and 9 distributed at their base-plan positions and fixtures 10, 11 and 12 retained overhead. Opening 6 is the near boundary at the camera cell, so show only the narrow interior-side edge committed by S75_Shot4. The visibility supersets do not establish a view into unit 13.",
          "camera_framing_directive": "Use camera unit 4 at [7, 3], looking toward unit 1 at [2, 1], with wide 90-degree coverage. Follow the elevated oblique-downward staging, separate foreground, middle-distance and rear elements, and keep each of markers 7, 8 and 9 below two-fifths of the image.",
          "subject_position_directive": "No committed in-frame subject cue is available beyond the listed facts: S75_Shot4 places the departing figures beyond the near frame edge and supplies no character angles. Keep the background free of invented subjects.",
          "state_cue_directive": "The clean-background flag and empty transient-marker list permit no additional overlay state cue beyond 'clean residential space'; refrain from inventing additional cues. Preserve the explicitly staged baseline of old, nonoperational aircraft with rust and broken wings, the opened entry, and low nighttime ambient illumination. Clean-background status does not erase these committed baseline facts.",
          "negative_continuity_directive": "Exclude markers 13, 14, 15, 16, 17, 18, 19, 20, 21 and 22. Avoid treating candidate visibility supersets as guaranteed sightlines. Do not relocate markers 7, 8, 9, 10, 11 or 12 to improve their screen distribution, and do not turn opening 6 into a distant opening."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_hangar_and_cabin",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_hangar_and_cabin"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L119B03": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L119",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L119B03.png",
        "t2i_prompt": "2069년 대한민국의 오래된 산업용 격납고 진입부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 새로 지은 미래 시설이 아니라 기존의 콘크리트와 철제 구조를 오래 사용해 온 실용적인 공간이다. 실제 미러리스 카메라의 35밀리미터 렌즈로 지상 약 1.6미터의 서 있는 사람 눈높이에서 촬영한다. 카메라는 문 앞 외부 진입 마당의 남동쪽에 서서 북서쪽을 비스듬히 바라본다. 전경의 넓은 외부 지면에서 격납고 남쪽 정면의 큰 출입구와 문턱을 지나 내부 중앙 통로까지 공간이 자연스럽게 이어진다. 낡은 대형 철제 문짝과 출입구가 화면의 주요 부분을 차지하고, 문턱 너머로 어두운 내부가 깊게 보인다. 외부 진입 마당과 중앙 통로의 남쪽 전경은 넓게 비워 두어 출입구까지 막힘없이 연결한다. 내부 중앙 통로 서쪽의 항공기 구역에는 남쪽으로 기수를 향한 정비 대상 항공기가 기존 위치에 놓여 있으며, 남서쪽 앞 구역의 기체 일부만 어둠 속에서 부차적으로 보인다. 항공기 세부보다 큰 문과 문턱, 전경 지면의 관계가 먼저 읽히는 구도다. 야간의 희미한 자연 주변광이 외부 콘크리트와 문 가장자리에 닿고, 안으로 들어갈수록 밝기가 완만하게 낮아진다. 실제 철판의 둔한 반사와 오래된 금속 표면, 콘크리트의 거친 골재와 일상적인 사용에 따른 재질의 색바램을 사실적으로 담는다. 공간은 정돈되고 흐트러짐 없는 상태다. 문과 문턱에 초점을 두고 내부는 거리에 따라 자연스럽게 선명도가 낮아지는 피사계 심도로 촬영하며, 어두운 부분을 과도하게 밝히거나 인위적으로 색을 보정하지 않는다. 사람, 얼굴, 인체 형태의 형상은 전혀 없는 빈 배경이다. 실제 장소 기록 사진과 구별되지 않는 물리적 질감과 노출을 사용하고, 도면이나 조감도가 아닌 지상 시점의 사진으로 표현한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S75_Shot8",
            "guide_text": "외부 지면을 전경에 충분히 담고 대형 문짝과 문턱을 중심으로 구성한다. 전경에서 출입구 안 중앙 통로까지 이어지는 진입 공간을 가리지 않는다. 항공기는 내부 서쪽에 부차적으로만 보이게 하며 출입구의 크기와 어두운 내부의 깊이가 우선 읽히도록 한다. 높이 약 1.6미터, 35밀리미터 렌즈의 비스듬한 북서향 시선을 유지하고 사람이나 이동 경로 표시는 넣지 않는다."
          }
        ],
        "shot_ids": [
          "S75_Shot8"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "On the southeast side of number 5, facing diagonally northwest through number 6 and number 4 toward number 3 and number 8.",
          "camera_height": "eye-level standing, approximately 1.6 m",
          "lens_hint": "35mm moderately wide angle",
          "framing_notes": "Include the exterior ground, large door leaves, and dark interior beyond the threshold. Leave an unobstructed approach across number 5 for a running arrival; do not draw a route line or person into the background. The doorway should dominate over distant aircraft detail."
        },
        "reference_decision": {
          "bg_id": "L119B03",
          "fp_id": "fp_hangar_and_cabin",
          "node_index": 2,
          "mode": "same_physical_space_view",
          "is_dwelling_identity_anchor": false,
          "rationale": "S75_Shot8 views the same entry boundary and adjoining space from unit 5 rather than the anchor's unit 4. L119B05 commits opening 6 and the interior-side arrangement, while the exterior camera reveals the approach-side slice required by this shot. That changed camera/look-at geometry requires its own view rather than a low-delta reuse candidate.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L119B05.png"
          ],
          "source_bg_ids": [
            "L119B05"
          ],
          "fp_included": false,
          "reference_decision": {
            "selected_refs": [
              {
                "ref_bg_id": "L119B05",
                "physical_space_id": "fp_hangar_and_cabin:units_1_2_3_4_5",
                "space_description": "The same connected units 1, 2, 3, 4 and 5, now viewed from the unit-5 side of opening 6."
              }
            ],
            "rejected_refs": [
              {
                "ref_bg_id": "L119B04",
                "reason": "Same physical-space identity as L119B05; deduplicate to the clean representative rather than add a second reference carrying markers 19, 20 and 21."
              }
            ],
            "same_physical_space_dedup_decision": "single_clean_representative_same_physical_space",
            "why_single_ref_or_two_refs": "One reference establishes opening 6 and its fixed relationship to the adjoining units. S75_Shot8 does not require two separately established physical spaces.",
            "physical_space_id_per_ref": [
              "fp_hangar_and_cabin:units_1_2_3_4_5"
            ],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 5,
            "camera_cell": [
              8,
              3
            ],
            "look_at_unit": 4,
            "look_at_cell": [
              7,
              3
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad approach-side coverage toward opening 6 at unit 4. Preserve the shot's middle-right destination and clear approach ground within this coarse cell assignment; the single available camera cell does not resolve the requested lateral offset."
          },
          "render_guidance": {
            "visible_space_directive": "Show unit 5 as the near approach area and opening 6 at unit 4 as the destination, with only the portions of units 3 and 1 and marker 8 actually exposed through the opening. Preserve opening 6, unit 3 and marker 8 in their fixed base-plan relationship established by L119B05; do not assume every candidate unit is visible.",
            "camera_framing_directive": "Use camera unit 5 at [8, 3], looking toward unit 4 at [7, 3], with wide 90-degree coverage. Follow the committed low full-body composition and reserve the middle-right zone for opening 6. Keep the camera laterally clear of the staged running line within the available cell, without inventing a new coordinate.",
            "subject_position_directive": "Reserve center-left for the running full-body subject, mouth open and one foot lifting, moving toward the destination at screen right. Reserve the right edge for two cropped rear figures with faces beyond the crop and heads turning toward the call. Keep clear ground ahead of the runner.",
            "state_cue_directive": "With clean_background_expected true and no transient markers, no additional overlay state cue beyond 'clean residential space' applies; refrain from inventing additional cues. Retain the shot-committed open entry, visible running route and restrained nighttime ambient illumination.",
            "negative_continuity_directive": "Exclude markers 13, 14, 15, 16, 17, 18, 19, 20, 21 and 22. Avoid importing L119B04's transient markers, mirroring opening 6 or relocating marker 8 relative to L119B05. Do not expose units or openings solely because they occur in a visibility superset."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L119B05' physical_space_id='fp_hangar_and_cabin:units_1_2_3_4_5'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 5\n  - camera_cell: [8, 3]\n  - look_at_unit: 4\n  - look_at_cell: [7, 3]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad approach-side coverage toward opening 6 at unit 4. Preserve the shot's middle-right destination and clear approach ground within this coarse cell assignment; the single available camera cell does not resolve the requested lateral offset.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 5 as the near approach area and opening 6 at unit 4 as the destination, with only the portions of units 3 and 1 and marker 8 actually exposed through the opening. Preserve opening 6, unit 3 and marker 8 in their fixed base-plan relationship established by L119B05; do not assume every candidate unit is visible.\n  - camera_framing_directive: Use camera unit 5 at [8, 3], looking toward unit 4 at [7, 3], with wide 90-degree coverage. Follow the committed low full-body composition and reserve the middle-right zone for opening 6. Keep the camera laterally clear of the staged running line within the available cell, without inventing a new coordinate.\n  - subject_position_directive: Reserve center-left for the running full-body subject, mouth open and one foot lifting, moving toward the destination at screen right. Reserve the right edge for two cropped rear figures with faces beyond the crop and heads turning toward the call. Keep clear ground ahead of the runner.\n  - state_cue_directive: With clean_background_expected true and no transient markers, no additional overlay state cue beyond 'clean residential space' applies; refrain from inventing additional cues. Retain the shot-committed open entry, visible running route and restrained nighttime ambient illumination.\n  - negative_continuity_directive: Exclude markers 13, 14, 15, 16, 17, 18, 19, 20, 21 and 22. Avoid importing L119B04's transient markers, mirroring opening 6 or relocating marker 8 relative to L119B05. Do not expose units or openings solely because they occur in a visibility superset.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L119B05' physical_space_id='fp_hangar_and_cabin:units_1_2_3_4_5'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 5\n  - camera_cell: [8, 3]\n  - look_at_unit: 4\n  - look_at_cell: [7, 3]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad approach-side coverage toward opening 6 at unit 4. Preserve the shot's middle-right destination and clear approach ground within this coarse cell assignment; the single available camera cell does not resolve the requested lateral offset.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 5 as the near approach area and opening 6 at unit 4 as the destination, with only the portions of units 3 and 1 and marker 8 actually exposed through the opening. Preserve opening 6, unit 3 and marker 8 in their fixed base-plan relationship established by L119B05; do not assume every candidate unit is visible.\n  - camera_framing_directive: Use camera unit 5 at [8, 3], looking toward unit 4 at [7, 3], with wide 90-degree coverage. Follow the committed low full-body composition and reserve the middle-right zone for opening 6. Keep the camera laterally clear of the staged running line within the available cell, without inventing a new coordinate.\n  - subject_position_directive: Reserve center-left for the running full-body subject, mouth open and one foot lifting, moving toward the destination at screen right. Reserve the right edge for two cropped rear figures with faces beyond the crop and heads turning toward the call. Keep clear ground ahead of the runner.\n  - state_cue_directive: With clean_background_expected true and no transient markers, no additional overlay state cue beyond 'clean residential space' applies; refrain from inventing additional cues. Retain the shot-committed open entry, visible running route and restrained nighttime ambient illumination.\n  - negative_continuity_directive: Exclude markers 13, 14, 15, 16, 17, 18, 19, 20, 21 and 22. Avoid importing L119B04's transient markers, mirroring opening 6 or relocating marker 8 relative to L119B05. Do not expose units or openings solely because they occur in a visibility superset.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L119B05' physical_space_id='fp_hangar_and_cabin:units_1_2_3_4_5'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 5\n  - camera_cell: [8, 3]\n  - look_at_unit: 4\n  - look_at_cell: [7, 3]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad approach-side coverage toward opening 6 at unit 4. Preserve the shot's middle-right destination and clear approach ground within this coarse cell assignment; the single available camera cell does not resolve the requested lateral offset.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 5 as the near approach area and opening 6 at unit 4 as the destination, with only the portions of units 3 and 1 and marker 8 actually exposed through the opening. Preserve opening 6, unit 3 and marker 8 in their fixed base-plan relationship established by L119B05; do not assume every candidate unit is visible.\n  - camera_framing_directive: Use camera unit 5 at [8, 3], looking toward unit 4 at [7, 3], with wide 90-degree coverage. Follow the committed low full-body composition and reserve the middle-right zone for opening 6. Keep the camera laterally clear of the staged running line within the available cell, without inventing a new coordinate.\n  - subject_position_directive: Reserve center-left for the running full-body subject, mouth open and one foot lifting, moving toward the destination at screen right. Reserve the right edge for two cropped rear figures with faces beyond the crop and heads turning toward the call. Keep clear ground ahead of the runner.\n  - state_cue_directive: With clean_background_expected true and no transient markers, no additional overlay state cue beyond 'clean residential space' applies; refrain from inventing additional cues. Retain the shot-committed open entry, visible running route and restrained nighttime ambient illumination.\n  - negative_continuity_directive: Exclude markers 13, 14, 15, 16, 17, 18, 19, 20, 21 and 22. Avoid importing L119B04's transient markers, mirroring opening 6 or relocating marker 8 relative to L119B05. Do not expose units or openings solely because they occur in a visibility superset.\n\n2069년 대한민국의 오래된 산업용 격납고 진입부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 새로 지은 미래 시설이 아니라 기존의 콘크리트와 철제 구조를 오래 사용해 온 실용적인 공간이다. 실제 미러리스 카메라의 35밀리미터 렌즈로 지상 약 1.6미터의 서 있는 사람 눈높이에서 촬영한다. 카메라는 문 앞 외부 진입 마당의 남동쪽에 서서 북서쪽을 비스듬히 바라본다. 전경의 넓은 외부 지면에서 격납고 남쪽 정면의 큰 출입구와 문턱을 지나 내부 중앙 통로까지 공간이 자연스럽게 이어진다. 낡은 대형 철제 문짝과 출입구가 화면의 주요 부분을 차지하고, 문턱 너머로 어두운 내부가 깊게 보인다. 외부 진입 마당과 중앙 통로의 남쪽 전경은 넓게 비워 두어 출입구까지 막힘없이 연결한다. 내부 중앙 통로 서쪽의 항공기 구역에는 남쪽으로 기수를 향한 정비 대상 항공기가 기존 위치에 놓여 있으며, 남서쪽 앞 구역의 기체 일부만 어둠 속에서 부차적으로 보인다. 항공기 세부보다 큰 문과 문턱, 전경 지면의 관계가 먼저 읽히는 구도다. 야간의 희미한 자연 주변광이 외부 콘크리트와 문 가장자리에 닿고, 안으로 들어갈수록 밝기가 완만하게 낮아진다. 실제 철판의 둔한 반사와 오래된 금속 표면, 콘크리트의 거친 골재와 일상적인 사용에 따른 재질의 색바램을 사실적으로 담는다. 공간은 정돈되고 흐트러짐 없는 상태다. 문과 문턱에 초점을 두고 내부는 거리에 따라 자연스럽게 선명도가 낮아지는 피사계 심도로 촬영하며, 어두운 부분을 과도하게 밝히거나 인위적으로 색을 보정하지 않는다. 사람, 얼굴, 인체 형태의 형상은 전혀 없는 빈 배경이다. 실제 장소 기록 사진과 구별되지 않는 물리적 질감과 노출을 사용하고, 도면이나 조감도가 아닌 지상 시점의 사진으로 표현한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "camera_decision": {
          "camera_unit": 5,
          "camera_cell": [
            8,
            3
          ],
          "look_at_unit": 4,
          "look_at_cell": [
            7,
            3
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad approach-side coverage toward opening 6 at unit 4. Preserve the shot's middle-right destination and clear approach ground within this coarse cell assignment; the single available camera cell does not resolve the requested lateral offset."
        },
        "shot_aware_plan_node_index": 2,
        "shot_aware_plan_mode": "same_physical_space_view",
        "render_guidance": {
          "visible_space_directive": "Show unit 5 as the near approach area and opening 6 at unit 4 as the destination, with only the portions of units 3 and 1 and marker 8 actually exposed through the opening. Preserve opening 6, unit 3 and marker 8 in their fixed base-plan relationship established by L119B05; do not assume every candidate unit is visible.",
          "camera_framing_directive": "Use camera unit 5 at [8, 3], looking toward unit 4 at [7, 3], with wide 90-degree coverage. Follow the committed low full-body composition and reserve the middle-right zone for opening 6. Keep the camera laterally clear of the staged running line within the available cell, without inventing a new coordinate.",
          "subject_position_directive": "Reserve center-left for the running full-body subject, mouth open and one foot lifting, moving toward the destination at screen right. Reserve the right edge for two cropped rear figures with faces beyond the crop and heads turning toward the call. Keep clear ground ahead of the runner.",
          "state_cue_directive": "With clean_background_expected true and no transient markers, no additional overlay state cue beyond 'clean residential space' applies; refrain from inventing additional cues. Retain the shot-committed open entry, visible running route and restrained nighttime ambient illumination.",
          "negative_continuity_directive": "Exclude markers 13, 14, 15, 16, 17, 18, 19, 20, 21 and 22. Avoid importing L119B04's transient markers, mirroring opening 6 or relocating marker 8 relative to L119B05. Do not expose units or openings solely because they occur in a visibility superset."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_hangar_and_cabin",
          "prior_bg_ids": [
            "L119B05"
          ],
          "attached_ref_labels": [
            "bg:L119B05"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L119B04": {
        "status": "ok",
        "is_reuse": true,
        "render_action": "reuse_existing_plate",
        "reuse_target_bg_id": "L119B05",
        "reused_from_bg_id": "L119B05",
        "location_id": "L119",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L119B05.png",
        "t2i_prompt": "실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 2069년 대한민국의 자원과 전력 공급이 제한된 지역에서 오래된 내연기관 경비행기를 계속 사용하는 격납고 내부를 실제 현장 기록처럼 담는다. 사람, 얼굴, 인체 형태의 형상 없이 공간과 항공기만 보인다. 바닥 배치도는 공간 구성과 기존 물체의 위치를 파악하는 자료로만 사용한다. 내려다보는 시점이나 도면이 아니라, 중앙 통로 남쪽 끝에서 약간 북서쪽을 바라보는 지상 시점이다. 서 있는 관찰자의 눈높이보다 조금 낮은 약 1.3미터에 카메라를 두고, 풀프레임 카메라의 28밀리미터 광각 렌즈로 촬영한다. 과도한 원근 왜곡 없이 통로 건너 동쪽 항공기까지 함께 담는다.\n\n남북으로 이어지는 중앙 통로 양옆에 항공기 구역이 있다. 남쪽 가까운 통로는 넓게 비워 두고, 화면 아래쪽에 바닥부터 충분한 높이까지 막힘없는 전경을 확보한다. 서쪽 앞 구역의 정비 가능한 경비행기는 기수를 남쪽으로 향하며 빈 전경 옆에 놓여 있다. 동쪽 뒤 구역의 경비행기도 기수가 남쪽을 향한다. 서북쪽 후방에는 기존 손상이 남은 항공기가 중앙 통로를 침범하지 않는 위치에 있다. 항공기의 배치와 기존 손상은 그대로 유지한다. 서쪽 앞 구역 가장자리, 동남쪽 구역 가장자리, 중앙 통로 북쪽 끝 부근의 천장 전구 조명들이 항공기 위로 보인다. 오래 사용한 국내 소규모 산업용 격납고에 어울리는 콘크리트 바닥과 금속 구조의 실제 표면감, 기체 외판의 이음매와 도장 마모, 금속의 산화 흔적과 생활성 얼룩을 과장 없이 담는다.\n\n서쪽 앞 항공기와 동쪽 뒤 항공기의 엔진 배기구 주변에서 시동 직후의 검은 배기가스가 국소적으로 발생해 인접한 항공기 구역으로 퍼진다. 배기가스는 두 발생 지점이 구분되고, 가까운 중앙 전경을 가리지 않는 실제 매연의 밀도와 흐름을 보인다. 서쪽 앞 가장자리 전구와 통로 북쪽 전구는 전력이 불안정하게 공급되는 순간으로, 서로 고르지 않은 밝기와 주변 표면에 맺힌 불균일한 빛으로 표현한다. 동남쪽 가장자리 조명은 고정된 위치에 그대로 있으며, 그곳의 전구 하나만 유리 외피가 터진 채 꺼져 있다. 다른 전구에는 파손을 추가하지 않는다. 실내에 도달하는 은은한 자연광과 작동 중인 전구의 실제 빛이 함께 기체와 바닥을 비춘다. 시동 직후의 활기는 배기가스와 조명 상태로만 전달한다. 자연스러운 심도로 전경 바닥, 항공기, 천장 조명의 공간 관계를 읽을 수 있게 한다. 합성 이미지나 건축 시각화가 아닌 실제 장소 사진으로, 인위적인 색 보정과 과장된 광원 효과 없이 기록한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S77_Shot18",
            "guide_text": "중앙 통로 남쪽의 가까운 바닥을 넓게 확보해 후속 전신 구도를 수용하되, 배경 이미지 자체에는 사람이나 인체 형태를 넣지 않는다. 약 1.3미터 높이의 광각 시점에서 서쪽 앞 항공기를 주로 바라보고 통로 건너 동쪽 뒤 항공기도 함께 보이게 한다. 두 항공기 배기구의 검은 매연은 중경에 머물게 하여 전경을 가리지 않는다. 서쪽 앞과 북쪽의 불균일한 점등, 동남쪽의 터진 전구 한 개가 상부에서 확인되도록 하며, 후방 항공기의 기존 손상과 모든 항공기의 위치를 유지한다."
          }
        ],
        "shot_ids": [
          "S77_Shot18"
        ],
        "scenes": [],
        "parent_id": "L119B05",
        "ref_used": "reused_plate",
        "render_attempts": 0,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "At the southern end of number 3, just north of number 4, facing slightly northwest toward number 8 while retaining number 9 across the aisle.",
          "camera_height": "slightly below standing eye level, approximately 1.3 m",
          "lens_hint": "28mm wide angle",
          "framing_notes": "Reserve the clear near portion of number 3 for a full-body pose. Keep aircraft and overhead bulbs visible behind that space. Apply black startup exhaust at numbers 8 and 9, uneven operating light at numbers 10 and 12, and exactly one burst bulb at number 11. Aircraft locations and longstanding damage remain unchanged."
        },
        "reference_decision": {
          "mode": "same_physical_space_view",
          "render_action": "reuse_existing_plate",
          "reuse_target_bg_id": "L119B05",
          "selected_refs": [
            {
              "ref_bg_id": "L119B05",
              "physical_space_id": "fp_hangar_and_cabin:units_1_2_3_4_5",
              "space_description": "Connected base-plan space comprising units 1, 2, 3, 4 and 5, with opening 6 and fixed markers 7 through 12."
            }
          ]
        },
        "shot_aware_plan_node_index": 1,
        "shot_aware_plan_mode": "same_physical_space_view",
        "render_guidance": {
          "visible_space_directive": "Show units 1, 2 and 3 from unit 4 toward unit 1. Keep markers 7 and 8 in their established west-side positions, marker 9 in its east-side position, and fixtures 10, 11 and 12 at the positions established by L119B05. Preserve the clear spacing of unit 3 between the fixed elements.",
          "camera_framing_directive": "Use camera unit 4 at [7, 3], look-at unit 1 at [2, 1], and wide 90-degree coverage. Apply the staged low, oblique, slightly upward-looking full-body presentation, retain clearance below the subject's feet, and keep each background aircraft below two-fifths of the image.",
          "subject_position_directive": "Reserve the full-body subject position left of center, with both fists settling at the waist and the chest directed toward companions off-screen right. Leave open space on the right for the committed approach and keep the subject oriented away from direct engagement with the lens.",
          "state_cue_directive": "Use transient markers 19, 20 and 21 only for their committed startup exhaust and transient bulb-output actions, retaining the fixed locations of fixtures 10, 11 and 12. S77_Shot18 commits newly running aircraft, black exhaust and established nighttime electric illumination. Preserve the reference's fixed geometry; the operational change does not supply a license to invent structural repair details.",
          "negative_continuity_directive": "Exclude markers 13, 14, 15, 16, 17, 18 and 22. Avoid shifting markers 7 through 12 relative to L119B05, inventing a newly visible structural slice from unchanged grid coordinates, or converting markers 19, 20 and 21 into uncommitted permanent layout changes."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_hangar_and_cabin",
          "prior_bg_ids": [
            "L119B05"
          ],
          "attached_ref_labels": [
            "bg:L119B05"
          ],
          "ref_used": "reused_plate",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L119B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L119",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L119B01.png",
        "t2i_prompt": "2069년 대한민국에서 낮에 비행 중인 헬기 객실 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실용적인 기존 항공 내장을 계속 사용하는 공간으로, 과장된 미래 장식 없이 실제 금속 객실 표면과 좌석 직물의 재질을 담는다. 배치 참조의 독립된 객실 영역만 사용하며, 동쪽 벽의 승객용 벤치와 그 앞쪽 위에 있는 객실 창의 위치 관계를 따른다. 화면에는 이 좌석과 인접한 객실 표면의 작은 부분만 부드럽게 흐려져 보인다.\n\n동쪽 좌석과 창 가까이의 전경 하단에, 선물로 건네진 작은 보라색 제비꽃을 일시적인 근접 피사체로 담는다. 꽃은 객실에 설치된 장식이 아니며, 꽃잎의 자연스러운 주름과 얇은 가장자리가 선명하게 보인다. 꽃을 지지하는 부분은 화면 아래로 잘라 꽃만 보이게 하고, 공중에 떠 있는 모습으로 표현하지 않는다. 사람, 손을 포함한 신체 일부, 얼굴, 사람 형태의 형상은 전혀 묘사하지 않는다.\n\n실제 미러리스 카메라와 35밀리미터급 렌즈를 사용하고, 카메라는 객실 바닥에서 약 1.6미터인 서 있는 사람의 눈높이에 둔다. 약 0.9~1.1미터 높이의 가까운 전경을 향해 약간 내려다보며 좁게 구도를 잡아 근접 인서트를 받친다. 수직으로 내려다보는 시점이 아니라 객실 측면이 배경으로 남는 사선 시점이다. 가까운 꽃에 초점을 맞추고 자연스러운 얕은 피사계 심도로 좌석과 객실 표면을 흐린다. 동쪽 창에서 들어오는 낮의 자연광이 꽃잎과 좌석 표면을 비추고, 창이 걸리는 가장자리는 비행 고도를 특정할 수 없는 밝고 흐릿한 하늘빛으로만 남긴다. 금속의 미세한 사용 마모와 옅은 생활 얼룩, 직물의 실제 짜임을 과장 없이 유지한다. 보라색 꽃과 중성적인 객실 색은 별도 색 보정 없이 자연광 아래의 실제 색으로 표현한다. 실제 장소 기록 사진과 구별되지 않는 결과로, 광고용으로 말끔하게 정리한 사진이나 컴퓨터 합성 이미지, 삽화, 건축 시각화, 평면도처럼 만들지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S77_Shot43",
            "guide_text": "보라색 제비꽃이 전경 하단에서 선명하게 읽히는 좁은 인서트 구도를 사용한다. 동쪽 벤치와 객실 표면은 흐릿한 재질과 색의 배경으로만 남기고, 동쪽 창에서 들어오는 낮의 자연광 방향을 유지한다. 꽃 아래의 지지 부분은 프레임 밖으로 처리하며 손이나 다른 신체는 그리지 않는다. 창밖은 구체적인 장소가 식별되지 않는 밝은 하늘빛으로 제한한다. 배경에 포함된 꽃, 좌석, 창을 별도로 중복 생성하지 않는다."
          }
        ],
        "shot_ids": [
          "S77_Shot43"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "Inside number 13 beside the aisle-facing edge of number 15, facing slightly downward toward number 22 with number 16 behind and to the side.",
          "camera_height": "seated hand level, approximately 0.9 to 1.1 m above the cabin floor",
          "lens_hint": "85mm close-focus lens",
          "framing_notes": "Support a palm-and-violet close-up with only soft passenger-seat and cabin-surface context. Daylight enters through number 16; keep any window view nonspecific and airborne. The flower is a foreground overlay reference, not fixed cabin furniture. Exclude the hangar, apron, opposite bench, access door, and all startup effects."
        },
        "reference_decision": {
          "bg_id": "L119B01",
          "fp_id": "fp_hangar_and_cabin",
          "node_index": 3,
          "mode": "related_style_new_space",
          "is_dwelling_identity_anchor": false,
          "rationale": "S77_Shot43 is confined to unit 13, a detached inset with its own fixed markers 15 and 16, rather than the connected space established by L119B05. Use the anchor only for shared identity where compatible with the shot's explicit daytime lighting. An internal narrow view toward marker 15 supports the close hands-centered staging without interpreting geometric supersets as a connection to units 1 through 5.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L119B05.png"
          ],
          "source_bg_ids": [
            "L119B05"
          ],
          "fp_included": false,
          "reference_decision": {
            "selected_refs": [
              {
                "ref_bg_id": "L119B05",
                "physical_space_id": "fp_hangar_and_cabin:units_1_2_3_4_5",
                "space_description": "Anchor space used only for shared identity, not as a layout reference for detached unit 13."
              }
            ],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "single_style_reference_for_distinct_space",
            "why_single_ref_or_two_refs": "No earlier node establishes unit 13. A single identity reference is sufficient, and S77_Shot43 commits no co-visibility with the anchor space.",
            "physical_space_id_per_ref": [
              "fp_hangar_and_cabin:units_1_2_3_4_5"
            ],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 13,
            "camera_cell": [
              4,
              8
            ],
            "look_at_unit": 13,
            "look_at_cell": [
              4,
              9
            ],
            "lens_enum": "telephoto",
            "fov_deg": 25,
            "framing_notes": "Narrow internal coverage toward marker 15 within unit 13, with the staged oblique-downward attention on the hands. Both coordinates are listed candidates; the 25-degree FOV matches the advertised telephoto value. The readback supplies no dedicated internal-unit direction record."
          },
          "render_guidance": {
            "visible_space_directive": "Confine the visible background to a small contextual portion of unit 13, principally marker 15 toward [4, 9]. Marker 16 remains at its committed boundary position and need not be forced into the narrow downward-looking crop. Compose this unit from its own base markers, not from L119B05's layout.",
            "camera_framing_directive": "Use camera unit 13 at [4, 8], looking within unit 13 toward [4, 9], with telephoto 25-degree narrow, compressed coverage. Honor the staged endpoint above and beside the hands, looking obliquely downward; keep the opened palms in the central two-thirds with only a soft contextual margin.",
            "subject_position_directive": "Use the committed carefully opening cupped palms, with wrists entering from the lower edge and attention directed downward. Keep the face and all other passengers outside the frame. The hands, rather than an invented full-body placement, determine the subject relationship to the camera.",
            "state_cue_directive": "Carry transient marker 22 resting on the open palms, small relative to both hands and visible obliquely from above. Preserve the committed occupied-during-flight context through the limited interior margin and soft daytime ambient light. Do not transfer the reference's nighttime state into this shot.",
            "negative_continuity_directive": "Exclude markers 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 14, 17, 18, 19, 20 and 21. Avoid importing L119B05's layout into unit 13 or interpreting the detached inset as a sightline to units 1 through 5. Do not relocate marker 16 to force it into the crop."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows a related part of the same dwelling, not the current room. Inherit the overall material and lighting identity only; the new space is its own architectural room and must read as the same home.\n\nREFERENCE PLAN: mode='related_style_new_space'\n  - selected_refs[0]: ref_bg_id='L119B05' physical_space_id='fp_hangar_and_cabin:units_1_2_3_4_5'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 13\n  - camera_cell: [4, 8]\n  - look_at_unit: 13\n  - look_at_cell: [4, 9]\n  - lens_enum: 'telephoto'\n  - fov_deg: 25\n  - framing_notes: 'Narrow internal coverage toward marker 15 within unit 13, with the staged oblique-downward attention on the hands. Both coordinates are listed candidates; the 25-degree FOV matches the advertised telephoto value. The readback supplies no dedicated internal-unit direction record.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Confine the visible background to a small contextual portion of unit 13, principally marker 15 toward [4, 9]. Marker 16 remains at its committed boundary position and need not be forced into the narrow downward-looking crop. Compose this unit from its own base markers, not from L119B05's layout.\n  - camera_framing_directive: Use camera unit 13 at [4, 8], looking within unit 13 toward [4, 9], with telephoto 25-degree narrow, compressed coverage. Honor the staged endpoint above and beside the hands, looking obliquely downward; keep the opened palms in the central two-thirds with only a soft contextual margin.\n  - subject_position_directive: Use the committed carefully opening cupped palms, with wrists entering from the lower edge and attention directed downward. Keep the face and all other passengers outside the frame. The hands, rather than an invented full-body placement, determine the subject relationship to the camera.\n  - state_cue_directive: Carry transient marker 22 resting on the open palms, small relative to both hands and visible obliquely from above. Preserve the committed occupied-during-flight context through the limited interior margin and soft daytime ambient light. Do not transfer the reference's nighttime state into this shot.\n  - negative_continuity_directive: Exclude markers 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 14, 17, 18, 19, 20 and 21. Avoid importing L119B05's layout into unit 13 or interpreting the detached inset as a sightline to units 1 through 5. Do not relocate marker 16 to force it into the crop.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows a related part of the same dwelling, not the current room. Inherit the overall material and lighting identity only; the new space is its own architectural room and must read as the same home.\n\nREFERENCE PLAN: mode='related_style_new_space'\n  - selected_refs[0]: ref_bg_id='L119B05' physical_space_id='fp_hangar_and_cabin:units_1_2_3_4_5'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 13\n  - camera_cell: [4, 8]\n  - look_at_unit: 13\n  - look_at_cell: [4, 9]\n  - lens_enum: 'telephoto'\n  - fov_deg: 25\n  - framing_notes: 'Narrow internal coverage toward marker 15 within unit 13, with the staged oblique-downward attention on the hands. Both coordinates are listed candidates; the 25-degree FOV matches the advertised telephoto value. The readback supplies no dedicated internal-unit direction record.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Confine the visible background to a small contextual portion of unit 13, principally marker 15 toward [4, 9]. Marker 16 remains at its committed boundary position and need not be forced into the narrow downward-looking crop. Compose this unit from its own base markers, not from L119B05's layout.\n  - camera_framing_directive: Use camera unit 13 at [4, 8], looking within unit 13 toward [4, 9], with telephoto 25-degree narrow, compressed coverage. Honor the staged endpoint above and beside the hands, looking obliquely downward; keep the opened palms in the central two-thirds with only a soft contextual margin.\n  - subject_position_directive: Use the committed carefully opening cupped palms, with wrists entering from the lower edge and attention directed downward. Keep the face and all other passengers outside the frame. The hands, rather than an invented full-body placement, determine the subject relationship to the camera.\n  - state_cue_directive: Carry transient marker 22 resting on the open palms, small relative to both hands and visible obliquely from above. Preserve the committed occupied-during-flight context through the limited interior margin and soft daytime ambient light. Do not transfer the reference's nighttime state into this shot.\n  - negative_continuity_directive: Exclude markers 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 14, 17, 18, 19, 20 and 21. Avoid importing L119B05's layout into unit 13 or interpreting the detached inset as a sightline to units 1 through 5. Do not relocate marker 16 to force it into the crop.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows a related part of the same dwelling, not the current room. Inherit the overall material and lighting identity only; the new space is its own architectural room and must read as the same home.\n\nREFERENCE PLAN: mode='related_style_new_space'\n  - selected_refs[0]: ref_bg_id='L119B05' physical_space_id='fp_hangar_and_cabin:units_1_2_3_4_5'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 13\n  - camera_cell: [4, 8]\n  - look_at_unit: 13\n  - look_at_cell: [4, 9]\n  - lens_enum: 'telephoto'\n  - fov_deg: 25\n  - framing_notes: 'Narrow internal coverage toward marker 15 within unit 13, with the staged oblique-downward attention on the hands. Both coordinates are listed candidates; the 25-degree FOV matches the advertised telephoto value. The readback supplies no dedicated internal-unit direction record.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Confine the visible background to a small contextual portion of unit 13, principally marker 15 toward [4, 9]. Marker 16 remains at its committed boundary position and need not be forced into the narrow downward-looking crop. Compose this unit from its own base markers, not from L119B05's layout.\n  - camera_framing_directive: Use camera unit 13 at [4, 8], looking within unit 13 toward [4, 9], with telephoto 25-degree narrow, compressed coverage. Honor the staged endpoint above and beside the hands, looking obliquely downward; keep the opened palms in the central two-thirds with only a soft contextual margin.\n  - subject_position_directive: Use the committed carefully opening cupped palms, with wrists entering from the lower edge and attention directed downward. Keep the face and all other passengers outside the frame. The hands, rather than an invented full-body placement, determine the subject relationship to the camera.\n  - state_cue_directive: Carry transient marker 22 resting on the open palms, small relative to both hands and visible obliquely from above. Preserve the committed occupied-during-flight context through the limited interior margin and soft daytime ambient light. Do not transfer the reference's nighttime state into this shot.\n  - negative_continuity_directive: Exclude markers 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 14, 17, 18, 19, 20 and 21. Avoid importing L119B05's layout into unit 13 or interpreting the detached inset as a sightline to units 1 through 5. Do not relocate marker 16 to force it into the crop.\n\n2069년 대한민국에서 낮에 비행 중인 헬기 객실 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실용적인 기존 항공 내장을 계속 사용하는 공간으로, 과장된 미래 장식 없이 실제 금속 객실 표면과 좌석 직물의 재질을 담는다. 배치 참조의 독립된 객실 영역만 사용하며, 동쪽 벽의 승객용 벤치와 그 앞쪽 위에 있는 객실 창의 위치 관계를 따른다. 화면에는 이 좌석과 인접한 객실 표면의 작은 부분만 부드럽게 흐려져 보인다.\n\n동쪽 좌석과 창 가까이의 전경 하단에, 선물로 건네진 작은 보라색 제비꽃을 일시적인 근접 피사체로 담는다. 꽃은 객실에 설치된 장식이 아니며, 꽃잎의 자연스러운 주름과 얇은 가장자리가 선명하게 보인다. 꽃을 지지하는 부분은 화면 아래로 잘라 꽃만 보이게 하고, 공중에 떠 있는 모습으로 표현하지 않는다. 사람, 손을 포함한 신체 일부, 얼굴, 사람 형태의 형상은 전혀 묘사하지 않는다.\n\n실제 미러리스 카메라와 35밀리미터급 렌즈를 사용하고, 카메라는 객실 바닥에서 약 1.6미터인 서 있는 사람의 눈높이에 둔다. 약 0.9~1.1미터 높이의 가까운 전경을 향해 약간 내려다보며 좁게 구도를 잡아 근접 인서트를 받친다. 수직으로 내려다보는 시점이 아니라 객실 측면이 배경으로 남는 사선 시점이다. 가까운 꽃에 초점을 맞추고 자연스러운 얕은 피사계 심도로 좌석과 객실 표면을 흐린다. 동쪽 창에서 들어오는 낮의 자연광이 꽃잎과 좌석 표면을 비추고, 창이 걸리는 가장자리는 비행 고도를 특정할 수 없는 밝고 흐릿한 하늘빛으로만 남긴다. 금속의 미세한 사용 마모와 옅은 생활 얼룩, 직물의 실제 짜임을 과장 없이 유지한다. 보라색 꽃과 중성적인 객실 색은 별도 색 보정 없이 자연광 아래의 실제 색으로 표현한다. 실제 장소 기록 사진과 구별되지 않는 결과로, 광고용으로 말끔하게 정리한 사진이나 컴퓨터 합성 이미지, 삽화, 건축 시각화, 평면도처럼 만들지 않는다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 13,
          "camera_cell": [
            4,
            8
          ],
          "look_at_unit": 13,
          "look_at_cell": [
            4,
            9
          ],
          "lens_enum": "telephoto",
          "fov_deg": 25,
          "framing_notes": "Narrow internal coverage toward marker 15 within unit 13, with the staged oblique-downward attention on the hands. Both coordinates are listed candidates; the 25-degree FOV matches the advertised telephoto value. The readback supplies no dedicated internal-unit direction record."
        },
        "shot_aware_plan_node_index": 3,
        "shot_aware_plan_mode": "related_style_new_space",
        "render_guidance": {
          "visible_space_directive": "Confine the visible background to a small contextual portion of unit 13, principally marker 15 toward [4, 9]. Marker 16 remains at its committed boundary position and need not be forced into the narrow downward-looking crop. Compose this unit from its own base markers, not from L119B05's layout.",
          "camera_framing_directive": "Use camera unit 13 at [4, 8], looking within unit 13 toward [4, 9], with telephoto 25-degree narrow, compressed coverage. Honor the staged endpoint above and beside the hands, looking obliquely downward; keep the opened palms in the central two-thirds with only a soft contextual margin.",
          "subject_position_directive": "Use the committed carefully opening cupped palms, with wrists entering from the lower edge and attention directed downward. Keep the face and all other passengers outside the frame. The hands, rather than an invented full-body placement, determine the subject relationship to the camera.",
          "state_cue_directive": "Carry transient marker 22 resting on the open palms, small relative to both hands and visible obliquely from above. Preserve the committed occupied-during-flight context through the limited interior margin and soft daytime ambient light. Do not transfer the reference's nighttime state into this shot.",
          "negative_continuity_directive": "Exclude markers 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 14, 17, 18, 19, 20 and 21. Avoid importing L119B05's layout into unit 13 or interpreting the detached inset as a sightline to units 1 through 5. Do not relocate marker 16 to force it into the crop."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_hangar_and_cabin",
          "prior_bg_ids": [
            "L119B05"
          ],
          "attached_ref_labels": [
            "bg:L119B05"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L119B02": {
        "status": "ok",
        "location_id": "L119",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L119B02.png",
        "t2i_prompt": "2069년 대한민국의 오래 방치된 폐공항, 헬기가 떠난 뒤 완전히 비어 있는 낮의 활주로를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 미래 시점이지만 기존 공항의 낡은 토목 구조가 그대로 남아 있으며, 임의의 첨단 시설이나 발광 장치는 없다. 실제 풀프레임 미러리스 카메라와 35밀리미터 렌즈로 지상 약 1.6미터의 서 있는 사람 눈높이에서 활주로 길이 방향을 바라본다. 수평선을 기울이지 않고 화면 위쪽 삼분의 일 부근에 두어, 넓은 포장면이 전경에서 먼 중앙 소실점까지 길게 이어지게 한다. 내려다보는 항공 시점이나 도면 시점이 아니다.\n\n회색 아스팔트 포장에는 불규칙한 균열, 오래된 보수 자국, 드러난 골재, 빗물이 남긴 얼룩과 닳아 희미해진 흰색 활주로 도색이 보인다. 균열과 포장 가장자리를 따라 이끼가 군데군데 붙어 있고, 주변 비포장 지대에는 한국의 습한 기후에서 자라는 낮은 잡초가 듬성듬성 이어진다. 이끼와 갈라진 포장면은 멀어질수록 작아지며 자연스러운 원근감을 만든다. 화면 중앙과 하단에는 두 사람이 나란히 걸을 수 있을 만큼 충분히 넓고 연속적인 빈 동선을 확보하고, 큰 잔해나 장애물로 막지 않는다. 배낭이나 다른 소지품을 바닥에 놓지 않는다. 먼 주변부는 낮은 풀밭과 옅은 대기 속 지평선으로 단순하게 남겨 활주로의 텅 빈 규모를 드러낸다.\n\n얇은 구름을 통과한 낮의 자연광, 희미하고 부드러운 실제 그림자, 회색 포장과 탁한 녹색 이끼의 자연스러운 색. 전경의 거친 골재와 작은 균열은 선명하게 보이고 먼 곳은 실제 대기 원근과 자연스러운 피사계 심도로 부드러워진다. 인위적인 색 보정이나 과장된 안개 없이 오래 사용하고 방치한 현장을 담은 사실적인 장소 기록 사진으로 표현한다. 깔끔하게 정돈된 광고 사진이 아니라 실제 마모와 얼룩이 남은 현장 사진이며, 컴퓨터 합성 이미지나 삽화, 건축 시각화가 아니다. 사람, 얼굴, 시신, 혈흔, 헬기, 다른 항공기, 차량은 전혀 보이지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S77_Shot46",
            "guide_text": "헬기가 떠난 뒤의 빈 활주로를 길이 방향으로 바라보는 넓은 구도. 약 1.6미터 눈높이와 35밀리미터 렌즈의 자연스러운 원근을 유지하고, 중앙 하단부터 먼 소실점까지 두 사람이 나란히 이동할 폭의 빈 공간을 확보한다. 이 배경에는 인물과 배낭을 그리지 않는다. 균열과 이끼는 동선을 가로막는 큰 장애물 없이 포장면에 붙어 있으며, 헬기의 잔상이나 비행체도 남기지 않는다."
          }
        ],
        "shot_ids": [
          "S77_Shot46"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "text_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {},
        "reference_decision": {
          "mode": "surface_role_direct_plate",
          "surface_role": "exterior_plate",
          "fp_id": "",
          "source_bg_ids": []
        },
        "effective_render_prompt": "2069년 대한민국의 오래 방치된 폐공항, 헬기가 떠난 뒤 완전히 비어 있는 낮의 활주로를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 미래 시점이지만 기존 공항의 낡은 토목 구조가 그대로 남아 있으며, 임의의 첨단 시설이나 발광 장치는 없다. 실제 풀프레임 미러리스 카메라와 35밀리미터 렌즈로 지상 약 1.6미터의 서 있는 사람 눈높이에서 활주로 길이 방향을 바라본다. 수평선을 기울이지 않고 화면 위쪽 삼분의 일 부근에 두어, 넓은 포장면이 전경에서 먼 중앙 소실점까지 길게 이어지게 한다. 내려다보는 항공 시점이나 도면 시점이 아니다.\n\n회색 아스팔트 포장에는 불규칙한 균열, 오래된 보수 자국, 드러난 골재, 빗물이 남긴 얼룩과 닳아 희미해진 흰색 활주로 도색이 보인다. 균열과 포장 가장자리를 따라 이끼가 군데군데 붙어 있고, 주변 비포장 지대에는 한국의 습한 기후에서 자라는 낮은 잡초가 듬성듬성 이어진다. 이끼와 갈라진 포장면은 멀어질수록 작아지며 자연스러운 원근감을 만든다. 화면 중앙과 하단에는 두 사람이 나란히 걸을 수 있을 만큼 충분히 넓고 연속적인 빈 동선을 확보하고, 큰 잔해나 장애물로 막지 않는다. 배낭이나 다른 소지품을 바닥에 놓지 않는다. 먼 주변부는 낮은 풀밭과 옅은 대기 속 지평선으로 단순하게 남겨 활주로의 텅 빈 규모를 드러낸다.\n\n얇은 구름을 통과한 낮의 자연광, 희미하고 부드러운 실제 그림자, 회색 포장과 탁한 녹색 이끼의 자연스러운 색. 전경의 거친 골재와 작은 균열은 선명하게 보이고 먼 곳은 실제 대기 원근과 자연스러운 피사계 심도로 부드러워진다. 인위적인 색 보정이나 과장된 안개 없이 오래 사용하고 방치한 현장을 담은 사실적인 장소 기록 사진으로 표현한다. 깔끔하게 정돈된 광고 사진이 아니라 실제 마모와 얼룩이 남은 현장 사진이며, 컴퓨터 합성 이미지나 삽화, 건축 시각화가 아니다. 사람, 얼굴, 시신, 혈흔, 헬기, 다른 항공기, 차량은 전혀 보이지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_aware_plan_mode": "surface_role_direct_plate",
        "attached_reference_lineage": {
          "fp_id": "",
          "prior_bg_ids": [],
          "attached_ref_labels": [],
          "ref_used": "text_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L123B02": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L123",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L123B02.png",
        "t2i_prompt": "2069년 대한민국 연안의 생활 여건을 반영한 작고 실용적인 선원실 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 미래에도 오래 사용되는 선박 휴게 공간의 소박한 재료와 비좁은 규모를 보여준다. 평면도는 공간의 배치 관계만 참고한다. 뒤쪽 벽에 붙은 소파는 화면 좌우로 길게 놓이고 중앙 바닥을 향하며, 소파 오른쪽 끝 바로 옆에는 선원실 경계를 이루는 온전한 금속 격벽이 가깝게 이어진다. 소파의 직물 짜임과 봉제선, 오래 사용해 부드러워진 표면, 격벽 도장의 미세한 질감과 실제 금속의 둔한 반사를 자연스럽게 담는다. 공간은 깨끗하고 흐트러짐 없이 정돈되어 있다. 야간의 평온한 휴식 시간으로, 화면 밖에서 들어오는 낮은 밝기의 실내 빛이 소파와 가까운 벽을 은은하게 비추며 따뜻한 중간 밝기와 차분한 그늘이 공존한다. 실제 조명에 따른 자연스러운 빛의 감쇠와 부드러운 그림자를 유지한다. 선원실 중앙 바닥의 앞쪽에서 소파와 오른쪽 격벽을 비스듬히 바라보며, 서 있는 사람의 눈높이인 약 1.6미터에 둔 실제 미러리스 카메라와 35밀리미터급 렌즈로 촬영한다. 수평을 맞춘 안정적인 구도에 소파와 오른쪽 벽을 충분히 담고, 전경에는 좁은 실내의 깊이를 알 수 있을 만큼 빈 바닥을 남긴다. 소파의 넉넉한 좌석 면은 가리지 않고 보여준다. 사람, 얼굴, 인체 형태의 형상은 전혀 없는 배경 사진이다. 자연스러운 피사계 심도와 현실적인 노출을 사용하며, 과도한 보정 없이 실제 장소 기록 사진과 구별되지 않는 재질과 공간감을 유지한다. 상품 광고처럼 새것으로 정제된 사진이 아니라 실제 사용 중인 공간의 담백한 사진이며, 삽화나 컴퓨터 생성 이미지, 건축 시각화가 아니다. 위에서 내려다보는 시점이나 평면도 구도를 사용하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S79_Shot6",
            "guide_text": "소파와 바로 오른쪽의 가까운 격벽이 함께 보이는 안정적인 대각선 구도를 사용한다. 전경의 빈 바닥으로 선원실의 좁은 깊이를 드러내고, 두 사람이 기대어 앉을 수 있는 소파 좌석 영역은 가리지 않는다. 배경 자체에는 사람이나 인체 형상을 넣지 않는다. 낮고 부드러운 야간 실내 조명과 정돈된 상태를 유지하며, 소파와 격벽을 중복 생성하지 않는다."
          }
        ],
        "shot_ids": [
          "S79_Shot6"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Inside number 1, just beyond number 2 (entrance threshold), facing diagonally toward number 4 (resting sofa) and number 5 (adjacent intact bulkhead).",
          "camera_height": "seated eye-level, approximately 1.2 m",
          "lens_hint": "28mm wide angle",
          "framing_notes": "Keep the composition level and calm. Show the sofa and nearby right-hand bulkhead prominently, with enough clear floor in the foreground to establish the cramped cabin. The entrance is behind the camera. Preserve space for two reclining occupants without adding them to the background."
        },
        "reference_decision": {
          "bg_id": "L123B02",
          "fp_id": "fp_crew_cabin",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L123B02 is the sole permitted clean anchor. Establish markers 1, 4 and 5 from camera unit 2, looking toward marker 4 within unit 1. Wide coverage supplies the oblique support-plane view required by S79_Shot6 while retaining the adjacent boundary for continuity; the consuming medium composition can use a narrower crop of this plate.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/floor_plan/fp_crew_cabin.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The first node establishes dwelling identity directly from the floor plan; no prior reference is required.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 2,
            "camera_cell": [
              8,
              5
            ],
            "look_at_unit": 1,
            "look_at_cell": [
              1,
              4
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad oblique base coverage toward marker 4, with unit 1 across the foreground and unit 5 at the right edge. Preserve the staged low viewpoint and allow the S79_Shot6 medium composition within this coverage. Coordinates are copied from unit 2's candidate arrays."
          },
          "render_guidance": {
            "visible_space_directive": "Show unit 1 and marker 4 against its committed top-wall position, with the adjacent unit 5 boundary at the right edge of the broad view. Camera unit 2 is the viewpoint, not an additional room to establish. Opening 3 is not a required visible element in this direction; the visibility supersets do not establish further co-visible spaces.",
            "camera_framing_directive": "Use camera unit 2 at [8, 5], looking into unit 1 at [1, 4], with a wide lens and 90-degree field of view. Provide broad oblique coverage of marker 4 from the staged low position, preserving the support plane and background boundary for the consuming medium crop.",
            "subject_position_directive": "For S79_Shot6, reserve a soft left-foreground near-shoulder edge for the reclining listener, with extended legs outside the crop, and right-center space against marker 4 for the reclining subject with lowered head. These are shot-composition reservations in the clean background, not additional subjects to invent.",
            "state_cue_directive": "No committed state cue beyond clean residential space applies: clean_background_expected is true and no transient markers are listed. Preserve the staged restrained ambient illumination and refrain from inventing additional cues.",
            "negative_continuity_directive": "Exclude marker 6 and its state overlay. Avoid moving marker 4 from its base position or changing unit 5's boundary relationship. Do not introduce opening 3 or additional units merely because they occur in visibility supersets."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [8, 5]\n  - look_at_unit: 1\n  - look_at_cell: [1, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad oblique base coverage toward marker 4, with unit 1 across the foreground and unit 5 at the right edge. Preserve the staged low viewpoint and allow the S79_Shot6 medium composition within this coverage. Coordinates are copied from unit 2's candidate arrays.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 1 and marker 4 against its committed top-wall position, with the adjacent unit 5 boundary at the right edge of the broad view. Camera unit 2 is the viewpoint, not an additional room to establish. Opening 3 is not a required visible element in this direction; the visibility supersets do not establish further co-visible spaces.\n  - camera_framing_directive: Use camera unit 2 at [8, 5], looking into unit 1 at [1, 4], with a wide lens and 90-degree field of view. Provide broad oblique coverage of marker 4 from the staged low position, preserving the support plane and background boundary for the consuming medium crop.\n  - subject_position_directive: For S79_Shot6, reserve a soft left-foreground near-shoulder edge for the reclining listener, with extended legs outside the crop, and right-center space against marker 4 for the reclining subject with lowered head. These are shot-composition reservations in the clean background, not additional subjects to invent.\n  - state_cue_directive: No committed state cue beyond clean residential space applies: clean_background_expected is true and no transient markers are listed. Preserve the staged restrained ambient illumination and refrain from inventing additional cues.\n  - negative_continuity_directive: Exclude marker 6 and its state overlay. Avoid moving marker 4 from its base position or changing unit 5's boundary relationship. Do not introduce opening 3 or additional units merely because they occur in visibility supersets.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [8, 5]\n  - look_at_unit: 1\n  - look_at_cell: [1, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad oblique base coverage toward marker 4, with unit 1 across the foreground and unit 5 at the right edge. Preserve the staged low viewpoint and allow the S79_Shot6 medium composition within this coverage. Coordinates are copied from unit 2's candidate arrays.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 1 and marker 4 against its committed top-wall position, with the adjacent unit 5 boundary at the right edge of the broad view. Camera unit 2 is the viewpoint, not an additional room to establish. Opening 3 is not a required visible element in this direction; the visibility supersets do not establish further co-visible spaces.\n  - camera_framing_directive: Use camera unit 2 at [8, 5], looking into unit 1 at [1, 4], with a wide lens and 90-degree field of view. Provide broad oblique coverage of marker 4 from the staged low position, preserving the support plane and background boundary for the consuming medium crop.\n  - subject_position_directive: For S79_Shot6, reserve a soft left-foreground near-shoulder edge for the reclining listener, with extended legs outside the crop, and right-center space against marker 4 for the reclining subject with lowered head. These are shot-composition reservations in the clean background, not additional subjects to invent.\n  - state_cue_directive: No committed state cue beyond clean residential space applies: clean_background_expected is true and no transient markers are listed. Preserve the staged restrained ambient illumination and refrain from inventing additional cues.\n  - negative_continuity_directive: Exclude marker 6 and its state overlay. Avoid moving marker 4 from its base position or changing unit 5's boundary relationship. Do not introduce opening 3 or additional units merely because they occur in visibility supersets.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [8, 5]\n  - look_at_unit: 1\n  - look_at_cell: [1, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad oblique base coverage toward marker 4, with unit 1 across the foreground and unit 5 at the right edge. Preserve the staged low viewpoint and allow the S79_Shot6 medium composition within this coverage. Coordinates are copied from unit 2's candidate arrays.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 1 and marker 4 against its committed top-wall position, with the adjacent unit 5 boundary at the right edge of the broad view. Camera unit 2 is the viewpoint, not an additional room to establish. Opening 3 is not a required visible element in this direction; the visibility supersets do not establish further co-visible spaces.\n  - camera_framing_directive: Use camera unit 2 at [8, 5], looking into unit 1 at [1, 4], with a wide lens and 90-degree field of view. Provide broad oblique coverage of marker 4 from the staged low position, preserving the support plane and background boundary for the consuming medium crop.\n  - subject_position_directive: For S79_Shot6, reserve a soft left-foreground near-shoulder edge for the reclining listener, with extended legs outside the crop, and right-center space against marker 4 for the reclining subject with lowered head. These are shot-composition reservations in the clean background, not additional subjects to invent.\n  - state_cue_directive: No committed state cue beyond clean residential space applies: clean_background_expected is true and no transient markers are listed. Preserve the staged restrained ambient illumination and refrain from inventing additional cues.\n  - negative_continuity_directive: Exclude marker 6 and its state overlay. Avoid moving marker 4 from its base position or changing unit 5's boundary relationship. Do not introduce opening 3 or additional units merely because they occur in visibility supersets.\n\n2069년 대한민국 연안의 생활 여건을 반영한 작고 실용적인 선원실 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 미래에도 오래 사용되는 선박 휴게 공간의 소박한 재료와 비좁은 규모를 보여준다. 평면도는 공간의 배치 관계만 참고한다. 뒤쪽 벽에 붙은 소파는 화면 좌우로 길게 놓이고 중앙 바닥을 향하며, 소파 오른쪽 끝 바로 옆에는 선원실 경계를 이루는 온전한 금속 격벽이 가깝게 이어진다. 소파의 직물 짜임과 봉제선, 오래 사용해 부드러워진 표면, 격벽 도장의 미세한 질감과 실제 금속의 둔한 반사를 자연스럽게 담는다. 공간은 깨끗하고 흐트러짐 없이 정돈되어 있다. 야간의 평온한 휴식 시간으로, 화면 밖에서 들어오는 낮은 밝기의 실내 빛이 소파와 가까운 벽을 은은하게 비추며 따뜻한 중간 밝기와 차분한 그늘이 공존한다. 실제 조명에 따른 자연스러운 빛의 감쇠와 부드러운 그림자를 유지한다. 선원실 중앙 바닥의 앞쪽에서 소파와 오른쪽 격벽을 비스듬히 바라보며, 서 있는 사람의 눈높이인 약 1.6미터에 둔 실제 미러리스 카메라와 35밀리미터급 렌즈로 촬영한다. 수평을 맞춘 안정적인 구도에 소파와 오른쪽 벽을 충분히 담고, 전경에는 좁은 실내의 깊이를 알 수 있을 만큼 빈 바닥을 남긴다. 소파의 넉넉한 좌석 면은 가리지 않고 보여준다. 사람, 얼굴, 인체 형태의 형상은 전혀 없는 배경 사진이다. 자연스러운 피사계 심도와 현실적인 노출을 사용하며, 과도한 보정 없이 실제 장소 기록 사진과 구별되지 않는 재질과 공간감을 유지한다. 상품 광고처럼 새것으로 정제된 사진이 아니라 실제 사용 중인 공간의 담백한 사진이며, 삽화나 컴퓨터 생성 이미지, 건축 시각화가 아니다. 위에서 내려다보는 시점이나 평면도 구도를 사용하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 2,
          "camera_cell": [
            8,
            5
          ],
          "look_at_unit": 1,
          "look_at_cell": [
            1,
            4
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad oblique base coverage toward marker 4, with unit 1 across the foreground and unit 5 at the right edge. Preserve the staged low viewpoint and allow the S79_Shot6 medium composition within this coverage. Coordinates are copied from unit 2's candidate arrays."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Show unit 1 and marker 4 against its committed top-wall position, with the adjacent unit 5 boundary at the right edge of the broad view. Camera unit 2 is the viewpoint, not an additional room to establish. Opening 3 is not a required visible element in this direction; the visibility supersets do not establish further co-visible spaces.",
          "camera_framing_directive": "Use camera unit 2 at [8, 5], looking into unit 1 at [1, 4], with a wide lens and 90-degree field of view. Provide broad oblique coverage of marker 4 from the staged low position, preserving the support plane and background boundary for the consuming medium crop.",
          "subject_position_directive": "For S79_Shot6, reserve a soft left-foreground near-shoulder edge for the reclining listener, with extended legs outside the crop, and right-center space against marker 4 for the reclining subject with lowered head. These are shot-composition reservations in the clean background, not additional subjects to invent.",
          "state_cue_directive": "No committed state cue beyond clean residential space applies: clean_background_expected is true and no transient markers are listed. Preserve the staged restrained ambient illumination and refrain from inventing additional cues.",
          "negative_continuity_directive": "Exclude marker 6 and its state overlay. Avoid moving marker 4 from its base position or changing unit 5's boundary relationship. Do not introduce opening 3 or additional units merely because they occur in visibility supersets."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_crew_cabin",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_crew_cabin"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L123B01": {
        "status": "ok",
        "is_reuse": true,
        "render_action": "reuse_existing_plate",
        "reuse_target_bg_id": "L123B02",
        "reused_from_bg_id": "L123B02",
        "location_id": "L123",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L123B02.png",
        "t2i_prompt": "실제 카메라로 촬영한 다큐멘터리 풍 사진. 2069년 한국 해역의 생활 선박에 있을 법한 실용적인 선원 휴게실을 사람이 없는 실제 장소 기록 사진으로 담는다. 미래라는 이유로 새로운 장비를 덧붙이지 않고, 오래 사용한 선박 내부의 소박한 재료와 생활감을 유지한다. 도장된 금속 격벽에는 일상적인 마모와 미세한 때가 보이고, 휴식용 소파에는 실제 직물의 짜임과 사용에 따른 눌림이 드러난다. 과도하게 말끔한 홍보 사진이 아니라 재료의 질감과 공간의 규모가 자연스럽게 읽히는 사진이다.\n\n참조 평면도는 공간 배치 확인에만 사용한다. 중앙에는 열린 바닥 공간이 있고, 맞은편 벽을 따라 긴 휴식용 소파가 좌우로 놓여 중앙 바닥을 향한다. 소파 오른쪽 끝 옆에는 선원실의 오른쪽 경계를 이루는 온전한 격벽이 이어진다. 카메라는 실내의 가까운 쪽에서 소파와 그 오른쪽 격벽을 함께 대각선으로 바라본다. 약 1.6미터의 서 있는 눈높이에서 풀프레임 미러리스 카메라와 35밀리미터급 렌즈로 촬영하며, 중앙 바닥과 소파, 인접 격벽의 관계를 넉넉하게 담는다. 위에서 내려다보는 평면도나 건축 도해가 아닌 실제 실내 원근을 보여준다.\n\n선체가 순간적으로 크게 기운 상태를 화면 전체의 급격한 경사로 표현한다. 바닥과 격벽, 소파의 기준선이 같은 방향으로 함께 기울어 화면 수평선과 뚜렷하게 어긋나며, 휴식 공간의 급작스러운 불안정함이 구도만으로 전달된다. 공간 내부의 직각 관계와 각 물체의 원래 위치는 유지하고, 격벽과 바닥의 형태 및 표면은 그대로 둔다. 물체 자체를 비틀거나 이동시켜 충격을 표현하지 않는다. 실내에 부드럽게 퍼지는 자연스러운 간접광과 물리적으로 타당한 그림자, 실제 도장면과 직물의 반사 특성을 유지한다. 소파와 격벽이 함께 식별되는 자연스러운 피사계 심도와 선명한 재질 묘사를 사용하고, 과장된 후처리는 하지 않는다. 사람, 얼굴, 신체 형태의 형상 없이 빈 공간만 촬영한다. 실제 장소 사진과 구별되지 않는 사실성을 유지한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S79_Shot8",
            "guide_text": "중앙 바닥에서 맞은편 소파와 오른쪽 격벽으로 이어지는 대각선 시야를 사용한다. 바닥과 격벽의 기준선이 함께 급경사를 이루도록 하여 선체의 순간적인 기울기를 보여준다. 소파의 위치와 공간 내부의 직각 관계를 유지하며, 인물 없이 빈 배경만 담는다."
          },
          {
            "shot_id": "S79_Shot9",
            "guide_text": "같은 선원실의 소파와 인접 격벽을 공간 식별 기준으로 유지한다. 앞선 배경과 경사 방향, 재질, 조명 상태를 일치시키고, 급경사는 화면 전체의 방향 변화로만 표현한다. 별도의 환경 변화나 집기 이동을 추가하지 않으며 인물 없이 촬영한다."
          }
        ],
        "shot_ids": [
          "S79_Shot8",
          "S79_Shot9"
        ],
        "scenes": [],
        "parent_id": "L123B02",
        "ref_used": "reused_plate",
        "render_attempts": 0,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "Inside number 1, just beyond number 2 (entrance threshold), retaining the diagonal view toward number 4 (resting sofa) and number 5 (adjacent intact bulkhead).",
          "camera_height": "seated eye-level, approximately 1.2 m",
          "lens_hint": "28mm wide angle",
          "framing_notes": "Use one consistent strongly rolled composition for both assigned shots, expressing a downhill direction toward number 5. Apply number 6 to the apparent orientation of the entire cabin, not to individual walls or furniture. Retain the sofa position and clear lateral space beside it. Do not add impact scars, cracks, flooding, debris, or displaced furnishings; the entrance remains behind the camera."
        },
        "reference_decision": {
          "mode": "reference_derived",
          "render_action": "reuse_existing_plate",
          "reuse_target_bg_id": "L123B02",
          "selected_refs": [
            {
              "ref_bg_id": "L123B02",
              "physical_space_id": "fp_crew_cabin_space_1",
              "space_description": "Shared physical space defined by unit 1, persistent marker 4 and adjacent boundary unit 5."
            }
          ]
        },
        "shot_aware_plan_node_index": 1,
        "shot_aware_plan_mode": "reference_derived",
        "render_guidance": {
          "visible_space_directive": "Retain L123B02's unit 1, marker 4 and right-edge unit 5 coverage. Keep marker 4 against the same top wall and unit 5 in the same fixed boundary position. Preserve visible unit 1 floor below the action region and intervening space toward unit 5; no additional space is established by the reference plan.",
          "camera_framing_directive": "Use camera unit 2 at [8, 5], looking into unit 1 at [1, 4], with a wide lens and 90-degree field of view, matching L123B02. Maintain broad base coverage for the staged medium crops: upward clearance around marker 4 for S79_Shot8 and lower-center floor with the unit 5 boundary at middle-right for S79_Shot9.",
          "subject_position_directive": "For S79_Shot8, reserve center-left clearance for the upper body rising away from marker 4, including headroom and a readable gap behind the torso; keep the other subject outside that crop. For S79_Shot9, reserve the center for the sideways airborne torso, lower-center clearance beneath it, and an open gap toward unit 5 at screen right; keep the other subject beyond the crop in the displacement direction. Treat these as separate consuming-shot arrangements.",
          "state_cue_directive": "Carry transient marker 6 as the committed composition disturbance, with the staged floor tilt and bodily displacement handled as scene-layer cues. Preserve L123B02's established illumination, as both consuming shots require unchanged lighting. Keep the fixed positions of markers 4 and 5 intact rather than treating the transient cue as structural rearrangement.",
          "negative_continuity_directive": "There are no listed ignored markers for this BG. Avoid shifting marker 4 or unit 5 relative to L123B02, converting marker 6 into permanent structural alteration, or adding uncommitted illumination changes. Do not introduce opening 3 or units outside the chosen coverage, and do not combine the two consuming shots' subject arrangements into one simultaneous composition."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_crew_cabin",
          "prior_bg_ids": [
            "L123B02"
          ],
          "attached_ref_labels": [
            "bg:L123B02"
          ],
          "ref_used": "reused_plate",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L122B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L122",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L122B01.png",
        "t2i_prompt": "2069년 대한민국 연안에서 운용되는 낡은 작업선의 노출 갑판을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 태풍이 몰아치는 깊은 밤의 무인 공간이며, 사람이나 얼굴, 신체 형태의 실루엣은 전혀 없다. 미래의 배경이지만 오래 사용한 실용적인 선박 구조와 재료가 중심이다. 실제 강철 갑판의 거친 도장면, 용접 이음, 마찰로 닳은 부분, 기둥 표면의 염분 부식과 오래된 녹 얼룩이 사실적으로 보인다.\n참조 평면도는 구조와 상대적 위치를 이해하는 용도로만 사용한다. 길게 이어지는 작업 갑판의 뒤쪽 왼편에 서서, 중앙의 비어 있는 통로를 가로질러 앞쪽 오른편의 선외 가장자리를 비스듬히 바라본다. 갑판에서 약 1.6미터 높이에 놓인 35밀리미터 규격의 실제 미러리스 카메라와 28밀리미터 광각 렌즈로 촬영한 시야다. 오른편 중간의 가장자리 바로 안쪽에 지지 기둥이 있고, 그 바로 바깥에 갑판이 끝나며 바다로 이어지는 경계가 보인다. 같은 가장자리를 따라 더 앞쪽에 두 번째 지지 기둥이 보이고, 갑판 외곽에 바로 접한 바다가 그 너머로 이어진다. 왼편 중간의 화물 적치 구역은 화면 왼쪽에 유지하고, 카메라와 오른쪽 가장자리 사이에는 넓고 빈 통로를 확보한다. 가까운 기둥과 바로 바깥 갑판 끝을 한 화면에서 함께 알아볼 수 있는 구도다.\n왼편 적치 구역과 그 바로 주변에는 고정되지 않은 육중한 화물이 놓여 있다. 이 화물은 갑판에 붙박인 구조물이 아니라 현재 잠시 놓여 있는 짐으로 보인다. 노출 갑판 전역에 바람에 비스듬히 몰리는 장대비가 내리고, 바로 옆 바다에서는 거대한 파도가 일으킨 물보라와 높이 솟는 물기둥이 시야를 가린다. 비와 해수가 오른편 기둥과 갑판 끝의 일부를 가로지르되, 두 구조물의 상대적 위치는 읽을 수 있다. 물에 젖은 강철의 불균일한 반사, 바닥을 흐르는 얕은 빗물, 흩어지는 물방울의 크기와 흐림을 실제 악천후 촬영처럼 표현한다.\n밤의 약한 자연 주변광에 맞는 낮은 밝기와 현실적인 노출을 유지하며, 젖은 표면과 물보라의 밝은 부분만 제한적으로 드러난다. 가까운 갑판과 기둥은 분명하고 먼 바다는 비와 거리 때문에 자연스럽게 흐려지는 피사계 심도다. 과도한 보정이나 인위적인 색조 없이 실제 현장 기록 사진과 구별되지 않는 재질과 원근감. 그림이나 컴퓨터 생성 이미지, 건축 시각화가 아니며 위에서 내려다보는 시점이나 평면도 구도를 사용하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S80_Shot6",
            "guide_text": "갑판 뒤쪽 왼편의 약 1.6미터 눈높이에서 28밀리미터 광각으로 앞쪽 오른편을 바라본다. 왼편 화물 구역, 중앙의 빈 통로, 오른편 가까운 기둥과 그 바로 바깥 갑판 끝을 함께 담고, 두 번째 기둥은 같은 가장자리의 더 먼 곳에 둔다. 비와 물보라가 일부 시야를 가려도 공간 관계는 유지한다. 사람이나 신체 형상 없이 고정되지 않은 화물과 야간 태풍 상태만 담는다."
          },
          {
            "shot_id": "S80_Shot12",
            "guide_text": "앞선 컷과 동일한 카메라 위치, 눈높이, 렌즈와 촬영 방향을 유지한다. 가까운 지지 기둥과 선외로 이어지는 갑판 끝을 함께 식별할 수 있게 하고, 전경에서 가장자리까지의 통로를 비워 둔다. 왼편의 고정되지 않은 화물과 밤의 장대비·물보라는 유지하되, 특정 파도 충돌 순간에 종속되지 않는 빈 배경으로 촬영한다. 사람이나 신체 형태의 실루엣은 넣지 않는다."
          }
        ],
        "shot_ids": [
          "S80_Shot6",
          "S80_Shot12"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_2",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "On the aft-left portion of number 1, facing diagonally forward and right across number 2 toward number 5 and number 4, with number 6 farther along the same edge and number 7 beyond.",
          "camera_height": "Standing eye level, approximately 1.6 m above the local deck plane",
          "lens_hint": "28mm wide angle",
          "framing_notes": "Use the same spatial camera setup for both shots. Keep the grasping post and overboard threshold legible together, leave open action space between the camera and the edge, and retain the cargo area at the left of frame. Apply nighttime storm conditions and unsecured cargo separately; do not bake falling figures, submerged cargo, or a particular wave-impact instant into the persistent layout."
        },
        "reference_decision": {
          "bg_id": "L122B01",
          "fp_id": "fp_ship_deck",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L122B01 is the sole supplied anchor candidate and the sole readiness-ok BG. Select it under the explicit ramped fallback, retaining its clean_background_expected=false status and transient markers 8 and 9. No prior references exist. Camera unit 2 looking toward unit 4 at fixture marker 5 supports the shared close support-side view in S80_Shot6 and S80_Shot12; their changing contact and transient occlusion belong to the shot layer, not separate graph nodes.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/floor_plan/fp_ship_deck.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The first and only node establishes identity directly from the supplied floor plan; the reference catalog is empty.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 2,
            "camera_cell": [
              4,
              5
            ],
            "look_at_unit": 4,
            "look_at_cell": [
              5,
              6
            ],
            "lens_enum": "normal",
            "fov_deg": 50,
            "framing_notes": "Use neutral 50-degree coverage from unit 2 toward the support-side region adjoining unit 4. The exact permitted look-at cell is fixture marker 5, immediately inboard of unit 4, rather than unit 4's marker center. Apply the staged close, slightly elevated oblique composition within this fixed view, preserving the same hand axis across both consuming shots."
          },
          "render_guidance": {
            "visible_space_directive": "Show the local support-side portion adjoining unit 4 and fixture marker 5 from unit 2, with the narrow oblique boundary portion required by both shots. Preserve marker 5 immediately inboard of unit 4. Base markers 1, 2, 3, 4, 5, 6 and 7 define the underlying layout, but their inclusion in the reference inventory does not require all of them to appear in this close view. No openings are enumerated; the visible-unit candidates are supersets, not a requirement to show every unit.",
            "camera_framing_directive": "Frame from camera unit 2 at [4, 5], looking toward unit 4 with the exact look-at cell [5, 6], using normal coverage at 50 degrees. Follow the committed slightly elevated oblique close framing: retain a narrow boundary portion behind the connected or separating arms and peripheral evidence of marker 5. Keep the support-side orientation and hand axis consistent between S80_Shot6 and S80_Shot12 without exaggerating hand scale.",
            "subject_position_directive": "Reserve the staged upper-left-to-lower-right connection axis: 찰리's grasp enters from upper left, the contact is centered, and 이현우's arm extends toward the partially visible suspended body at lower right. Faces remain outside the crop. S80_Shot6 commits the closed wrist grip; S80_Shot12 commits the opening grasp and withdrawing fingertips with a small gap. Treat these as alternative shot-specific subject states over the shared background, not simultaneous poses or permanent background features.",
            "state_cue_directive": "Retain the committed transient inventory: marker 8, Unsecured heavy cargo, and marker 9, Typhoon rain and wave spray. Describe marker 8 only where supported by its overlay placement and the close crop; no precise visible placement is committed here. Marker 9 supplies the torrential rain and wave exposure. Preserve the staged low nighttime tonal structure and readable wet highlights without adding an unsupported light source. The foreground water occlusion in S80_Shot12 is shot-specific. This fallback anchor is not a clean-background plate.",
            "negative_continuity_directive": "No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating fixture markers 5 or 6, changing the relationship between markers 4 and 5, or forcing markers outside the chosen close view into the frame. Do not convert transient markers 8 and 9 into permanent structure or bake both shots' incompatible subject states into one plate. Do not infer openings or guaranteed co-visibility from the geometry supersets."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [4, 5]\n  - look_at_unit: 4\n  - look_at_cell: [5, 6]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: \"Use neutral 50-degree coverage from unit 2 toward the support-side region adjoining unit 4. The exact permitted look-at cell is fixture marker 5, immediately inboard of unit 4, rather than unit 4's marker center. Apply the staged close, slightly elevated oblique composition within this fixed view, preserving the same hand axis across both consuming shots.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the local support-side portion adjoining unit 4 and fixture marker 5 from unit 2, with the narrow oblique boundary portion required by both shots. Preserve marker 5 immediately inboard of unit 4. Base markers 1, 2, 3, 4, 5, 6 and 7 define the underlying layout, but their inclusion in the reference inventory does not require all of them to appear in this close view. No openings are enumerated; the visible-unit candidates are supersets, not a requirement to show every unit.\n  - camera_framing_directive: Frame from camera unit 2 at [4, 5], looking toward unit 4 with the exact look-at cell [5, 6], using normal coverage at 50 degrees. Follow the committed slightly elevated oblique close framing: retain a narrow boundary portion behind the connected or separating arms and peripheral evidence of marker 5. Keep the support-side orientation and hand axis consistent between S80_Shot6 and S80_Shot12 without exaggerating hand scale.\n  - subject_position_directive: Reserve the staged upper-left-to-lower-right connection axis: 찰리's grasp enters from upper left, the contact is centered, and 이현우's arm extends toward the partially visible suspended body at lower right. Faces remain outside the crop. S80_Shot6 commits the closed wrist grip; S80_Shot12 commits the opening grasp and withdrawing fingertips with a small gap. Treat these as alternative shot-specific subject states over the shared background, not simultaneous poses or permanent background features.\n  - state_cue_directive: Retain the committed transient inventory: marker 8, Unsecured heavy cargo, and marker 9, Typhoon rain and wave spray. Describe marker 8 only where supported by its overlay placement and the close crop; no precise visible placement is committed here. Marker 9 supplies the torrential rain and wave exposure. Preserve the staged low nighttime tonal structure and readable wet highlights without adding an unsupported light source. The foreground water occlusion in S80_Shot12 is shot-specific. This fallback anchor is not a clean-background plate.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating fixture markers 5 or 6, changing the relationship between markers 4 and 5, or forcing markers outside the chosen close view into the frame. Do not convert transient markers 8 and 9 into permanent structure or bake both shots' incompatible subject states into one plate. Do not infer openings or guaranteed co-visibility from the geometry supersets.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [4, 5]\n  - look_at_unit: 4\n  - look_at_cell: [5, 6]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: \"Use neutral 50-degree coverage from unit 2 toward the support-side region adjoining unit 4. The exact permitted look-at cell is fixture marker 5, immediately inboard of unit 4, rather than unit 4's marker center. Apply the staged close, slightly elevated oblique composition within this fixed view, preserving the same hand axis across both consuming shots.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the local support-side portion adjoining unit 4 and fixture marker 5 from unit 2, with the narrow oblique boundary portion required by both shots. Preserve marker 5 immediately inboard of unit 4. Base markers 1, 2, 3, 4, 5, 6 and 7 define the underlying layout, but their inclusion in the reference inventory does not require all of them to appear in this close view. No openings are enumerated; the visible-unit candidates are supersets, not a requirement to show every unit.\n  - camera_framing_directive: Frame from camera unit 2 at [4, 5], looking toward unit 4 with the exact look-at cell [5, 6], using normal coverage at 50 degrees. Follow the committed slightly elevated oblique close framing: retain a narrow boundary portion behind the connected or separating arms and peripheral evidence of marker 5. Keep the support-side orientation and hand axis consistent between S80_Shot6 and S80_Shot12 without exaggerating hand scale.\n  - subject_position_directive: Reserve the staged upper-left-to-lower-right connection axis: 찰리's grasp enters from upper left, the contact is centered, and 이현우's arm extends toward the partially visible suspended body at lower right. Faces remain outside the crop. S80_Shot6 commits the closed wrist grip; S80_Shot12 commits the opening grasp and withdrawing fingertips with a small gap. Treat these as alternative shot-specific subject states over the shared background, not simultaneous poses or permanent background features.\n  - state_cue_directive: Retain the committed transient inventory: marker 8, Unsecured heavy cargo, and marker 9, Typhoon rain and wave spray. Describe marker 8 only where supported by its overlay placement and the close crop; no precise visible placement is committed here. Marker 9 supplies the torrential rain and wave exposure. Preserve the staged low nighttime tonal structure and readable wet highlights without adding an unsupported light source. The foreground water occlusion in S80_Shot12 is shot-specific. This fallback anchor is not a clean-background plate.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating fixture markers 5 or 6, changing the relationship between markers 4 and 5, or forcing markers outside the chosen close view into the frame. Do not convert transient markers 8 and 9 into permanent structure or bake both shots' incompatible subject states into one plate. Do not infer openings or guaranteed co-visibility from the geometry supersets.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [4, 5]\n  - look_at_unit: 4\n  - look_at_cell: [5, 6]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: \"Use neutral 50-degree coverage from unit 2 toward the support-side region adjoining unit 4. The exact permitted look-at cell is fixture marker 5, immediately inboard of unit 4, rather than unit 4's marker center. Apply the staged close, slightly elevated oblique composition within this fixed view, preserving the same hand axis across both consuming shots.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the local support-side portion adjoining unit 4 and fixture marker 5 from unit 2, with the narrow oblique boundary portion required by both shots. Preserve marker 5 immediately inboard of unit 4. Base markers 1, 2, 3, 4, 5, 6 and 7 define the underlying layout, but their inclusion in the reference inventory does not require all of them to appear in this close view. No openings are enumerated; the visible-unit candidates are supersets, not a requirement to show every unit.\n  - camera_framing_directive: Frame from camera unit 2 at [4, 5], looking toward unit 4 with the exact look-at cell [5, 6], using normal coverage at 50 degrees. Follow the committed slightly elevated oblique close framing: retain a narrow boundary portion behind the connected or separating arms and peripheral evidence of marker 5. Keep the support-side orientation and hand axis consistent between S80_Shot6 and S80_Shot12 without exaggerating hand scale.\n  - subject_position_directive: Reserve the staged upper-left-to-lower-right connection axis: 찰리's grasp enters from upper left, the contact is centered, and 이현우's arm extends toward the partially visible suspended body at lower right. Faces remain outside the crop. S80_Shot6 commits the closed wrist grip; S80_Shot12 commits the opening grasp and withdrawing fingertips with a small gap. Treat these as alternative shot-specific subject states over the shared background, not simultaneous poses or permanent background features.\n  - state_cue_directive: Retain the committed transient inventory: marker 8, Unsecured heavy cargo, and marker 9, Typhoon rain and wave spray. Describe marker 8 only where supported by its overlay placement and the close crop; no precise visible placement is committed here. Marker 9 supplies the torrential rain and wave exposure. Preserve the staged low nighttime tonal structure and readable wet highlights without adding an unsupported light source. The foreground water occlusion in S80_Shot12 is shot-specific. This fallback anchor is not a clean-background plate.\n  - negative_continuity_directive: No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating fixture markers 5 or 6, changing the relationship between markers 4 and 5, or forcing markers outside the chosen close view into the frame. Do not convert transient markers 8 and 9 into permanent structure or bake both shots' incompatible subject states into one plate. Do not infer openings or guaranteed co-visibility from the geometry supersets.\n\n2069년 대한민국 연안에서 운용되는 낡은 작업선의 노출 갑판을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 태풍이 몰아치는 깊은 밤의 무인 공간이며, 사람이나 얼굴, 신체 형태의 실루엣은 전혀 없다. 미래의 배경이지만 오래 사용한 실용적인 선박 구조와 재료가 중심이다. 실제 강철 갑판의 거친 도장면, 용접 이음, 마찰로 닳은 부분, 기둥 표면의 염분 부식과 오래된 녹 얼룩이 사실적으로 보인다.\n참조 평면도는 구조와 상대적 위치를 이해하는 용도로만 사용한다. 길게 이어지는 작업 갑판의 뒤쪽 왼편에 서서, 중앙의 비어 있는 통로를 가로질러 앞쪽 오른편의 선외 가장자리를 비스듬히 바라본다. 갑판에서 약 1.6미터 높이에 놓인 35밀리미터 규격의 실제 미러리스 카메라와 28밀리미터 광각 렌즈로 촬영한 시야다. 오른편 중간의 가장자리 바로 안쪽에 지지 기둥이 있고, 그 바로 바깥에 갑판이 끝나며 바다로 이어지는 경계가 보인다. 같은 가장자리를 따라 더 앞쪽에 두 번째 지지 기둥이 보이고, 갑판 외곽에 바로 접한 바다가 그 너머로 이어진다. 왼편 중간의 화물 적치 구역은 화면 왼쪽에 유지하고, 카메라와 오른쪽 가장자리 사이에는 넓고 빈 통로를 확보한다. 가까운 기둥과 바로 바깥 갑판 끝을 한 화면에서 함께 알아볼 수 있는 구도다.\n왼편 적치 구역과 그 바로 주변에는 고정되지 않은 육중한 화물이 놓여 있다. 이 화물은 갑판에 붙박인 구조물이 아니라 현재 잠시 놓여 있는 짐으로 보인다. 노출 갑판 전역에 바람에 비스듬히 몰리는 장대비가 내리고, 바로 옆 바다에서는 거대한 파도가 일으킨 물보라와 높이 솟는 물기둥이 시야를 가린다. 비와 해수가 오른편 기둥과 갑판 끝의 일부를 가로지르되, 두 구조물의 상대적 위치는 읽을 수 있다. 물에 젖은 강철의 불균일한 반사, 바닥을 흐르는 얕은 빗물, 흩어지는 물방울의 크기와 흐림을 실제 악천후 촬영처럼 표현한다.\n밤의 약한 자연 주변광에 맞는 낮은 밝기와 현실적인 노출을 유지하며, 젖은 표면과 물보라의 밝은 부분만 제한적으로 드러난다. 가까운 갑판과 기둥은 분명하고 먼 바다는 비와 거리 때문에 자연스럽게 흐려지는 피사계 심도다. 과도한 보정이나 인위적인 색조 없이 실제 현장 기록 사진과 구별되지 않는 재질과 원근감. 그림이나 컴퓨터 생성 이미지, 건축 시각화가 아니며 위에서 내려다보는 시점이나 평면도 구도를 사용하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThe LAST attached image is a TOP-DOWN INTERIOR FLOOR PLAN of the building at this location — a STRUCTURAL REFERENCE ONLY, never content to draw. It defines the building's real scale: its footprint, room count, and the placement of its doors and windows. Render the scene so the building's exterior size, number of storeys, and the scale and placement of its doors and windows stay consistent with that plan. Do NOT draw the floor plan itself, its lines, text or numbers anywhere in the image.",
        "camera_decision": {
          "camera_unit": 2,
          "camera_cell": [
            4,
            5
          ],
          "look_at_unit": 4,
          "look_at_cell": [
            5,
            6
          ],
          "lens_enum": "normal",
          "fov_deg": 50,
          "framing_notes": "Use neutral 50-degree coverage from unit 2 toward the support-side region adjoining unit 4. The exact permitted look-at cell is fixture marker 5, immediately inboard of unit 4, rather than unit 4's marker center. Apply the staged close, slightly elevated oblique composition within this fixed view, preserving the same hand axis across both consuming shots."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Show the local support-side portion adjoining unit 4 and fixture marker 5 from unit 2, with the narrow oblique boundary portion required by both shots. Preserve marker 5 immediately inboard of unit 4. Base markers 1, 2, 3, 4, 5, 6 and 7 define the underlying layout, but their inclusion in the reference inventory does not require all of them to appear in this close view. No openings are enumerated; the visible-unit candidates are supersets, not a requirement to show every unit.",
          "camera_framing_directive": "Frame from camera unit 2 at [4, 5], looking toward unit 4 with the exact look-at cell [5, 6], using normal coverage at 50 degrees. Follow the committed slightly elevated oblique close framing: retain a narrow boundary portion behind the connected or separating arms and peripheral evidence of marker 5. Keep the support-side orientation and hand axis consistent between S80_Shot6 and S80_Shot12 without exaggerating hand scale.",
          "subject_position_directive": "Reserve the staged upper-left-to-lower-right connection axis: 찰리's grasp enters from upper left, the contact is centered, and 이현우's arm extends toward the partially visible suspended body at lower right. Faces remain outside the crop. S80_Shot6 commits the closed wrist grip; S80_Shot12 commits the opening grasp and withdrawing fingertips with a small gap. Treat these as alternative shot-specific subject states over the shared background, not simultaneous poses or permanent background features.",
          "state_cue_directive": "Retain the committed transient inventory: marker 8, Unsecured heavy cargo, and marker 9, Typhoon rain and wave spray. Describe marker 8 only where supported by its overlay placement and the close crop; no precise visible placement is committed here. Marker 9 supplies the torrential rain and wave exposure. Preserve the staged low nighttime tonal structure and readable wet highlights without adding an unsupported light source. The foreground water occlusion in S80_Shot12 is shot-specific. This fallback anchor is not a clean-background plate.",
          "negative_continuity_directive": "No ignored numbered elements or ignored state-overlay markers are listed. Avoid relocating fixture markers 5 or 6, changing the relationship between markers 4 and 5, or forcing markers outside the chosen close view into the frame. Do not convert transient markers 8 and 9 into permanent structure or bake both shots' incompatible subject states into one plate. Do not infer openings or guaranteed co-visibility from the geometry supersets."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_ship_deck",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_ship_deck",
            "building_fp:fp_crew_cabin"
          ],
          "ref_used": "refs_2",
          "db_write_policy": "checkpoint_only"
        },
        "building_fp_ref": {
          "fp_id": "fp_crew_cabin",
          "indoor_loc_sid": "L123",
          "group_id": "bg_storm_crossing_ship",
          "fp_asset_id": "6a896b00-d17c-4c17-b272-5d7f04cf202f"
        }
      },
      "L122B02": {
        "status": "ok",
        "location_id": "L122",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L122B02.png",
        "t2i_prompt": "2069년 한국 근해의 선박 아래, 무거운 화물이 깊이 침강하는 어두운 수중 공간을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 방수 하우징을 씌운 실제 미러리스 카메라와 35밀리미터급 렌즈로 촬영한 현장 기록처럼 표현한다. 서 있는 성인의 눈높이 약 1.6미터에 준하는 관찰 시점과 수평에 가까운 광축으로 넓은 물속을 바라본다. 위에서 내려다보는 구도나 도면이 아니다. 갑판, 선실, 선체 벽, 해저 바닥 없이 사방으로 깊게 열린 물속이며, 수면과 폭풍은 화면에 보이지 않는다.\n\n화면 양옆과 중하단의 서로 다른 거리에 무거운 금속 화물 상자와 결박 끈으로 단단히 묶은 화물 꾸러미가 드문드문 가라앉고 있다. 일부는 비스듬히 기울어져 있으며, 더 깊은 짐짝은 윤곽만 남다가 검은 물속에 묻힌다. 중앙에는 넓고 비어 있는 수중 여백을 남긴다. 재사용한 해상 운송 화물답게 상자 모서리의 찌그러짐, 도장이 벗겨진 금속과 오래된 부식 흔적, 화물 덮개의 실제 직물 짜임과 닳은 결박 끈을 가까운 부분에서만 희미하게 식별할 수 있다. 미래라는 이유로 발광 장비나 첨단 장식을 추가하지 않는다.\n\n먼 수면에서 내려오는 극히 약한 자연광이 화면 위쪽에만 탁한 청회색으로 남고, 아래와 먼 배경으로 갈수록 빛이 흡수되어 거의 완전한 암흑으로 이어진다. 가까운 화물의 윗모서리만 겨우 드러나는 현실적인 저조도 노출. 작은 부유 입자와 화물에서 빠져나와 위로 올라가는 소량의 기포만 보이며, 거센 물살이나 과장된 기포 구름 없이 폭풍 소리가 단절된 듯 고요하고 깊은 침강 상태다. 수중 산란에 따른 자연스러운 거리별 선명도 감소와 실제 렌즈의 심도를 유지한다. 모든 짐짝을 또렷하게 밝히지 않으며 인공 조명, 강한 빛기둥, 발광 생물은 없다. 사람, 얼굴, 신체 실루엣, 시신, 혈흔 없이 환경과 화물만 담는다. 깨끗하게 연출한 광고 사진이 아니라 실제 수중 장소 기록과 구별되지 않는 사진이며, 삽화나 컴퓨터 생성 이미지, 건축 시각화가 아니다. 인위적인 색 보정이나 효과 없이 물과 재료의 실제 광학적 특성을 유지한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S80_Shot17",
            "guide_text": "수평에 가까운 수중 관찰 시점으로 넓은 빈 공간을 확보하고, 무거운 짐짝은 양옆과 중하단의 서로 다른 깊이에 분산한다. 가까운 화물의 일부 질감만 보이고 깊은 화물은 암흑 속으로 사라지게 한다. 상단의 희미한 자연광에서 하단의 거의 완전한 검정으로 이어져 침강과 암전을 연결할 수 있도록 한다. 수면의 폭풍이나 갑판 구조는 노출하지 않으며 인물과 신체 실루엣은 배경에 포함하지 않는다."
          }
        ],
        "shot_ids": [
          "S80_Shot17"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_2",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {},
        "reference_decision": {
          "mode": "surface_role_direct_plate",
          "surface_role": "site_surface",
          "fp_id": "",
          "source_bg_ids": []
        },
        "effective_render_prompt": "2069년 한국 근해의 선박 아래, 무거운 화물이 깊이 침강하는 어두운 수중 공간을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 방수 하우징을 씌운 실제 미러리스 카메라와 35밀리미터급 렌즈로 촬영한 현장 기록처럼 표현한다. 서 있는 성인의 눈높이 약 1.6미터에 준하는 관찰 시점과 수평에 가까운 광축으로 넓은 물속을 바라본다. 위에서 내려다보는 구도나 도면이 아니다. 갑판, 선실, 선체 벽, 해저 바닥 없이 사방으로 깊게 열린 물속이며, 수면과 폭풍은 화면에 보이지 않는다.\n\n화면 양옆과 중하단의 서로 다른 거리에 무거운 금속 화물 상자와 결박 끈으로 단단히 묶은 화물 꾸러미가 드문드문 가라앉고 있다. 일부는 비스듬히 기울어져 있으며, 더 깊은 짐짝은 윤곽만 남다가 검은 물속에 묻힌다. 중앙에는 넓고 비어 있는 수중 여백을 남긴다. 재사용한 해상 운송 화물답게 상자 모서리의 찌그러짐, 도장이 벗겨진 금속과 오래된 부식 흔적, 화물 덮개의 실제 직물 짜임과 닳은 결박 끈을 가까운 부분에서만 희미하게 식별할 수 있다. 미래라는 이유로 발광 장비나 첨단 장식을 추가하지 않는다.\n\n먼 수면에서 내려오는 극히 약한 자연광이 화면 위쪽에만 탁한 청회색으로 남고, 아래와 먼 배경으로 갈수록 빛이 흡수되어 거의 완전한 암흑으로 이어진다. 가까운 화물의 윗모서리만 겨우 드러나는 현실적인 저조도 노출. 작은 부유 입자와 화물에서 빠져나와 위로 올라가는 소량의 기포만 보이며, 거센 물살이나 과장된 기포 구름 없이 폭풍 소리가 단절된 듯 고요하고 깊은 침강 상태다. 수중 산란에 따른 자연스러운 거리별 선명도 감소와 실제 렌즈의 심도를 유지한다. 모든 짐짝을 또렷하게 밝히지 않으며 인공 조명, 강한 빛기둥, 발광 생물은 없다. 사람, 얼굴, 신체 실루엣, 시신, 혈흔 없이 환경과 화물만 담는다. 깨끗하게 연출한 광고 사진이 아니라 실제 수중 장소 기록과 구별되지 않는 사진이며, 삽화나 컴퓨터 생성 이미지, 건축 시각화가 아니다. 인위적인 색 보정이나 효과 없이 물과 재료의 실제 광학적 특성을 유지한다. 16:9 가로 비율, 실제 카메라 촬영본\n\nOne attached image is a PHOTOREAL RENDER of this SAME place — the same physical location, possibly seen from a different angle or at a different moment. Treat it as the PLACE IDENTITY reference. Keep this render consistent with it: the same spatial layout and architecture, the same surface materials and colors, and the same permanently installed fixtures and furniture. Lettering visible in the reference is reproduced EXACTLY — same characters, same mark, same position; never invent different wording from render to render. Camera angle, framing, lighting, time of day and weather follow THIS prompt — do NOT copy the reference's composition or mood; only the place's physical identity carries over.\n\nThe LAST attached image is a TOP-DOWN INTERIOR FLOOR PLAN of the building at this location — a STRUCTURAL REFERENCE ONLY, never content to draw. It defines the building's real scale: its footprint, room count, and the placement of its doors and windows. Render the scene so the building's exterior size, number of storeys, and the scale and placement of its doors and windows stay consistent with that plan. Do NOT draw the floor plan itself, its lines, text or numbers anywhere in the image.",
        "shot_aware_plan_mode": "surface_role_direct_plate",
        "attached_reference_lineage": {
          "fp_id": "",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "same_loc_anchor:L122B01",
            "building_fp:fp_crew_cabin"
          ],
          "ref_used": "refs_2",
          "db_write_policy": "checkpoint_only"
        },
        "building_fp_ref": {
          "fp_id": "fp_crew_cabin",
          "indoor_loc_sid": "L123",
          "group_id": "bg_storm_crossing_ship",
          "fp_asset_id": "6a896b00-d17c-4c17-b272-5d7f04cf202f"
        },
        "same_loc_anchor_ref": {
          "anchor_bg_id": "L122B01",
          "loc_id": "L122"
        }
      },
      "L127B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L127",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L127B01.png",
        "t2i_prompt": "2069년 대한민국 해안 지역의 실용적인 흰색 숙소 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실제 장소 답사 사진과 구별되지 않는 현실적인 건축 재료, 자연광, 생활 설비의 질감을 보여준다. 미래의 숙소이지만 기존 생활 설비와 벽면 통화 장치를 함께 사용하는 소박한 공간이다. 정돈되고 방해받지 않은 깨끗한 상태다.\n\n평면도는 공간의 연결 관계와 기존 설비 위치를 파악하는 자료로만 사용한다. 숙소 남쪽의 개방된 탈의 공간 북쪽 경계에서 북북동쪽을 바라본다. 바닥에서 약 1.6미터 높이의 서 있는 사람 눈높이로, 35밀리미터 규격의 실물 미러리스 카메라에 왜곡이 절제된 24밀리미터 광각 렌즈를 장착해 촬영한다. 수직선은 자연스럽게 곧게 유지하며, 위에서 내려다보는 구도나 평면도식 표현이 아닌 실제 실내 원근을 담는다.\n\n화면 왼쪽에는 머리맡이 북쪽 벽에 닿은 일인용 침대가 있고, 침대 옆 통로 뒤쪽의 북쪽 벽에는 해안 방향의 외부 창이 있다. 오른쪽 동쪽 벽의 북쪽 구간에는 화면이 서쪽을 향하는 화상통화 모니터가 설치되어 있다. 모니터 바로 옆 아래에 영상 활성화 버튼이 있고, 그 아래 통화 설비에는 거치된 전화기가 버튼과 나란히 놓여 있다. 모니터는 구체적인 영상 내용 없이 유리 표면의 약한 실내 반사만 보이도록 한다. 침대 동쪽 중앙 통로 위의 천장 형광등 기구를 화면 상단에 포함한다. 통화 설비보다 남쪽에 있는 방 출입구는 화면 오른쪽 가장자리에 열려 있고, 그 너머로 숙소 동쪽을 따라 남북으로 이어지는 복도의 일부가 보인다. 불투명한 벽체와 문틀이 시야를 실제로 가리며, 복도는 출입구를 통해 보이는 범위만 담는다.\n\n한국의 공동 숙소에서 볼 법한 실용적인 흰 도장 벽, 창틀의 금속 표면과 접합부, 정돈된 침구의 실제 직조와 작은 접힘, 통화 장치의 무광 외장과 사용에 따른 은은한 광택 차이를 세밀하게 표현한다. 해안 쪽 창에서 들어오는 부드러운 낮빛이 흰 벽과 바닥에 자연스럽게 퍼지고, 천장 형광등의 절제된 백색광이 실내 밝기를 보완한다. 흰 면의 세부가 날아가지 않는 노출, 실제 렌즈의 자연스러운 심도, 과장되지 않은 그림자와 반사를 유지한다. 과도한 보정 없이 기록한 현장 사진으로, 지나치게 매끈한 광고 사진이나 컴퓨터 생성 이미지, 삽화, 건축 시각화처럼 보이지 않게 한다. 사람, 얼굴, 인체 형태의 형상은 실내와 복도, 화면과 반사면 어디에도 묘사하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S81_Shot1",
            "guide_text": "공통 숙소 전경을 사용한다. 탈의 공간 북쪽 경계의 약 1.6미터 눈높이에서 북북동쪽을 바라보며, 왼쪽 침대와 뒤쪽 창, 오른쪽 통화 설비, 상단 천장등을 함께 담는다. 오른쪽 가장자리의 출입구 너머로 복도 일부만 보이게 하고 인물 없는 정돈된 낮 상태를 유지한다."
          },
          {
            "shot_id": "S81_Shot5",
            "guide_text": "공통 전경의 카메라 위치와 화각을 그대로 유지한다. 벽면 모니터와 그 아래 버튼·거치 전화기의 위치 관계를 바꾸지 않는다. 배경 화면에는 인물 영상을 넣지 않으며, 흰 숙소의 낮빛과 침대·창·출입구의 배치를 동일하게 유지한다."
          },
          {
            "shot_id": "S81_Shot8",
            "guide_text": "동일한 눈높이 숙소 전경을 사용하고 새 소품이나 상태 변화를 추가하지 않는다. 침대는 왼쪽, 통화 설비는 오른쪽에 유지하며, 복도는 열린 출입구를 통해서만 보이게 한다. 모니터와 반사면을 포함해 사람이나 얼굴을 생성하지 않는다."
          },
          {
            "shot_id": "S83_Shot9",
            "guide_text": "공통 카메라의 위치·높이·화각과 정돈된 흰 숙소의 낮 조명을 유지한다. 침대 옆 통로 뒤쪽의 창과 상단 형광등 기구를 같은 위치에 담는다. 다른 장소를 방 안에 합치지 않고, 오른쪽 출입구와 실제로 이어진 복도만 부분적으로 보여준다."
          },
          {
            "shot_id": "S83_Shot11",
            "guide_text": "같은 숙소 전경을 유지하며 통화 장치 주변의 벽과 출입구를 재배치하지 않는다. 모니터는 구체적인 영상 내용 없는 배경 설비로 남기고, 별도 화면 내용이 필요할 경우에도 표시 면 밖으로 확장하지 않는다. 공간과 복도는 비어 있는 낮 상태를 유지한다."
          },
          {
            "shot_id": "S83_Shot17",
            "guide_text": "앞선 적용 샷과 같은 눈높이 전경, 자연광의 방향, 흰 벽의 노출과 재료 질감을 유지한다. 왼쪽 침대부터 오른쪽 통화 설비와 출입구까지의 배치를 고정하고 천장등을 상단에 포함한다. 추가 사건 흔적이나 인물 없이 동일한 정돈 상태를 사용한다."
          }
        ],
        "shot_ids": [
          "S81_Shot1",
          "S81_Shot5",
          "S81_Shot8",
          "S83_Shot9",
          "S83_Shot11",
          "S83_Shot17"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "At the north edge of number 2 (changing recess), facing north-northeast across number 1 toward number 5 (bed), number 6 (window), and number 7 (monitor), with number 15 (entrance) at the right edge and a partial view into number 4 (corridor).",
          "camera_height": "Standing eye level, approximately 1.6 m",
          "lens_hint": "24mm wide angle, restrained distortion",
          "framing_notes": "Use one consistent room-establishing camera for all listed shots. Keep the bed left, the exterior window behind the bedside aisle, and the call station right; include the ceiling fixture near the upper frame. Leave the entrance open for a partial corridor sightline without making the partition transparent. The wash enclosure and wardrobe remain behind or outside this camera. Maintain an orderly white daytime accommodation background; pastel plan fills do not prescribe surface colors. Call imagery is shot-dependent content confined to the monitor, never a separate local person or hospital room."
        },
        "reference_decision": {
          "bg_id": "L127B01",
          "fp_id": "fp_l127_shelter_room",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L127B01 is the sole clean anchor candidate and the only readiness-ok BG. Seed its fixed identity directly from the floor plan; no reference catalog entries exist. A wide view from unit 2 toward marker 7 in unit 1 provides representative coverage of the fixed elements used by the consuming shots. The staged close views, reverse view, and separate unit-4 view cannot all be represented by this single camera; preserve their shared structural identity without merging their subject arrangements or asserting visibility throughout unit 4.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/floor_plan/fp_l127_shelter_room.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The dwelling anchor is rendered fresh from the floor plan, with no earlier same-fp node or catalog reference.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 2,
            "camera_cell": [
              7,
              5
            ],
            "look_at_unit": 1,
            "look_at_cell": [
              2,
              6
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad representative coverage from unit 2 toward marker 7 in unit 1, retaining marker 5 toward the left and markers 7–9 toward the right. Opening 15 marks the boundary toward unit 4; the visibility supersets do not establish an unobstructed view of its interior. This anchor framing is not a replacement for each consuming shot's distinct camera staging."
          },
          "render_guidance": {
            "visible_space_directive": "Show unit 2 as the camera-side foreground and unit 1 ahead, using base markers 5, 6, 7, 8, 9, and 10 at their supplied fixed positions where included in the framing. Preserve opening 15 on the east boundary toward unit 4. Treat visibility beyond opening 15 as conditional on the actual boundary geometry; the readback supplies only visibility supersets, not confirmed interior coverage of unit 4.",
            "camera_framing_directive": "Place the camera in unit 2 at [7, 5], looking toward unit 1 at [2, 6], with wide 90-degree coverage. Establish the broad fixed-layout plate around marker 7 while retaining the visible portion of marker 5 to the left. Do not combine the consuming shots' close, reverse, and separate-space camera arrangements into this one perspective.",
            "subject_position_directive": "Keep this clean background plate free of rendered subjects while preserving the locations needed by the committed staging. S81_Shot1 and S83_Shot17 place a reclining subject against marker 5; S81_Shot5 places a seated subject in the lower-left foreground and another subject in the right midground. S83_Shot9 places the remote subject inside marker 7's content surface, whereas S83_Shot11 shows the local subject on the right with only the display edge at the left. S81_Shot8 stages one subject left-near and another center-right farther back in unit 4, outside this plate's committed interior coverage. These are separate shot-layer arrangements, not simultaneous occupants of the anchor.",
            "state_cue_directive": "No committed state cue beyond \"clean residential space\" applies to this clean plate because no transient markers are listed; refrain from inventing additional cues. Preserve the fixed elements identified by use markers 1, 2, 4, 5, 6, 7, 8, 9, 10, and 15 where visible. The consuming shots' occupied states, active display content, and varying illumination belong to their individual shot layers rather than a combined permanent anchor state.",
            "negative_continuity_directive": "No ignore markers or ignored state-overlay markers are supplied. Avoid relocating markers 5–10 or opening 15 to accommodate competing shot angles. Do not expand visibility into units 3 or 4 merely because they occur in a visibility superset. Avoid merging shot-specific subject arrangements or baking transient content into marker 7. Markers 8 and 9 share a coarse readback cell but remain distinct fixed elements."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [7, 5]\n  - look_at_unit: 1\n  - look_at_cell: [2, 6]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad representative coverage from unit 2 toward marker 7 in unit 1, retaining marker 5 toward the left and markers 7–9 toward the right. Opening 15 marks the boundary toward unit 4; the visibility supersets do not establish an unobstructed view of its interior. This anchor framing is not a replacement for each consuming shot's distinct camera staging.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 2 as the camera-side foreground and unit 1 ahead, using base markers 5, 6, 7, 8, 9, and 10 at their supplied fixed positions where included in the framing. Preserve opening 15 on the east boundary toward unit 4. Treat visibility beyond opening 15 as conditional on the actual boundary geometry; the readback supplies only visibility supersets, not confirmed interior coverage of unit 4.\n  - camera_framing_directive: Place the camera in unit 2 at [7, 5], looking toward unit 1 at [2, 6], with wide 90-degree coverage. Establish the broad fixed-layout plate around marker 7 while retaining the visible portion of marker 5 to the left. Do not combine the consuming shots' close, reverse, and separate-space camera arrangements into this one perspective.\n  - subject_position_directive: Keep this clean background plate free of rendered subjects while preserving the locations needed by the committed staging. S81_Shot1 and S83_Shot17 place a reclining subject against marker 5; S81_Shot5 places a seated subject in the lower-left foreground and another subject in the right midground. S83_Shot9 places the remote subject inside marker 7's content surface, whereas S83_Shot11 shows the local subject on the right with only the display edge at the left. S81_Shot8 stages one subject left-near and another center-right farther back in unit 4, outside this plate's committed interior coverage. These are separate shot-layer arrangements, not simultaneous occupants of the anchor.\n  - state_cue_directive: No committed state cue beyond \"clean residential space\" applies to this clean plate because no transient markers are listed; refrain from inventing additional cues. Preserve the fixed elements identified by use markers 1, 2, 4, 5, 6, 7, 8, 9, 10, and 15 where visible. The consuming shots' occupied states, active display content, and varying illumination belong to their individual shot layers rather than a combined permanent anchor state.\n  - negative_continuity_directive: No ignore markers or ignored state-overlay markers are supplied. Avoid relocating markers 5–10 or opening 15 to accommodate competing shot angles. Do not expand visibility into units 3 or 4 merely because they occur in a visibility superset. Avoid merging shot-specific subject arrangements or baking transient content into marker 7. Markers 8 and 9 share a coarse readback cell but remain distinct fixed elements.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [7, 5]\n  - look_at_unit: 1\n  - look_at_cell: [2, 6]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad representative coverage from unit 2 toward marker 7 in unit 1, retaining marker 5 toward the left and markers 7–9 toward the right. Opening 15 marks the boundary toward unit 4; the visibility supersets do not establish an unobstructed view of its interior. This anchor framing is not a replacement for each consuming shot's distinct camera staging.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 2 as the camera-side foreground and unit 1 ahead, using base markers 5, 6, 7, 8, 9, and 10 at their supplied fixed positions where included in the framing. Preserve opening 15 on the east boundary toward unit 4. Treat visibility beyond opening 15 as conditional on the actual boundary geometry; the readback supplies only visibility supersets, not confirmed interior coverage of unit 4.\n  - camera_framing_directive: Place the camera in unit 2 at [7, 5], looking toward unit 1 at [2, 6], with wide 90-degree coverage. Establish the broad fixed-layout plate around marker 7 while retaining the visible portion of marker 5 to the left. Do not combine the consuming shots' close, reverse, and separate-space camera arrangements into this one perspective.\n  - subject_position_directive: Keep this clean background plate free of rendered subjects while preserving the locations needed by the committed staging. S81_Shot1 and S83_Shot17 place a reclining subject against marker 5; S81_Shot5 places a seated subject in the lower-left foreground and another subject in the right midground. S83_Shot9 places the remote subject inside marker 7's content surface, whereas S83_Shot11 shows the local subject on the right with only the display edge at the left. S81_Shot8 stages one subject left-near and another center-right farther back in unit 4, outside this plate's committed interior coverage. These are separate shot-layer arrangements, not simultaneous occupants of the anchor.\n  - state_cue_directive: No committed state cue beyond \"clean residential space\" applies to this clean plate because no transient markers are listed; refrain from inventing additional cues. Preserve the fixed elements identified by use markers 1, 2, 4, 5, 6, 7, 8, 9, 10, and 15 where visible. The consuming shots' occupied states, active display content, and varying illumination belong to their individual shot layers rather than a combined permanent anchor state.\n  - negative_continuity_directive: No ignore markers or ignored state-overlay markers are supplied. Avoid relocating markers 5–10 or opening 15 to accommodate competing shot angles. Do not expand visibility into units 3 or 4 merely because they occur in a visibility superset. Avoid merging shot-specific subject arrangements or baking transient content into marker 7. Markers 8 and 9 share a coarse readback cell but remain distinct fixed elements.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [7, 5]\n  - look_at_unit: 1\n  - look_at_cell: [2, 6]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad representative coverage from unit 2 toward marker 7 in unit 1, retaining marker 5 toward the left and markers 7–9 toward the right. Opening 15 marks the boundary toward unit 4; the visibility supersets do not establish an unobstructed view of its interior. This anchor framing is not a replacement for each consuming shot's distinct camera staging.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show unit 2 as the camera-side foreground and unit 1 ahead, using base markers 5, 6, 7, 8, 9, and 10 at their supplied fixed positions where included in the framing. Preserve opening 15 on the east boundary toward unit 4. Treat visibility beyond opening 15 as conditional on the actual boundary geometry; the readback supplies only visibility supersets, not confirmed interior coverage of unit 4.\n  - camera_framing_directive: Place the camera in unit 2 at [7, 5], looking toward unit 1 at [2, 6], with wide 90-degree coverage. Establish the broad fixed-layout plate around marker 7 while retaining the visible portion of marker 5 to the left. Do not combine the consuming shots' close, reverse, and separate-space camera arrangements into this one perspective.\n  - subject_position_directive: Keep this clean background plate free of rendered subjects while preserving the locations needed by the committed staging. S81_Shot1 and S83_Shot17 place a reclining subject against marker 5; S81_Shot5 places a seated subject in the lower-left foreground and another subject in the right midground. S83_Shot9 places the remote subject inside marker 7's content surface, whereas S83_Shot11 shows the local subject on the right with only the display edge at the left. S81_Shot8 stages one subject left-near and another center-right farther back in unit 4, outside this plate's committed interior coverage. These are separate shot-layer arrangements, not simultaneous occupants of the anchor.\n  - state_cue_directive: No committed state cue beyond \"clean residential space\" applies to this clean plate because no transient markers are listed; refrain from inventing additional cues. Preserve the fixed elements identified by use markers 1, 2, 4, 5, 6, 7, 8, 9, 10, and 15 where visible. The consuming shots' occupied states, active display content, and varying illumination belong to their individual shot layers rather than a combined permanent anchor state.\n  - negative_continuity_directive: No ignore markers or ignored state-overlay markers are supplied. Avoid relocating markers 5–10 or opening 15 to accommodate competing shot angles. Do not expand visibility into units 3 or 4 merely because they occur in a visibility superset. Avoid merging shot-specific subject arrangements or baking transient content into marker 7. Markers 8 and 9 share a coarse readback cell but remain distinct fixed elements.\n\n2069년 대한민국 해안 지역의 실용적인 흰색 숙소 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실제 장소 답사 사진과 구별되지 않는 현실적인 건축 재료, 자연광, 생활 설비의 질감을 보여준다. 미래의 숙소이지만 기존 생활 설비와 벽면 통화 장치를 함께 사용하는 소박한 공간이다. 정돈되고 방해받지 않은 깨끗한 상태다.\n\n평면도는 공간의 연결 관계와 기존 설비 위치를 파악하는 자료로만 사용한다. 숙소 남쪽의 개방된 탈의 공간 북쪽 경계에서 북북동쪽을 바라본다. 바닥에서 약 1.6미터 높이의 서 있는 사람 눈높이로, 35밀리미터 규격의 실물 미러리스 카메라에 왜곡이 절제된 24밀리미터 광각 렌즈를 장착해 촬영한다. 수직선은 자연스럽게 곧게 유지하며, 위에서 내려다보는 구도나 평면도식 표현이 아닌 실제 실내 원근을 담는다.\n\n화면 왼쪽에는 머리맡이 북쪽 벽에 닿은 일인용 침대가 있고, 침대 옆 통로 뒤쪽의 북쪽 벽에는 해안 방향의 외부 창이 있다. 오른쪽 동쪽 벽의 북쪽 구간에는 화면이 서쪽을 향하는 화상통화 모니터가 설치되어 있다. 모니터 바로 옆 아래에 영상 활성화 버튼이 있고, 그 아래 통화 설비에는 거치된 전화기가 버튼과 나란히 놓여 있다. 모니터는 구체적인 영상 내용 없이 유리 표면의 약한 실내 반사만 보이도록 한다. 침대 동쪽 중앙 통로 위의 천장 형광등 기구를 화면 상단에 포함한다. 통화 설비보다 남쪽에 있는 방 출입구는 화면 오른쪽 가장자리에 열려 있고, 그 너머로 숙소 동쪽을 따라 남북으로 이어지는 복도의 일부가 보인다. 불투명한 벽체와 문틀이 시야를 실제로 가리며, 복도는 출입구를 통해 보이는 범위만 담는다.\n\n한국의 공동 숙소에서 볼 법한 실용적인 흰 도장 벽, 창틀의 금속 표면과 접합부, 정돈된 침구의 실제 직조와 작은 접힘, 통화 장치의 무광 외장과 사용에 따른 은은한 광택 차이를 세밀하게 표현한다. 해안 쪽 창에서 들어오는 부드러운 낮빛이 흰 벽과 바닥에 자연스럽게 퍼지고, 천장 형광등의 절제된 백색광이 실내 밝기를 보완한다. 흰 면의 세부가 날아가지 않는 노출, 실제 렌즈의 자연스러운 심도, 과장되지 않은 그림자와 반사를 유지한다. 과도한 보정 없이 기록한 현장 사진으로, 지나치게 매끈한 광고 사진이나 컴퓨터 생성 이미지, 삽화, 건축 시각화처럼 보이지 않게 한다. 사람, 얼굴, 인체 형태의 형상은 실내와 복도, 화면과 반사면 어디에도 묘사하지 않는다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 2,
          "camera_cell": [
            7,
            5
          ],
          "look_at_unit": 1,
          "look_at_cell": [
            2,
            6
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad representative coverage from unit 2 toward marker 7 in unit 1, retaining marker 5 toward the left and markers 7–9 toward the right. Opening 15 marks the boundary toward unit 4; the visibility supersets do not establish an unobstructed view of its interior. This anchor framing is not a replacement for each consuming shot's distinct camera staging."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Show unit 2 as the camera-side foreground and unit 1 ahead, using base markers 5, 6, 7, 8, 9, and 10 at their supplied fixed positions where included in the framing. Preserve opening 15 on the east boundary toward unit 4. Treat visibility beyond opening 15 as conditional on the actual boundary geometry; the readback supplies only visibility supersets, not confirmed interior coverage of unit 4.",
          "camera_framing_directive": "Place the camera in unit 2 at [7, 5], looking toward unit 1 at [2, 6], with wide 90-degree coverage. Establish the broad fixed-layout plate around marker 7 while retaining the visible portion of marker 5 to the left. Do not combine the consuming shots' close, reverse, and separate-space camera arrangements into this one perspective.",
          "subject_position_directive": "Keep this clean background plate free of rendered subjects while preserving the locations needed by the committed staging. S81_Shot1 and S83_Shot17 place a reclining subject against marker 5; S81_Shot5 places a seated subject in the lower-left foreground and another subject in the right midground. S83_Shot9 places the remote subject inside marker 7's content surface, whereas S83_Shot11 shows the local subject on the right with only the display edge at the left. S81_Shot8 stages one subject left-near and another center-right farther back in unit 4, outside this plate's committed interior coverage. These are separate shot-layer arrangements, not simultaneous occupants of the anchor.",
          "state_cue_directive": "No committed state cue beyond \"clean residential space\" applies to this clean plate because no transient markers are listed; refrain from inventing additional cues. Preserve the fixed elements identified by use markers 1, 2, 4, 5, 6, 7, 8, 9, 10, and 15 where visible. The consuming shots' occupied states, active display content, and varying illumination belong to their individual shot layers rather than a combined permanent anchor state.",
          "negative_continuity_directive": "No ignore markers or ignored state-overlay markers are supplied. Avoid relocating markers 5–10 or opening 15 to accommodate competing shot angles. Do not expand visibility into units 3 or 4 merely because they occur in a visibility superset. Avoid merging shot-specific subject arrangements or baking transient content into marker 7. Markers 8 and 9 share a coarse readback cell but remain distinct fixed elements."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_l127_shelter_room",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_l127_shelter_room"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L129B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L129",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L129B01.png",
        "t2i_prompt": "2069년 대한민국의 대형 연구센터 공용 홀과 동쪽으로 이어지는 검사실을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 낮 동안 정상 가동 중인 첨단 연구시설이지만 실제 국내 대형 연구동처럼 실용적인 구조와 정밀 장비의 물리적 무게감이 느껴진다. 사람이 없는 공간만 촬영한다. 35밀리미터 규격의 풀프레임 미러리스 카메라에 24밀리미터 광각 렌즈를 사용하고, 높이 약 1.6미터의 서 있는 눈높이에서 수평에 가까운 방향으로 바라본다. 카메라는 공용 홀의 중앙 식재섬 서쪽, 중앙 통행 축에서 조금 남쪽에 두고 동북동쪽을 향한다. 전경의 공용 홀에서 열린 검사실 자동문을 지나 원형 유리 검사 구역과 금속 검사 침대, 양옆 스캔 팔까지 공간의 깊이가 이어지는 구도다. 위에서 내려다본 장면이나 평면도, 건축 도해가 아니다.\n\n참조 평면도는 구조와 고정 설비의 위치 관계를 파악하는 데만 사용한다. 서쪽 공용 홀의 북서쪽과 남서쪽 가장자리에 열대 식물과 꽃이 자라는 식재대가 있으며, 남서쪽 식재대는 출입 동선을 침범하지 않는다. 중앙 통로 옆, 검사실 접근부 서쪽에는 식재섬이 놓여 있다. 홀의 북쪽과 남쪽 중앙 가장자리를 차지하는 발전소 설비에 견줄 만큼 큰 연구장치는 두꺼운 금속 외장과 정밀한 접합부를 가진 실제 산업 장비처럼 보인다. 각 장치 옆의 컴퓨터 조작대는 중앙 통로를 향한다. 식물의 잎과 꽃은 실제 실내 조경의 크기와 질감을 유지하고, 장비와 통로의 관계를 가리지 않는다.\n\n공용 홀과 동쪽 검사실 사이의 중앙 자동문 너머로 검사실 북측과 남측의 컴퓨터 설비가 보인다. 이 설비들은 중앙 원형 유리 검사 구역 바깥에 있다. 원형 유리벽 서쪽의 자동 출입문은 검사실 출입구와 같은 축에 있고, 바로 옆 문설주에는 출입문 스위치가 붙어 있다. 유리 구역 중앙의 금속 검사 침대는 남북 방향으로 길게 놓이며, 침대 바로 서쪽과 동쪽에 각각 기계식 스캔 팔이 설치되어 있다. 고정 감시 조작대는 검사 구역의 북동쪽 가장자리에 있다. 카메라에서 실제로 보이는 부분만 자연스러운 원근과 가림으로 표현하고, 안쪽 설비를 보여주려고 위치를 옮기거나 유리벽을 없애지 않는다.\n\n검사가 가동되는 순간으로, 스캔 팔의 헤드와 비어 있는 검사 침대 위 검사 범위 사이에만 붉은 스캔 레이저가 국소적으로 나타난다. 붉은 빛은 가는 광선과 닿는 금속 표면의 작은 반사로 절제해 표현하며, 홀 전체를 붉게 물들이지 않는다. 컴퓨터 화면은 장비 운전 상태를 나타내는 비인물 정보만 표시한다.\n\n낮의 부드러운 자연 확산광과 실내의 균일한 작업광이 함께 공간을 밝힌다. 실제 콘크리트의 미세한 표면 차이, 금속의 가공 결 및 가벼운 사용 마모, 유리의 약한 반사와 투과, 관리된 바닥의 희미한 생활 얼룩을 사실적으로 담는다. 자연스러운 노출과 원근, 광학적으로 타당한 피사계 심도를 유지하여 가까운 식재와 멀리 있는 검사 설비의 거리 차이가 읽히게 한다. 과도한 보정 없이 실제 현장 기록 사진과 구별되지 않는 결과여야 하며, 지나치게 말끔한 광고 사진이나 컴퓨터 생성 영상, 삽화, 건축 시각화처럼 보이지 않는다. 사람, 얼굴, 인체 형태의 형상은 화면과 반사면을 포함하여 어디에도 없다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S82_Shot5",
            "guide_text": "공용 홀의 식재와 대형 연구장치가 전경과 중경을 이루고, 중앙 출입구 너머로 원형 유리 검사 구역이 보이도록 공간의 연결성을 유지한다. 낮의 조명과 고정 설비 배치를 그대로 사용하며 인물이나 인체 형태의 형상은 넣지 않는다."
          },
          {
            "shot_id": "S82_Shot11",
            "guide_text": "같은 배경의 검사실 방향 시야를 활용한다. 검사실 바깥쪽 컴퓨터 설비와 중앙 유리 구역을 구분하고, 출입구 축과 유리벽의 실제 가림을 유지한다. 별도 사건이나 장비 이동을 추가하지 않으며 붉은 레이저의 범위는 침대 주변에 한정한다."
          },
          {
            "shot_id": "S82_Shot16",
            "guide_text": "금속 검사 침대와 그 서쪽 및 동쪽 스캔 팔이 보이는 영역을 활용하되, 침대의 남북 방향과 북동쪽 감시 조작대의 위치를 바꾸지 않는다. 붉은 레이저는 스캔 헤드와 비어 있는 침대의 검사 범위 사이에서만 보이고, 공용 홀의 낮 조명과 재질은 동일하게 유지한다."
          }
        ],
        "shot_ids": [
          "S82_Shot5",
          "S82_Shot11",
          "S82_Shot16"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Within number 4, west of number 7 and slightly south of the central circulation axis, facing east-northeast through number 12 toward numbers 16, 19, 20, and 21.",
          "camera_height": "standing eye level, approximately 1.6 m",
          "lens_hint": "24 mm wide angle",
          "framing_notes": "Use one shared establishing camera for all listed shots. Frame planting, computer consoles, and large apparatus across the hall foreground and sides, with the connected laboratory visible through its open automatic doorway. Preserve the partition around number 12 rather than removing the wall. Keep the bed and scanning arms legible beyond the circular glass wall; tighter shot extracts must retain this same spatial axis. Depict number 23 only as localized active scanning in the background overlay, never on the floor plan. Do not introduce later alarms, restraints, combat damage, or experiment-failure states."
        },
        "reference_decision": {
          "bg_id": "L129B01",
          "fp_id": "fp_l129_research_commons",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L129B01 is the sole ready BG and sole supplied anchor candidate. Select it under the declared ramped fallback despite clean_background_expected=false and transient marker 23. With no prior references, establish identity directly from the floor plan. Camera unit 4 looking toward unit 16 provides a broad structural plate connecting the target units for S82_Shot5, S82_Shot11, and S82_Shot16; their distinct close compositions are shot-specific and are not all represented by this single camera.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/floor_plan/fp_l129_research_commons.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "not_applicable_no_prior_reference",
            "why_single_ref_or_two_refs": "The first and only node establishes the dwelling identity without references; the same-fp reference catalog is empty.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 4,
            "camera_cell": [
              4,
              2
            ],
            "look_at_unit": 16,
            "look_at_cell": [
              4,
              7
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad coverage from unit 4 toward marker 19 within unit 16, using the listed look-at coordinate. Establish the approach depth toward openings 12 and 17 without claiming that this plate also realizes the consuming shots' separate close-up viewpoints."
          },
          "render_guidance": {
            "visible_space_directive": "Show the forward-facing portion of unit 4 toward opening 12, with unit 13 and unit 16 beyond only where the openings and transparent boundary permit actual sightlines. Establish marker 19 within unit 16 and preserve the mapped positions of visible markers 7–11, 14–15, and 18–22. The visibility lists are supersets: do not force every referenced marker into this view or treat intervening boundaries as absent.",
            "camera_framing_directive": "Use camera unit 4 at [4, 2], looking toward unit 16 at [4, 7], with a wide lens and 90-degree field of view. Provide broad coverage and approach depth around the central sightline. This is the representative structural framing, not the narrow torso framing of S82_Shot11 or the close conversational framing of S82_Shot16.",
            "subject_position_directive": "Keep the approach sightline unobstructed for S82_Shot5's full-figure subject just right of center and its two observers at opposite foreground edges. S82_Shot11 separately commits a supine, unconscious subject supported by marker 19; S82_Shot16 separately commits a face on the right and an observing shoulder near the left edge. Treat these as separate consuming-shot placements, not a simultaneous group composition, and add no subjects beyond those staging facts.",
            "state_cue_directive": "The BG is not marked clean. Carry transient marker 23, labeled Active red scanning laser, at the scanning action associated with markers 20 and 21 toward the subject supported by marker 19, where visible. Use the staged neutral illumination without inventing a distinctive additional source or color. Keep marker 23 a transient layer rather than a permanent fixture or a cue repeated throughout all spaces.",
            "negative_continuity_directive": "No numbered exclusions or ignored state overlays are supplied. Avoid relocating markers 12, 17, 19, 20, or 21 to improve visibility; avoid flattening the boundaries between units 4, 13, and 16. Do not force unit 1 or markers behind the chosen camera into frame. Avoid treating marker 23 as fixed identity, and do not combine the separate consuming-shot subject arrangements into one scene."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [4, 2]\n  - look_at_unit: 16\n  - look_at_cell: [4, 7]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad coverage from unit 4 toward marker 19 within unit 16, using the listed look-at coordinate. Establish the approach depth toward openings 12 and 17 without claiming that this plate also realizes the consuming shots' separate close-up viewpoints.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward-facing portion of unit 4 toward opening 12, with unit 13 and unit 16 beyond only where the openings and transparent boundary permit actual sightlines. Establish marker 19 within unit 16 and preserve the mapped positions of visible markers 7–11, 14–15, and 18–22. The visibility lists are supersets: do not force every referenced marker into this view or treat intervening boundaries as absent.\n  - camera_framing_directive: Use camera unit 4 at [4, 2], looking toward unit 16 at [4, 7], with a wide lens and 90-degree field of view. Provide broad coverage and approach depth around the central sightline. This is the representative structural framing, not the narrow torso framing of S82_Shot11 or the close conversational framing of S82_Shot16.\n  - subject_position_directive: Keep the approach sightline unobstructed for S82_Shot5's full-figure subject just right of center and its two observers at opposite foreground edges. S82_Shot11 separately commits a supine, unconscious subject supported by marker 19; S82_Shot16 separately commits a face on the right and an observing shoulder near the left edge. Treat these as separate consuming-shot placements, not a simultaneous group composition, and add no subjects beyond those staging facts.\n  - state_cue_directive: The BG is not marked clean. Carry transient marker 23, labeled Active red scanning laser, at the scanning action associated with markers 20 and 21 toward the subject supported by marker 19, where visible. Use the staged neutral illumination without inventing a distinctive additional source or color. Keep marker 23 a transient layer rather than a permanent fixture or a cue repeated throughout all spaces.\n  - negative_continuity_directive: No numbered exclusions or ignored state overlays are supplied. Avoid relocating markers 12, 17, 19, 20, or 21 to improve visibility; avoid flattening the boundaries between units 4, 13, and 16. Do not force unit 1 or markers behind the chosen camera into frame. Avoid treating marker 23 as fixed identity, and do not combine the separate consuming-shot subject arrangements into one scene.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [4, 2]\n  - look_at_unit: 16\n  - look_at_cell: [4, 7]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad coverage from unit 4 toward marker 19 within unit 16, using the listed look-at coordinate. Establish the approach depth toward openings 12 and 17 without claiming that this plate also realizes the consuming shots' separate close-up viewpoints.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward-facing portion of unit 4 toward opening 12, with unit 13 and unit 16 beyond only where the openings and transparent boundary permit actual sightlines. Establish marker 19 within unit 16 and preserve the mapped positions of visible markers 7–11, 14–15, and 18–22. The visibility lists are supersets: do not force every referenced marker into this view or treat intervening boundaries as absent.\n  - camera_framing_directive: Use camera unit 4 at [4, 2], looking toward unit 16 at [4, 7], with a wide lens and 90-degree field of view. Provide broad coverage and approach depth around the central sightline. This is the representative structural framing, not the narrow torso framing of S82_Shot11 or the close conversational framing of S82_Shot16.\n  - subject_position_directive: Keep the approach sightline unobstructed for S82_Shot5's full-figure subject just right of center and its two observers at opposite foreground edges. S82_Shot11 separately commits a supine, unconscious subject supported by marker 19; S82_Shot16 separately commits a face on the right and an observing shoulder near the left edge. Treat these as separate consuming-shot placements, not a simultaneous group composition, and add no subjects beyond those staging facts.\n  - state_cue_directive: The BG is not marked clean. Carry transient marker 23, labeled Active red scanning laser, at the scanning action associated with markers 20 and 21 toward the subject supported by marker 19, where visible. Use the staged neutral illumination without inventing a distinctive additional source or color. Keep marker 23 a transient layer rather than a permanent fixture or a cue repeated throughout all spaces.\n  - negative_continuity_directive: No numbered exclusions or ignored state overlays are supplied. Avoid relocating markers 12, 17, 19, 20, or 21 to improve visibility; avoid flattening the boundaries between units 4, 13, and 16. Do not force unit 1 or markers behind the chosen camera into frame. Avoid treating marker 23 as fixed identity, and do not combine the separate consuming-shot subject arrangements into one scene.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [4, 2]\n  - look_at_unit: 16\n  - look_at_cell: [4, 7]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Broad coverage from unit 4 toward marker 19 within unit 16, using the listed look-at coordinate. Establish the approach depth toward openings 12 and 17 without claiming that this plate also realizes the consuming shots' separate close-up viewpoints.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward-facing portion of unit 4 toward opening 12, with unit 13 and unit 16 beyond only where the openings and transparent boundary permit actual sightlines. Establish marker 19 within unit 16 and preserve the mapped positions of visible markers 7–11, 14–15, and 18–22. The visibility lists are supersets: do not force every referenced marker into this view or treat intervening boundaries as absent.\n  - camera_framing_directive: Use camera unit 4 at [4, 2], looking toward unit 16 at [4, 7], with a wide lens and 90-degree field of view. Provide broad coverage and approach depth around the central sightline. This is the representative structural framing, not the narrow torso framing of S82_Shot11 or the close conversational framing of S82_Shot16.\n  - subject_position_directive: Keep the approach sightline unobstructed for S82_Shot5's full-figure subject just right of center and its two observers at opposite foreground edges. S82_Shot11 separately commits a supine, unconscious subject supported by marker 19; S82_Shot16 separately commits a face on the right and an observing shoulder near the left edge. Treat these as separate consuming-shot placements, not a simultaneous group composition, and add no subjects beyond those staging facts.\n  - state_cue_directive: The BG is not marked clean. Carry transient marker 23, labeled Active red scanning laser, at the scanning action associated with markers 20 and 21 toward the subject supported by marker 19, where visible. Use the staged neutral illumination without inventing a distinctive additional source or color. Keep marker 23 a transient layer rather than a permanent fixture or a cue repeated throughout all spaces.\n  - negative_continuity_directive: No numbered exclusions or ignored state overlays are supplied. Avoid relocating markers 12, 17, 19, 20, or 21 to improve visibility; avoid flattening the boundaries between units 4, 13, and 16. Do not force unit 1 or markers behind the chosen camera into frame. Avoid treating marker 23 as fixed identity, and do not combine the separate consuming-shot subject arrangements into one scene.\n\n2069년 대한민국의 대형 연구센터 공용 홀과 동쪽으로 이어지는 검사실을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 낮 동안 정상 가동 중인 첨단 연구시설이지만 실제 국내 대형 연구동처럼 실용적인 구조와 정밀 장비의 물리적 무게감이 느껴진다. 사람이 없는 공간만 촬영한다. 35밀리미터 규격의 풀프레임 미러리스 카메라에 24밀리미터 광각 렌즈를 사용하고, 높이 약 1.6미터의 서 있는 눈높이에서 수평에 가까운 방향으로 바라본다. 카메라는 공용 홀의 중앙 식재섬 서쪽, 중앙 통행 축에서 조금 남쪽에 두고 동북동쪽을 향한다. 전경의 공용 홀에서 열린 검사실 자동문을 지나 원형 유리 검사 구역과 금속 검사 침대, 양옆 스캔 팔까지 공간의 깊이가 이어지는 구도다. 위에서 내려다본 장면이나 평면도, 건축 도해가 아니다.\n\n참조 평면도는 구조와 고정 설비의 위치 관계를 파악하는 데만 사용한다. 서쪽 공용 홀의 북서쪽과 남서쪽 가장자리에 열대 식물과 꽃이 자라는 식재대가 있으며, 남서쪽 식재대는 출입 동선을 침범하지 않는다. 중앙 통로 옆, 검사실 접근부 서쪽에는 식재섬이 놓여 있다. 홀의 북쪽과 남쪽 중앙 가장자리를 차지하는 발전소 설비에 견줄 만큼 큰 연구장치는 두꺼운 금속 외장과 정밀한 접합부를 가진 실제 산업 장비처럼 보인다. 각 장치 옆의 컴퓨터 조작대는 중앙 통로를 향한다. 식물의 잎과 꽃은 실제 실내 조경의 크기와 질감을 유지하고, 장비와 통로의 관계를 가리지 않는다.\n\n공용 홀과 동쪽 검사실 사이의 중앙 자동문 너머로 검사실 북측과 남측의 컴퓨터 설비가 보인다. 이 설비들은 중앙 원형 유리 검사 구역 바깥에 있다. 원형 유리벽 서쪽의 자동 출입문은 검사실 출입구와 같은 축에 있고, 바로 옆 문설주에는 출입문 스위치가 붙어 있다. 유리 구역 중앙의 금속 검사 침대는 남북 방향으로 길게 놓이며, 침대 바로 서쪽과 동쪽에 각각 기계식 스캔 팔이 설치되어 있다. 고정 감시 조작대는 검사 구역의 북동쪽 가장자리에 있다. 카메라에서 실제로 보이는 부분만 자연스러운 원근과 가림으로 표현하고, 안쪽 설비를 보여주려고 위치를 옮기거나 유리벽을 없애지 않는다.\n\n검사가 가동되는 순간으로, 스캔 팔의 헤드와 비어 있는 검사 침대 위 검사 범위 사이에만 붉은 스캔 레이저가 국소적으로 나타난다. 붉은 빛은 가는 광선과 닿는 금속 표면의 작은 반사로 절제해 표현하며, 홀 전체를 붉게 물들이지 않는다. 컴퓨터 화면은 장비 운전 상태를 나타내는 비인물 정보만 표시한다.\n\n낮의 부드러운 자연 확산광과 실내의 균일한 작업광이 함께 공간을 밝힌다. 실제 콘크리트의 미세한 표면 차이, 금속의 가공 결 및 가벼운 사용 마모, 유리의 약한 반사와 투과, 관리된 바닥의 희미한 생활 얼룩을 사실적으로 담는다. 자연스러운 노출과 원근, 광학적으로 타당한 피사계 심도를 유지하여 가까운 식재와 멀리 있는 검사 설비의 거리 차이가 읽히게 한다. 과도한 보정 없이 실제 현장 기록 사진과 구별되지 않는 결과여야 하며, 지나치게 말끔한 광고 사진이나 컴퓨터 생성 영상, 삽화, 건축 시각화처럼 보이지 않는다. 사람, 얼굴, 인체 형태의 형상은 화면과 반사면을 포함하여 어디에도 없다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 4,
          "camera_cell": [
            4,
            2
          ],
          "look_at_unit": 16,
          "look_at_cell": [
            4,
            7
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad coverage from unit 4 toward marker 19 within unit 16, using the listed look-at coordinate. Establish the approach depth toward openings 12 and 17 without claiming that this plate also realizes the consuming shots' separate close-up viewpoints."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Show the forward-facing portion of unit 4 toward opening 12, with unit 13 and unit 16 beyond only where the openings and transparent boundary permit actual sightlines. Establish marker 19 within unit 16 and preserve the mapped positions of visible markers 7–11, 14–15, and 18–22. The visibility lists are supersets: do not force every referenced marker into this view or treat intervening boundaries as absent.",
          "camera_framing_directive": "Use camera unit 4 at [4, 2], looking toward unit 16 at [4, 7], with a wide lens and 90-degree field of view. Provide broad coverage and approach depth around the central sightline. This is the representative structural framing, not the narrow torso framing of S82_Shot11 or the close conversational framing of S82_Shot16.",
          "subject_position_directive": "Keep the approach sightline unobstructed for S82_Shot5's full-figure subject just right of center and its two observers at opposite foreground edges. S82_Shot11 separately commits a supine, unconscious subject supported by marker 19; S82_Shot16 separately commits a face on the right and an observing shoulder near the left edge. Treat these as separate consuming-shot placements, not a simultaneous group composition, and add no subjects beyond those staging facts.",
          "state_cue_directive": "The BG is not marked clean. Carry transient marker 23, labeled Active red scanning laser, at the scanning action associated with markers 20 and 21 toward the subject supported by marker 19, where visible. Use the staged neutral illumination without inventing a distinctive additional source or color. Keep marker 23 a transient layer rather than a permanent fixture or a cue repeated throughout all spaces.",
          "negative_continuity_directive": "No numbered exclusions or ignored state overlays are supplied. Avoid relocating markers 12, 17, 19, 20, or 21 to improve visibility; avoid flattening the boundaries between units 4, 13, and 16. Do not force unit 1 or markers behind the chosen camera into frame. Avoid treating marker 23 as fixed identity, and do not combine the separate consuming-shot subject arrangements into one scene."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_l129_research_commons",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_l129_research_commons"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L130B04": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L130",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L130B04.png",
        "t2i_prompt": "2069년 대한민국의 첨단 연구시설 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 고요한 야간 실험실과 그 남서쪽에 별실로 연결된 피아노 구역을 담은, 실제 장소 답사 사진과 구별되지 않는 빈 공간이다. 연결 통로의 남쪽 끝에 카메라를 고정하고 북쪽을 바라본다. 높이는 서 있는 사람의 눈높이인 약 1.6미터이며, 35밀리미터 판형의 미러리스 카메라에 20밀리미터 광각 렌즈를 사용한다. 수직선과 공간 비례가 자연스러운 수평 구도, 실제 렌즈의 원근감과 자연스러운 피사계 심도. 위에서 내려다보는 시점이나 도면이 아닌 실내 현장 사진이다.\n\n정면에는 실험실 남쪽 벽의 자동 유리 출입문과 그 뒤 원형 유리 시험실의 남쪽 자동문이 하나의 시선축으로 이어진다. 원형 시험실 중앙보다 약간 서쪽에 머리가 북쪽을 향하는 스테인리스 시험 침대가 있고, 침대 양옆에는 부착형 고정 장치가 있다. 침대 동쪽의 금속 시험 의자는 북쪽을 향한다. 침대 북서쪽과 북동쪽에 각각 스캐너 암이 있으며, 시험실 동쪽 안쪽 가장자리의 케이블 접속부와 배관이 침대 및 의자로 연결된다. 원형 유리문의 동쪽 문설주에는 고정식 문 스위치가 있다. 유리의 실제 두께, 금속 접합부, 정돈된 배선의 물리적 연결을 읽을 수 있게 한다.\n\n원형 시험실 바깥의 작업 구역은 참고 배치에 따라 유지한다. 북쪽에는 책상·좌석·모니터가 결합된 작업대 네 개가 나란히 있고, 서쪽과 동쪽에는 각각 두 개씩 배치된다. 동쪽 아래 작업대에는 붙박이 서랍이 있다. 남서쪽과 남동쪽 가장자리에도 작업대가 하나씩 있으며 중앙 출입 동선을 가리지 않는다. 원형 시험실 입구 남서쪽의 관찰 의자는 시험 침대를 향한다. 실험실 출입문 옆 안쪽 남벽에는 구내 통신 스피커가 있고, 남쪽 출입 통로 위 천장에는 경보등이 설치되어 있다. 모든 설비를 억지로 노출하지 않고 이 고정 시점에서 생기는 가림과 겹침을 자연스럽게 유지한다.\n\n화면 왼쪽에는 연결 통로에서 피아노 별실로 통하는 개구부가 보인다. 두 공간 사이의 벽체를 유지한 채 그 개구부 너머로 별실 북동쪽 기둥, 홀 중앙의 어쿠스틱 피아노, 건반 바로 남쪽의 피아노 의자가 부분적으로 함께 보인다. 피아노 건반은 남쪽을 향한다. 연결 통로 서쪽 가장자리에는 고정 화단이 있다. 피아노를 실험실 안으로 옮기거나 벽을 없애 넓은 단일 공간으로 합치지 않는다.\n\n한국의 현대 연구시설에서 이어진 실용적인 유리·금속 시공 방식과 정밀한 장비 조립을 바탕으로, 발전된 연구기술과 오래 사용되는 어쿠스틱 악기가 공존하는 환경이다. 야간의 낮은 실내 조도가 유리와 스테인리스 표면에 은은하게 반사되고, 실험실 안쪽과 피아노 별실에는 실제 거리와 차폐에 따른 자연스러운 밝기 차이가 생긴다. 과장된 발광이나 색 보정 없이 차가운 중성 계열의 실내광과 피아노 목재의 본래 색을 담는다. 금속의 미세한 가공 결, 유리 가장자리의 굴절, 피아노 목재의 결, 오랜 일상 사용에 따른 재료의 자연스러운 광택 차이를 충실하게 기록한다. 공간은 깨끗하고 정돈된 평상 상태다. 사람, 얼굴, 인체 형태의 형상은 화면과 반사면을 포함해 어디에도 묘사하지 않는다. 광고용으로 지나치게 매끈하게 정리된 사진이 아니라, 별도 후처리 없이 실제 시설의 재질과 명암을 기록한 사진이다. 컴퓨터 생성 이미지나 삽화, 건축 시각화가 아닌 실제 촬영의 사실성을 유지한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S84_Shot1",
            "guide_text": "고정 원본의 넓은 구도를 사용한다. 연결 통로 전경, 정면의 실험실 유리 출입문과 원형 시험실, 왼쪽 개구부 너머 피아노 별실의 관계가 함께 읽히게 한다. 카메라 높이와 위치, 야간 조명은 원본과 동일하게 유지하며 인물은 포함하지 않는다."
          },
          {
            "shot_id": "S84_Shot18",
            "guide_text": "동일한 고정 원본을 사용하고 필요한 경우 정면의 시험 침대와 연결 배선이 보이는 부분을 잘라 쓴다. 출입문과 유리 경계에 의한 가림을 유지하며 새 시점이나 확대된 공간을 생성하지 않는다. 얼굴 대조 정보는 별도 주관 인터페이스의 영역이므로 이 물리적 배경에는 합성하지 않는다."
          },
          {
            "shot_id": "S84_Shot21",
            "guide_text": "피아노 연결 공간이 필요하면 동일한 원본의 왼쪽 개구부 영역을 선택한다. 그 안에서 실제로 보이는 기둥, 피아노와 의자의 부분만 사용하고 피아노 홀 내부로 카메라를 옮기지 않는다. 벽체와 개구부의 가림, 실험실과의 공간적 분리, 원본의 야간 밝기를 유지한다. 인물이나 얼굴은 추가하지 않는다."
          }
        ],
        "shot_ids": [
          "S84_Shot1",
          "S84_Shot18",
          "S84_Shot21"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "At the southern end of number 3 (connecting threshold), facing north toward numbers 6 and 7 (aligned entrances) and number 11 (test bed), with number 9 (piano hall opening) on the left.",
          "camera_height": "eye-level standing, approximately 1.6 m",
          "lens_hint": "20mm wide-angle master background",
          "framing_notes": "Use one fixed master camera for all shots assigned to this background. Preserve the laboratory sightline and a partial view into the separate piano hall through number 9; place numbers 30, 31, and 32 within that opening's sightline rather than removing partitions. Shot crops may select visible parts of this master but must not relocate the camera. Night operation does not change the plan. Face-data comparisons belong to a separate subjective interface, never to the physical background or a dream environment."
        },
        "reference_decision": {
          "bg_id": "L130B04",
          "fp_id": "fp_l130_main_laboratory",
          "node_index": 3,
          "mode": "same_physical_space_view",
          "is_dwelling_identity_anchor": false,
          "rationale": "This BG includes the same unit 2 environment as L130B02 in S84_Shot1, so its fixed identity must remain committed rather than receiving style-only continuity. Its other staged shots require unit 4, represented here by a camera targeting marker 31. That genuinely different structural slice needs its own plate. No single supplied camera can reproduce both the unit 2 close view and the unit 4 compositions; the selected camera represents the latter without inventing co-visibility.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L130B02.png"
          ],
          "source_bg_ids": [
            "L130B02"
          ],
          "fp_included": false,
          "reference_decision": {
            "selected_refs": [
              {
                "ref_bg_id": "L130B02",
                "physical_space_id": "fp_l130_main_laboratory:units_1_2",
                "space_description": "Shared units 1 and 2 committed for S84_Shot1; unit 4 geometry comes from the base plan."
              }
            ],
            "rejected_refs": [
              {
                "ref_bg_id": "L130B01",
                "reason": "Its overlapping units 1 and 2 are already represented by L130B02; it contributes no independent unit 4 plate."
              },
              {
                "ref_bg_id": "L130B03",
                "reason": "Its upward view covers the same fixed environment and carries excluded overlay marker 39 rather than unit 4 coverage."
              }
            ],
            "same_physical_space_dedup_decision": "single_clean_representative_for_shared_space",
            "why_single_ref_or_two_refs": "Use one reference for the BG's shared fixed environment. No supplied shot commits simultaneous visibility of the unit 2 and unit 4 compositions, and no earlier node establishes a separate unit 4 plate.",
            "physical_space_id_per_ref": [
              "fp_l130_main_laboratory:units_1_2"
            ],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 4,
            "camera_cell": [
              8,
              0
            ],
            "look_at_unit": 4,
            "look_at_cell": [
              7,
              1
            ],
            "lens_enum": "normal",
            "fov_deg": 50,
            "framing_notes": "Representative neutral, oblique local view toward marker 31 for S84_Shot18. Preserve the staged limited lower-frame coverage of its visible working edge. S84_Shot21 requires a closer subject-layer composition; S84_Shot1's unit 2 view is outside this camera's coverage."
          },
          "render_guidance": {
            "visible_space_directive": "Show the local portion of unit 4 around marker 31 from [8, 0], retaining marker 32 at its base-plan position wherever visible. Keep the unit 4 layout grounded in its own base markers. For the separately staged unit 2 content, preserve L130B02's boundary, marker 11, and fixed markers 12–16 in the same positions; do not insert that content into the unit 4 view.",
            "camera_framing_directive": "Use camera_unit 4 at [8, 0], looking within unit 4 toward [7, 1], with normal 50-degree neutral coverage. Support the S84_Shot18 oblique side composition with a limited strip of marker 31 below the subject. Do not widen this representative frame to manufacture simultaneous visibility of units 1, 2, and 3.",
            "subject_position_directive": "S84_Shot18 places the playing subject's face upper-middle, with hands below and attention downward; the POV subject has no visible body part in that frame. S84_Shot21 separately places a shoulder left foreground and the embraced face center-right. S84_Shot1 separately places a reclining face near center over marker 11 in unit 2. Keep these as distinct shot-layer arrangements and retain a subject-free clean background plate.",
            "state_cue_directive": "No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. The staged activation, recognition interface, and fade are consuming-shot effects, not changes to the fixed background or a new environmental light source.",
            "negative_continuity_directive": "Exclude overlay markers 38, 39, and 40. Avoid importing their appearances from L130B01 or L130B03. Preserve L130B02's shared fixed positions while retaining markers 30–32 in their own base-plan locations. Do not merge distinct shot compositions, expose every candidate opening, or relocate unit 2 elements into unit 4."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L130B02' physical_space_id='fp_l130_main_laboratory:units_1_2'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [8, 0]\n  - look_at_unit: 4\n  - look_at_cell: [7, 1]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: \"Representative neutral, oblique local view toward marker 31 for S84_Shot18. Preserve the staged limited lower-frame coverage of its visible working edge. S84_Shot21 requires a closer subject-layer composition; S84_Shot1's unit 2 view is outside this camera's coverage.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the local portion of unit 4 around marker 31 from [8, 0], retaining marker 32 at its base-plan position wherever visible. Keep the unit 4 layout grounded in its own base markers. For the separately staged unit 2 content, preserve L130B02's boundary, marker 11, and fixed markers 12–16 in the same positions; do not insert that content into the unit 4 view.\n  - camera_framing_directive: Use camera_unit 4 at [8, 0], looking within unit 4 toward [7, 1], with normal 50-degree neutral coverage. Support the S84_Shot18 oblique side composition with a limited strip of marker 31 below the subject. Do not widen this representative frame to manufacture simultaneous visibility of units 1, 2, and 3.\n  - subject_position_directive: S84_Shot18 places the playing subject's face upper-middle, with hands below and attention downward; the POV subject has no visible body part in that frame. S84_Shot21 separately places a shoulder left foreground and the embraced face center-right. S84_Shot1 separately places a reclining face near center over marker 11 in unit 2. Keep these as distinct shot-layer arrangements and retain a subject-free clean background plate.\n  - state_cue_directive: No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. The staged activation, recognition interface, and fade are consuming-shot effects, not changes to the fixed background or a new environmental light source.\n  - negative_continuity_directive: Exclude overlay markers 38, 39, and 40. Avoid importing their appearances from L130B01 or L130B03. Preserve L130B02's shared fixed positions while retaining markers 30–32 in their own base-plan locations. Do not merge distinct shot compositions, expose every candidate opening, or relocate unit 2 elements into unit 4.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L130B02' physical_space_id='fp_l130_main_laboratory:units_1_2'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [8, 0]\n  - look_at_unit: 4\n  - look_at_cell: [7, 1]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: \"Representative neutral, oblique local view toward marker 31 for S84_Shot18. Preserve the staged limited lower-frame coverage of its visible working edge. S84_Shot21 requires a closer subject-layer composition; S84_Shot1's unit 2 view is outside this camera's coverage.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the local portion of unit 4 around marker 31 from [8, 0], retaining marker 32 at its base-plan position wherever visible. Keep the unit 4 layout grounded in its own base markers. For the separately staged unit 2 content, preserve L130B02's boundary, marker 11, and fixed markers 12–16 in the same positions; do not insert that content into the unit 4 view.\n  - camera_framing_directive: Use camera_unit 4 at [8, 0], looking within unit 4 toward [7, 1], with normal 50-degree neutral coverage. Support the S84_Shot18 oblique side composition with a limited strip of marker 31 below the subject. Do not widen this representative frame to manufacture simultaneous visibility of units 1, 2, and 3.\n  - subject_position_directive: S84_Shot18 places the playing subject's face upper-middle, with hands below and attention downward; the POV subject has no visible body part in that frame. S84_Shot21 separately places a shoulder left foreground and the embraced face center-right. S84_Shot1 separately places a reclining face near center over marker 11 in unit 2. Keep these as distinct shot-layer arrangements and retain a subject-free clean background plate.\n  - state_cue_directive: No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. The staged activation, recognition interface, and fade are consuming-shot effects, not changes to the fixed background or a new environmental light source.\n  - negative_continuity_directive: Exclude overlay markers 38, 39, and 40. Avoid importing their appearances from L130B01 or L130B03. Preserve L130B02's shared fixed positions while retaining markers 30–32 in their own base-plan locations. Do not merge distinct shot compositions, expose every candidate opening, or relocate unit 2 elements into unit 4.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L130B02' physical_space_id='fp_l130_main_laboratory:units_1_2'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 4\n  - camera_cell: [8, 0]\n  - look_at_unit: 4\n  - look_at_cell: [7, 1]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: \"Representative neutral, oblique local view toward marker 31 for S84_Shot18. Preserve the staged limited lower-frame coverage of its visible working edge. S84_Shot21 requires a closer subject-layer composition; S84_Shot1's unit 2 view is outside this camera's coverage.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the local portion of unit 4 around marker 31 from [8, 0], retaining marker 32 at its base-plan position wherever visible. Keep the unit 4 layout grounded in its own base markers. For the separately staged unit 2 content, preserve L130B02's boundary, marker 11, and fixed markers 12–16 in the same positions; do not insert that content into the unit 4 view.\n  - camera_framing_directive: Use camera_unit 4 at [8, 0], looking within unit 4 toward [7, 1], with normal 50-degree neutral coverage. Support the S84_Shot18 oblique side composition with a limited strip of marker 31 below the subject. Do not widen this representative frame to manufacture simultaneous visibility of units 1, 2, and 3.\n  - subject_position_directive: S84_Shot18 places the playing subject's face upper-middle, with hands below and attention downward; the POV subject has no visible body part in that frame. S84_Shot21 separately places a shoulder left foreground and the embraced face center-right. S84_Shot1 separately places a reclining face near center over marker 11 in unit 2. Keep these as distinct shot-layer arrangements and retain a subject-free clean background plate.\n  - state_cue_directive: No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. The staged activation, recognition interface, and fade are consuming-shot effects, not changes to the fixed background or a new environmental light source.\n  - negative_continuity_directive: Exclude overlay markers 38, 39, and 40. Avoid importing their appearances from L130B01 or L130B03. Preserve L130B02's shared fixed positions while retaining markers 30–32 in their own base-plan locations. Do not merge distinct shot compositions, expose every candidate opening, or relocate unit 2 elements into unit 4.\n\n2069년 대한민국의 첨단 연구시설 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 고요한 야간 실험실과 그 남서쪽에 별실로 연결된 피아노 구역을 담은, 실제 장소 답사 사진과 구별되지 않는 빈 공간이다. 연결 통로의 남쪽 끝에 카메라를 고정하고 북쪽을 바라본다. 높이는 서 있는 사람의 눈높이인 약 1.6미터이며, 35밀리미터 판형의 미러리스 카메라에 20밀리미터 광각 렌즈를 사용한다. 수직선과 공간 비례가 자연스러운 수평 구도, 실제 렌즈의 원근감과 자연스러운 피사계 심도. 위에서 내려다보는 시점이나 도면이 아닌 실내 현장 사진이다.\n\n정면에는 실험실 남쪽 벽의 자동 유리 출입문과 그 뒤 원형 유리 시험실의 남쪽 자동문이 하나의 시선축으로 이어진다. 원형 시험실 중앙보다 약간 서쪽에 머리가 북쪽을 향하는 스테인리스 시험 침대가 있고, 침대 양옆에는 부착형 고정 장치가 있다. 침대 동쪽의 금속 시험 의자는 북쪽을 향한다. 침대 북서쪽과 북동쪽에 각각 스캐너 암이 있으며, 시험실 동쪽 안쪽 가장자리의 케이블 접속부와 배관이 침대 및 의자로 연결된다. 원형 유리문의 동쪽 문설주에는 고정식 문 스위치가 있다. 유리의 실제 두께, 금속 접합부, 정돈된 배선의 물리적 연결을 읽을 수 있게 한다.\n\n원형 시험실 바깥의 작업 구역은 참고 배치에 따라 유지한다. 북쪽에는 책상·좌석·모니터가 결합된 작업대 네 개가 나란히 있고, 서쪽과 동쪽에는 각각 두 개씩 배치된다. 동쪽 아래 작업대에는 붙박이 서랍이 있다. 남서쪽과 남동쪽 가장자리에도 작업대가 하나씩 있으며 중앙 출입 동선을 가리지 않는다. 원형 시험실 입구 남서쪽의 관찰 의자는 시험 침대를 향한다. 실험실 출입문 옆 안쪽 남벽에는 구내 통신 스피커가 있고, 남쪽 출입 통로 위 천장에는 경보등이 설치되어 있다. 모든 설비를 억지로 노출하지 않고 이 고정 시점에서 생기는 가림과 겹침을 자연스럽게 유지한다.\n\n화면 왼쪽에는 연결 통로에서 피아노 별실로 통하는 개구부가 보인다. 두 공간 사이의 벽체를 유지한 채 그 개구부 너머로 별실 북동쪽 기둥, 홀 중앙의 어쿠스틱 피아노, 건반 바로 남쪽의 피아노 의자가 부분적으로 함께 보인다. 피아노 건반은 남쪽을 향한다. 연결 통로 서쪽 가장자리에는 고정 화단이 있다. 피아노를 실험실 안으로 옮기거나 벽을 없애 넓은 단일 공간으로 합치지 않는다.\n\n한국의 현대 연구시설에서 이어진 실용적인 유리·금속 시공 방식과 정밀한 장비 조립을 바탕으로, 발전된 연구기술과 오래 사용되는 어쿠스틱 악기가 공존하는 환경이다. 야간의 낮은 실내 조도가 유리와 스테인리스 표면에 은은하게 반사되고, 실험실 안쪽과 피아노 별실에는 실제 거리와 차폐에 따른 자연스러운 밝기 차이가 생긴다. 과장된 발광이나 색 보정 없이 차가운 중성 계열의 실내광과 피아노 목재의 본래 색을 담는다. 금속의 미세한 가공 결, 유리 가장자리의 굴절, 피아노 목재의 결, 오랜 일상 사용에 따른 재료의 자연스러운 광택 차이를 충실하게 기록한다. 공간은 깨끗하고 정돈된 평상 상태다. 사람, 얼굴, 인체 형태의 형상은 화면과 반사면을 포함해 어디에도 묘사하지 않는다. 광고용으로 지나치게 매끈하게 정리된 사진이 아니라, 별도 후처리 없이 실제 시설의 재질과 명암을 기록한 사진이다. 컴퓨터 생성 이미지나 삽화, 건축 시각화가 아닌 실제 촬영의 사실성을 유지한다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 4,
          "camera_cell": [
            8,
            0
          ],
          "look_at_unit": 4,
          "look_at_cell": [
            7,
            1
          ],
          "lens_enum": "normal",
          "fov_deg": 50,
          "framing_notes": "Representative neutral, oblique local view toward marker 31 for S84_Shot18. Preserve the staged limited lower-frame coverage of its visible working edge. S84_Shot21 requires a closer subject-layer composition; S84_Shot1's unit 2 view is outside this camera's coverage."
        },
        "shot_aware_plan_node_index": 3,
        "shot_aware_plan_mode": "same_physical_space_view",
        "render_guidance": {
          "visible_space_directive": "Show the local portion of unit 4 around marker 31 from [8, 0], retaining marker 32 at its base-plan position wherever visible. Keep the unit 4 layout grounded in its own base markers. For the separately staged unit 2 content, preserve L130B02's boundary, marker 11, and fixed markers 12–16 in the same positions; do not insert that content into the unit 4 view.",
          "camera_framing_directive": "Use camera_unit 4 at [8, 0], looking within unit 4 toward [7, 1], with normal 50-degree neutral coverage. Support the S84_Shot18 oblique side composition with a limited strip of marker 31 below the subject. Do not widen this representative frame to manufacture simultaneous visibility of units 1, 2, and 3.",
          "subject_position_directive": "S84_Shot18 places the playing subject's face upper-middle, with hands below and attention downward; the POV subject has no visible body part in that frame. S84_Shot21 separately places a shoulder left foreground and the embraced face center-right. S84_Shot1 separately places a reclining face near center over marker 11 in unit 2. Keep these as distinct shot-layer arrangements and retain a subject-free clean background plate.",
          "state_cue_directive": "No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. The staged activation, recognition interface, and fade are consuming-shot effects, not changes to the fixed background or a new environmental light source.",
          "negative_continuity_directive": "Exclude overlay markers 38, 39, and 40. Avoid importing their appearances from L130B01 or L130B03. Preserve L130B02's shared fixed positions while retaining markers 30–32 in their own base-plan locations. Do not merge distinct shot compositions, expose every candidate opening, or relocate unit 2 elements into unit 4."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_l130_main_laboratory",
          "prior_bg_ids": [
            "L130B02"
          ],
          "attached_ref_labels": [
            "bg:L130B02"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L130B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L130",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L130B01.png",
        "t2i_prompt": "2069년 대한민국의 에너지 연구 시설 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 인물 없이 공간과 설비만 담은 실제 장소 기록 사진으로, 삽화나 컴퓨터 생성 영상, 건축 시각화가 아니다. 실제 미러리스 카메라와 35밀리미터급 렌즈를 사용하고, 연결 통로 남쪽 끝의 바닥에서 약 1.6미터 높이에 카메라를 둔다. 북쪽 실험실 출입구와 원형 유리 실험 구역의 출입구를 향하는 고정된 넓은 구도이며, 오른쪽에는 별도 식사실의 서쪽 개구부와 그 안의 식탁 일부가 함께 보인다. 수직선과 거리감은 자연스럽고, 내려다보는 시점이나 평면도 구도가 아니다.\n\n참조 평면도는 구조와 설비의 상대적 위치를 파악하는 데만 사용한다. 정면에는 자동 출입구 너머로 원형 유리벽의 실험 구역이 보인다. 원형 구역 남쪽 자동문과 그 동쪽 문설주의 스위치를 원래 위치에 둔다. 유리벽 안쪽 중앙보다 서쪽에는 머리 쪽이 북쪽을 향하는 스테인리스 실험 침대와 양옆에 부착된 고정 장치가 있고, 그 동쪽에는 북쪽을 향한 금속 실험 의자가 있다. 침대 북서쪽과 북동쪽의 스캐너 암, 동쪽 안쪽 가장자리의 케이블 접속부와 굵은 전선 및 배관을 실제 산업 연구 장비의 조립 구조로 표현한다. 고정 장치에 체결 대상이나 체결 동작을 추가하지 않는다.\n\n원형 구역 바깥 북쪽에는 책상·좌석·화면이 결합된 작업대 네 개, 서쪽과 동쪽에는 각각 두 개, 남서쪽과 남동쪽 외곽에는 각각 한 개의 작업대가 배치되어 있다. 동쪽 남단 작업대의 내장 서랍을 유지한다. 남쪽 출입 동선은 비워 두고, 원형 구역 입구 남서쪽의 관찰용 의자는 실험 침대를 향한다. 실험실 남쪽 벽 출입구 옆의 구내방송 스피커와 출입 통로 위 천장의 경보등은 고정 설비로 남기며 경보등을 점멸시키거나 경보색 조명을 만들지 않는다. 작업대 화면은 실제 모니터 표면 안에만 기록 수치와 그래프를 표시한다.\n\n오른쪽 식사실은 연결 통로와 개구부로 이어지는 별도의 방이다. 동서 방향으로 긴 식탁을 방 중앙에 두고, 긴 변의 북쪽과 남쪽에 식사용 긴 의자, 동쪽 벽에 배식대를 유지한다. 배식대 서쪽의 통행 공간을 확보한다. 식탁을 실험실 쪽으로 옮기거나 두 공간의 가구를 섞지 않는다. 식탁 위의 보이는 식사 구역에는 소박한 식사가 담긴 식기와 수저를 놓는다. 음식과 식기는 식탁 위에만 존재한다.\n\n금속 실험 의자의 좌면 위, 앉았을 때 가슴의 링이 위치할 높이의 좁은 범위에 국소적인 검은 연기가 잠시 맺혀 있다. 연기는 이 작은 고장 지점 주변에서만 가늘게 퍼지고 옅어지며, 실험실 전체를 덮지 않는다. 연기의 위치를 설명하기 위한 인체나 링을 착용한 몸체는 그리지 않는다. 주변 유리와 장비는 온전하며 실내 파괴나 화재로 확대하지 않는다. 이 국소 연기와 식탁의 식사 준비는 각 구역에 한정된 배경 요소로 유지하며, 두 구역에서 동시에 벌어지는 행동을 연출하지 않는다.\n\n주간의 부드러운 자연광이 내부에 간접적으로 퍼지는 현실적인 밝기와 안정적인 실내 조명. 한국의 연구 시설에서 볼 법한 실용적인 산업 설비 구성과 소형 한글 장비 표기, 정밀 장비와 오래 사용한 작업대가 공존하는 절제된 미래 환경이다. 유리의 실제 두께와 약한 반사, 스테인리스의 결 방향, 금속 연결부의 미세한 변색, 전선 피복의 질감, 바닥과 작업대의 일상적인 마모와 옅은 사용 얼룩을 선명하지만 과장 없이 담는다. 차가운 중성 재료색을 실제 조명과 화이트밸런스로 표현하며 인위적인 색 보정은 하지 않는다. 자연스러운 피사계 심도로 앞쪽 개구부, 중앙 실험 구역, 오른쪽 식탁의 공간 관계가 읽힌다. 지나치게 새것 같은 광고 사진이 아닌 사용 중인 시설의 담백한 현장 사진이다. 사람, 얼굴, 인체형 로봇, 신체 모양의 형상은 화면이나 반사면을 포함해 어디에도 없다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S85_Shot1",
            "guide_text": "연결 통로 남쪽 끝의 약 1.6미터 눈높이 고정 구도를 사용한다. 정면의 자동 출입구와 원형 유리 실험 구역, 오른쪽 개구부 안의 식탁이 각자의 공간에 보이도록 유지한다. 실험 의자 위의 연기는 좁은 국소 범위에만 두고, 인물이나 신체 형상은 추가하지 않는다."
          },
          {
            "shot_id": "S85_Shot12",
            "guide_text": "동일한 고정 배경과 카메라 축을 유지한다. 유리벽 너머 침대와 금속 실험 의자, 주변 작업대 화면의 실제 깊이와 가림 관계를 보존한다. 연기를 유리 구역 전체나 연결 통로까지 확장하지 않으며, 설비 손상이나 경보 조명으로 장면 상태를 바꾸지 않는다."
          },
          {
            "shot_id": "S85_Shot22",
            "guide_text": "동일한 고정 시점에서 오른쪽 식사실 개구부와 그 안의 식탁 시야를 보존한다. 식사 구역을 사용하는 경우 음식과 식기를 해당 식탁 위에만 유지하고, 식탁이나 긴 의자를 실험실로 옮기지 않는다. 정면 실험 구역과 오른쪽 식사 구역은 별도 공간이며, 두 행동이 동시에 진행된다는 연출은 하지 않는다."
          }
        ],
        "shot_ids": [
          "S85_Shot1",
          "S85_Shot12",
          "S85_Shot22"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "At the southern end of number 3 (connecting threshold), facing north toward numbers 7 and 13 (enclosure entrance and test chair), with number 10 (meal room opening) on the right.",
          "camera_height": "eye-level standing, approximately 1.6 m",
          "lens_hint": "20mm wide-angle master background",
          "framing_notes": "Use one fixed master camera for all assigned shots, preserving a partial meal-room view through number 10 and a forward laboratory view. Keep number 33 visible through its own opening; never move it into the laboratory. Workstation screens remain physical equipment surfaces. Overlay 38 is confined to the failed-test portion of the laboratory view, while overlay 40 belongs only to the meal-table zone; neither implies that separate scene actions occur together. Do not add destruction or alarm illumination."
        },
        "reference_decision": {
          "bg_id": "L130B01",
          "fp_id": "fp_l130_main_laboratory",
          "node_index": 2,
          "mode": "same_physical_space_view",
          "is_dwelling_identity_anchor": false,
          "rationale": "S85_Shot1 and S85_Shot12 view unit 2 through its boundary from unit 1, so L130B02 provides fixed-layout continuity but not the same camera view. Camera unit 1 targeting marker 13 reveals a different structural slice from the anchor's interior view. S85_Shot22 is separately staged in unit 5; this single representative camera cannot also reproduce that local composition, and the plan does not assert unsupported co-visibility.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L130B02.png"
          ],
          "source_bg_ids": [
            "L130B02"
          ],
          "fp_included": false,
          "reference_decision": {
            "selected_refs": [
              {
                "ref_bg_id": "L130B02",
                "physical_space_id": "fp_l130_main_laboratory:units_1_2",
                "space_description": "Units 1 and 2, now viewed from outside the unit 2 boundary."
              }
            ],
            "rejected_refs": [
              {
                "ref_bg_id": "L130B03",
                "reason": "The same physical environment is already represented by the clean L130B02 reference; the upward view and overlay marker 39 add no needed independent space."
              }
            ],
            "same_physical_space_dedup_decision": "single_clean_representative_for_same_space",
            "why_single_ref_or_two_refs": "L130B02 alone commits the overlapping fixed space. S85_Shot22 stages unit 5 separately, not co-visible with units 1 and 2 in a supplied shot, so two distinct-space references are not justified.",
            "physical_space_id_per_ref": [
              "fp_l130_main_laboratory:units_1_2"
            ],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 1,
            "camera_cell": [
              1,
              1
            ],
            "look_at_unit": 2,
            "look_at_cell": [
              3,
              5
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Representative external oblique wide composition for S85_Shot1, targeting marker 13 through the unit 2 boundary. S85_Shot12 is a closer composition on that viewing side; S85_Shot22's unit 5 composition is not covered by this representative camera."
          },
          "render_guidance": {
            "visible_space_directive": "Show the near side of unit 1 and unit 2 beyond its transparent boundary, with marker 13 as the principal target. Preserve L130B02's boundary geometry and the fixed positions of markers 11–16, together with visible portions of markers 17–24. Keep the boundary in the middle depth plane. Do not force units 3 or 5 into this view solely because they are BG-level targets.",
            "camera_framing_directive": "Use camera_unit 1 at [1, 1], looking into unit 2 at [3, 5], with wide 90-degree broad coverage. Support S85_Shot1's oblique full-body scale and readable near/far depth separation. The close S85_Shot12 and local unit 5 S85_Shot22 framings remain distinct consuming-shot requirements, not simultaneous contents of this plate.",
            "subject_position_directive": "For S85_Shot1, reserve center-right beyond the transparent boundary for the erect seated subject at marker 13; reserve far-left and a farther-inward near-side position for the two preparation subjects, with different lean and shoulder angles. S85_Shot12 narrows to the seated subject's upper body. S85_Shot22 separately places a half-rising subject above marker 33 with two planted hand contacts; do not transplant that subject or marker 33 into this camera view.",
            "state_cue_directive": "Maintain the staged neutral ambient exposure. Transient marker 38 belongs to the localized rising malfunction cue in S85_Shot12 and must remain localized to that shot's subject-facing source. Transient marker 40 belongs to marker 33 in the separate S85_Shot22 composition. These shot-specific states are not simultaneous permanent changes to the fixed environment.",
            "negative_continuity_directive": "Exclude overlay marker 39 and avoid carrying its appearance from L130B03. Preserve the positions inherited from L130B02 rather than rebuilding the layout for the external camera. Avoid relocating markers 33–36 into units 1 or 2, duplicating subjects across the transparent boundary, or treating all candidate openings as visible."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L130B02' physical_space_id='fp_l130_main_laboratory:units_1_2'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [1, 1]\n  - look_at_unit: 2\n  - look_at_cell: [3, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Representative external oblique wide composition for S85_Shot1, targeting marker 13 through the unit 2 boundary. S85_Shot12 is a closer composition on that viewing side; S85_Shot22's unit 5 composition is not covered by this representative camera.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the near side of unit 1 and unit 2 beyond its transparent boundary, with marker 13 as the principal target. Preserve L130B02's boundary geometry and the fixed positions of markers 11–16, together with visible portions of markers 17–24. Keep the boundary in the middle depth plane. Do not force units 3 or 5 into this view solely because they are BG-level targets.\n  - camera_framing_directive: Use camera_unit 1 at [1, 1], looking into unit 2 at [3, 5], with wide 90-degree broad coverage. Support S85_Shot1's oblique full-body scale and readable near/far depth separation. The close S85_Shot12 and local unit 5 S85_Shot22 framings remain distinct consuming-shot requirements, not simultaneous contents of this plate.\n  - subject_position_directive: For S85_Shot1, reserve center-right beyond the transparent boundary for the erect seated subject at marker 13; reserve far-left and a farther-inward near-side position for the two preparation subjects, with different lean and shoulder angles. S85_Shot12 narrows to the seated subject's upper body. S85_Shot22 separately places a half-rising subject above marker 33 with two planted hand contacts; do not transplant that subject or marker 33 into this camera view.\n  - state_cue_directive: Maintain the staged neutral ambient exposure. Transient marker 38 belongs to the localized rising malfunction cue in S85_Shot12 and must remain localized to that shot's subject-facing source. Transient marker 40 belongs to marker 33 in the separate S85_Shot22 composition. These shot-specific states are not simultaneous permanent changes to the fixed environment.\n  - negative_continuity_directive: Exclude overlay marker 39 and avoid carrying its appearance from L130B03. Preserve the positions inherited from L130B02 rather than rebuilding the layout for the external camera. Avoid relocating markers 33–36 into units 1 or 2, duplicating subjects across the transparent boundary, or treating all candidate openings as visible.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L130B02' physical_space_id='fp_l130_main_laboratory:units_1_2'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [1, 1]\n  - look_at_unit: 2\n  - look_at_cell: [3, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Representative external oblique wide composition for S85_Shot1, targeting marker 13 through the unit 2 boundary. S85_Shot12 is a closer composition on that viewing side; S85_Shot22's unit 5 composition is not covered by this representative camera.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the near side of unit 1 and unit 2 beyond its transparent boundary, with marker 13 as the principal target. Preserve L130B02's boundary geometry and the fixed positions of markers 11–16, together with visible portions of markers 17–24. Keep the boundary in the middle depth plane. Do not force units 3 or 5 into this view solely because they are BG-level targets.\n  - camera_framing_directive: Use camera_unit 1 at [1, 1], looking into unit 2 at [3, 5], with wide 90-degree broad coverage. Support S85_Shot1's oblique full-body scale and readable near/far depth separation. The close S85_Shot12 and local unit 5 S85_Shot22 framings remain distinct consuming-shot requirements, not simultaneous contents of this plate.\n  - subject_position_directive: For S85_Shot1, reserve center-right beyond the transparent boundary for the erect seated subject at marker 13; reserve far-left and a farther-inward near-side position for the two preparation subjects, with different lean and shoulder angles. S85_Shot12 narrows to the seated subject's upper body. S85_Shot22 separately places a half-rising subject above marker 33 with two planted hand contacts; do not transplant that subject or marker 33 into this camera view.\n  - state_cue_directive: Maintain the staged neutral ambient exposure. Transient marker 38 belongs to the localized rising malfunction cue in S85_Shot12 and must remain localized to that shot's subject-facing source. Transient marker 40 belongs to marker 33 in the separate S85_Shot22 composition. These shot-specific states are not simultaneous permanent changes to the fixed environment.\n  - negative_continuity_directive: Exclude overlay marker 39 and avoid carrying its appearance from L130B03. Preserve the positions inherited from L130B02 rather than rebuilding the layout for the external camera. Avoid relocating markers 33–36 into units 1 or 2, duplicating subjects across the transparent boundary, or treating all candidate openings as visible.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L130B02' physical_space_id='fp_l130_main_laboratory:units_1_2'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [1, 1]\n  - look_at_unit: 2\n  - look_at_cell: [3, 5]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: \"Representative external oblique wide composition for S85_Shot1, targeting marker 13 through the unit 2 boundary. S85_Shot12 is a closer composition on that viewing side; S85_Shot22's unit 5 composition is not covered by this representative camera.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the near side of unit 1 and unit 2 beyond its transparent boundary, with marker 13 as the principal target. Preserve L130B02's boundary geometry and the fixed positions of markers 11–16, together with visible portions of markers 17–24. Keep the boundary in the middle depth plane. Do not force units 3 or 5 into this view solely because they are BG-level targets.\n  - camera_framing_directive: Use camera_unit 1 at [1, 1], looking into unit 2 at [3, 5], with wide 90-degree broad coverage. Support S85_Shot1's oblique full-body scale and readable near/far depth separation. The close S85_Shot12 and local unit 5 S85_Shot22 framings remain distinct consuming-shot requirements, not simultaneous contents of this plate.\n  - subject_position_directive: For S85_Shot1, reserve center-right beyond the transparent boundary for the erect seated subject at marker 13; reserve far-left and a farther-inward near-side position for the two preparation subjects, with different lean and shoulder angles. S85_Shot12 narrows to the seated subject's upper body. S85_Shot22 separately places a half-rising subject above marker 33 with two planted hand contacts; do not transplant that subject or marker 33 into this camera view.\n  - state_cue_directive: Maintain the staged neutral ambient exposure. Transient marker 38 belongs to the localized rising malfunction cue in S85_Shot12 and must remain localized to that shot's subject-facing source. Transient marker 40 belongs to marker 33 in the separate S85_Shot22 composition. These shot-specific states are not simultaneous permanent changes to the fixed environment.\n  - negative_continuity_directive: Exclude overlay marker 39 and avoid carrying its appearance from L130B03. Preserve the positions inherited from L130B02 rather than rebuilding the layout for the external camera. Avoid relocating markers 33–36 into units 1 or 2, duplicating subjects across the transparent boundary, or treating all candidate openings as visible.\n\n2069년 대한민국의 에너지 연구 시설 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 인물 없이 공간과 설비만 담은 실제 장소 기록 사진으로, 삽화나 컴퓨터 생성 영상, 건축 시각화가 아니다. 실제 미러리스 카메라와 35밀리미터급 렌즈를 사용하고, 연결 통로 남쪽 끝의 바닥에서 약 1.6미터 높이에 카메라를 둔다. 북쪽 실험실 출입구와 원형 유리 실험 구역의 출입구를 향하는 고정된 넓은 구도이며, 오른쪽에는 별도 식사실의 서쪽 개구부와 그 안의 식탁 일부가 함께 보인다. 수직선과 거리감은 자연스럽고, 내려다보는 시점이나 평면도 구도가 아니다.\n\n참조 평면도는 구조와 설비의 상대적 위치를 파악하는 데만 사용한다. 정면에는 자동 출입구 너머로 원형 유리벽의 실험 구역이 보인다. 원형 구역 남쪽 자동문과 그 동쪽 문설주의 스위치를 원래 위치에 둔다. 유리벽 안쪽 중앙보다 서쪽에는 머리 쪽이 북쪽을 향하는 스테인리스 실험 침대와 양옆에 부착된 고정 장치가 있고, 그 동쪽에는 북쪽을 향한 금속 실험 의자가 있다. 침대 북서쪽과 북동쪽의 스캐너 암, 동쪽 안쪽 가장자리의 케이블 접속부와 굵은 전선 및 배관을 실제 산업 연구 장비의 조립 구조로 표현한다. 고정 장치에 체결 대상이나 체결 동작을 추가하지 않는다.\n\n원형 구역 바깥 북쪽에는 책상·좌석·화면이 결합된 작업대 네 개, 서쪽과 동쪽에는 각각 두 개, 남서쪽과 남동쪽 외곽에는 각각 한 개의 작업대가 배치되어 있다. 동쪽 남단 작업대의 내장 서랍을 유지한다. 남쪽 출입 동선은 비워 두고, 원형 구역 입구 남서쪽의 관찰용 의자는 실험 침대를 향한다. 실험실 남쪽 벽 출입구 옆의 구내방송 스피커와 출입 통로 위 천장의 경보등은 고정 설비로 남기며 경보등을 점멸시키거나 경보색 조명을 만들지 않는다. 작업대 화면은 실제 모니터 표면 안에만 기록 수치와 그래프를 표시한다.\n\n오른쪽 식사실은 연결 통로와 개구부로 이어지는 별도의 방이다. 동서 방향으로 긴 식탁을 방 중앙에 두고, 긴 변의 북쪽과 남쪽에 식사용 긴 의자, 동쪽 벽에 배식대를 유지한다. 배식대 서쪽의 통행 공간을 확보한다. 식탁을 실험실 쪽으로 옮기거나 두 공간의 가구를 섞지 않는다. 식탁 위의 보이는 식사 구역에는 소박한 식사가 담긴 식기와 수저를 놓는다. 음식과 식기는 식탁 위에만 존재한다.\n\n금속 실험 의자의 좌면 위, 앉았을 때 가슴의 링이 위치할 높이의 좁은 범위에 국소적인 검은 연기가 잠시 맺혀 있다. 연기는 이 작은 고장 지점 주변에서만 가늘게 퍼지고 옅어지며, 실험실 전체를 덮지 않는다. 연기의 위치를 설명하기 위한 인체나 링을 착용한 몸체는 그리지 않는다. 주변 유리와 장비는 온전하며 실내 파괴나 화재로 확대하지 않는다. 이 국소 연기와 식탁의 식사 준비는 각 구역에 한정된 배경 요소로 유지하며, 두 구역에서 동시에 벌어지는 행동을 연출하지 않는다.\n\n주간의 부드러운 자연광이 내부에 간접적으로 퍼지는 현실적인 밝기와 안정적인 실내 조명. 한국의 연구 시설에서 볼 법한 실용적인 산업 설비 구성과 소형 한글 장비 표기, 정밀 장비와 오래 사용한 작업대가 공존하는 절제된 미래 환경이다. 유리의 실제 두께와 약한 반사, 스테인리스의 결 방향, 금속 연결부의 미세한 변색, 전선 피복의 질감, 바닥과 작업대의 일상적인 마모와 옅은 사용 얼룩을 선명하지만 과장 없이 담는다. 차가운 중성 재료색을 실제 조명과 화이트밸런스로 표현하며 인위적인 색 보정은 하지 않는다. 자연스러운 피사계 심도로 앞쪽 개구부, 중앙 실험 구역, 오른쪽 식탁의 공간 관계가 읽힌다. 지나치게 새것 같은 광고 사진이 아닌 사용 중인 시설의 담백한 현장 사진이다. 사람, 얼굴, 인체형 로봇, 신체 모양의 형상은 화면이나 반사면을 포함해 어디에도 없다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 1,
          "camera_cell": [
            1,
            1
          ],
          "look_at_unit": 2,
          "look_at_cell": [
            3,
            5
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Representative external oblique wide composition for S85_Shot1, targeting marker 13 through the unit 2 boundary. S85_Shot12 is a closer composition on that viewing side; S85_Shot22's unit 5 composition is not covered by this representative camera."
        },
        "shot_aware_plan_node_index": 2,
        "shot_aware_plan_mode": "same_physical_space_view",
        "render_guidance": {
          "visible_space_directive": "Show the near side of unit 1 and unit 2 beyond its transparent boundary, with marker 13 as the principal target. Preserve L130B02's boundary geometry and the fixed positions of markers 11–16, together with visible portions of markers 17–24. Keep the boundary in the middle depth plane. Do not force units 3 or 5 into this view solely because they are BG-level targets.",
          "camera_framing_directive": "Use camera_unit 1 at [1, 1], looking into unit 2 at [3, 5], with wide 90-degree broad coverage. Support S85_Shot1's oblique full-body scale and readable near/far depth separation. The close S85_Shot12 and local unit 5 S85_Shot22 framings remain distinct consuming-shot requirements, not simultaneous contents of this plate.",
          "subject_position_directive": "For S85_Shot1, reserve center-right beyond the transparent boundary for the erect seated subject at marker 13; reserve far-left and a farther-inward near-side position for the two preparation subjects, with different lean and shoulder angles. S85_Shot12 narrows to the seated subject's upper body. S85_Shot22 separately places a half-rising subject above marker 33 with two planted hand contacts; do not transplant that subject or marker 33 into this camera view.",
          "state_cue_directive": "Maintain the staged neutral ambient exposure. Transient marker 38 belongs to the localized rising malfunction cue in S85_Shot12 and must remain localized to that shot's subject-facing source. Transient marker 40 belongs to marker 33 in the separate S85_Shot22 composition. These shot-specific states are not simultaneous permanent changes to the fixed environment.",
          "negative_continuity_directive": "Exclude overlay marker 39 and avoid carrying its appearance from L130B03. Preserve the positions inherited from L130B02 rather than rebuilding the layout for the external camera. Avoid relocating markers 33–36 into units 1 or 2, duplicating subjects across the transparent boundary, or treating all candidate openings as visible."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_l130_main_laboratory",
          "prior_bg_ids": [
            "L130B02"
          ],
          "attached_ref_labels": [
            "bg:L130B02"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L130B02": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L130",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L130B02.png",
        "t2i_prompt": "2069년 대한민국의 첨단 연구시설 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 메인 실험실의 실제 현장 기록 사진처럼 표현한다. 제공된 평면도는 구조와 고정 설비의 상대 위치를 파악하는 용도로만 사용한다. 남쪽 진입 동선 안쪽에서 중심축보다 약간 서쪽에 서서, 원형 유리 시험실의 남쪽 자동 출입문을 향해 북북동쪽을 바라보는 구도다. 촬영 높이는 바닥에서 약 1.6미터, 35밀리미터 풀프레임 미러리스 카메라에 28밀리미터 광각 렌즈를 사용한다. 수직선과 공간 비례가 자연스러운 눈높이 사진이며, 위에서 내려다본 모습이나 평면도, 건축 도해가 아니다.\n\n전경 왼쪽에는 시험 침대를 향하는 관찰용 의자가 있고, 그 너머 중앙에 원형 유리 경계로 둘러싸인 시험 공간이 보인다. 자동 출입문 바로 동쪽의 고정 문틀에는 출입문 스위치가 있다. 유리 시험실 내부의 중심보다 약간 서쪽에는 머리 쪽이 북쪽을 향하는 스테인리스 시험 침대가 놓여 있고, 침대 양옆에 부착된 결박 장치의 실제 기계 구조가 식별된다. 침대 동쪽에는 북쪽을 향한 금속 시험 의자가 있다. 침대 북서쪽과 북동쪽의 스캐너 암, 시험실 동쪽 내부 가장자리의 케이블 접속부와 배관은 평면도에 제시된 상대 위치를 따른다.\n\n유리 시험실 뒤쪽 북측에는 책상·좌석·모니터가 통합된 작업대 네 개가 나란히 있고, 서측과 동측에는 각각 두 개의 통합 작업대가 둘러 배치되어 있다. 동측 남쪽 작업대에는 내장 서랍이 있다. 남쪽 진입 동선 위 천장의 경보등은 고정 설비로 자연스럽게 보인다. 전경의 관찰용 의자, 중경의 침대와 결박 장치, 후경의 작업대가 공간의 깊이에 따라 겹쳐 보이도록 한다.\n\n한국의 정밀 연구시설에서 볼 법한 실용적인 설비 구성과 절제된 산업용 마감을 바탕으로, 미래 기술은 스캐너의 정밀한 관절과 통합 작업대의 기능적인 구조로 표현한다. 아침의 부드러운 확산광과 정상적인 실내 백색 조명이 자연스럽게 어우러지며, 유리의 투과와 반사, 스테인리스의 미세한 가공 결, 금속 접합부와 케이블 피복의 질감이 실제 재료처럼 보인다. 재료에는 오래 관리하며 사용한 정도의 은은한 사용감이 있으나 표면을 과장되게 낡히지 않는다. 공간은 깨끗하고 정돈된 상태다. 자연스러운 심도와 노출을 유지하고 과도한 보정이나 광고 사진 같은 완벽한 광택을 피한다. 컴퓨터로 합성한 건축 이미지가 아니라 실제 장소를 담은 사진이어야 한다. 사람, 얼굴, 인체 형태의 형상은 화면과 유리 반사에도 나타나지 않는다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S88_Shot7",
            "guide_text": "높이 약 1.6미터의 눈높이와 28밀리미터 광각 구도를 사용한다. 전경 왼쪽의 관찰용 의자 너머로 유리 시험실 안의 침대와 양옆 결박 장치가 잘 읽히고, 뒤쪽과 양옆의 작업대가 공간을 둘러싸도록 한다. 사람 없이 정돈된 실험실과 정상적인 아침 조명만 유지한다."
          },
          {
            "shot_id": "S88_Shot37",
            "guide_text": "앞 장면과 카메라 위치, 높이, 화각, 아침 조명을 그대로 맞춘다. 관찰용 의자와 유리 출입문, 침대, 금속 시험 의자, 주변 작업대의 화면상 위치를 유지한다. 결박 장치의 조작이나 인물의 행동을 배경에 미리 반영하지 않고 동일한 빈 공간을 제공한다."
          }
        ],
        "shot_ids": [
          "S88_Shot7",
          "S88_Shot37"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Just inside number 6 (laboratory entrance), slightly west of the entrance axis, facing north-northeast through number 7 toward numbers 11 and 12 (test bed and restraint hardware).",
          "camera_height": "eye-level standing, approximately 1.6 m",
          "lens_hint": "28mm wide angle",
          "framing_notes": "Maintain this same camera and equipment arrangement for preparation and farewell shots. Frame number 27 near the foreground and the surrounding workstation ring beyond the enclosure. Restraint hardware persists, but hand restraints may be released during the farewell action without moving the bed. Maintain normal pre-alarm morning conditions; no red alarm activation, malfunction smoke, damage, or displaced stand is required by these selected backgrounds."
        },
        "reference_decision": {
          "bg_id": "L130B02",
          "fp_id": "fp_l130_main_laboratory",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L130B02 is an eligible clean anchor. Its staged shots establish unit 2 around base marker 11, with unit 1 providing surrounding context. The camera in unit 2 targets marker 11 with broad coverage for S88_Shot7. S88_Shot37 supplies a closer shot-specific composition, not a second simultaneous composition in this representative plate.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/floor_plan/fp_l130_main_laboratory.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "Render the dwelling-identity anchor directly from the base plan; no prior reference is selected.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 2,
            "camera_cell": [
              4,
              6
            ],
            "look_at_unit": 2,
            "look_at_cell": [
              3,
              4
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Representative broad view toward marker 11 from inside unit 2. Preserve the staged oblique view of its top and long side and surrounding floor. Height and downward orientation come from S88_Shot7 staging; the grid encodes only the horizontal placement."
          },
          "render_guidance": {
            "visible_space_directive": "Establish unit 2 around marker 11, with marker 12 attached in its base position and markers 13–16 retained at their recorded positions wherever in frame. Show only the portion of surrounding unit 1 admitted by the 90-degree view. Visibility candidates for other units and openings are supersets, not permission to expose all of them.",
            "camera_framing_directive": "Use camera_unit 2 at [4, 6], looking within unit 2 toward [3, 4], with wide 90-degree broad coverage. For the representative S88_Shot7 composition, show marker 11 diagonally with surrounding floor and less than two-fifths image occupancy. Do not merge the close S88_Shot37 composition into this wide framing.",
            "subject_position_directive": "S88_Shot7 commits a complete supine restrained subject along marker 11, diagonally lower-left to upper-right, with attention toward a person outside the opening frame. Preserve that placement as shot-layer staging. S88_Shot37 instead commits a partial face on the right and a touching fingertip entering lower-left; these are separate shot-layer cues, not additional subjects to place in the clean anchor plate.",
            "state_cue_directive": "No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Preserve base marker 12 and its attachment geometry; its staged engagement and subject contact belong to the consuming-shot layer.",
            "negative_continuity_directive": "Exclude overlay markers 38, 39, and 40. Avoid relocating markers 11–16 or treating the visibility supersets as a committed panoramic view. Do not conflate markers 8 and 29 because their projected grid cells coincide."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [4, 6]\n  - look_at_unit: 2\n  - look_at_cell: [3, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Representative broad view toward marker 11 from inside unit 2. Preserve the staged oblique view of its top and long side and surrounding floor. Height and downward orientation come from S88_Shot7 staging; the grid encodes only the horizontal placement.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 2 around marker 11, with marker 12 attached in its base position and markers 13–16 retained at their recorded positions wherever in frame. Show only the portion of surrounding unit 1 admitted by the 90-degree view. Visibility candidates for other units and openings are supersets, not permission to expose all of them.\n  - camera_framing_directive: Use camera_unit 2 at [4, 6], looking within unit 2 toward [3, 4], with wide 90-degree broad coverage. For the representative S88_Shot7 composition, show marker 11 diagonally with surrounding floor and less than two-fifths image occupancy. Do not merge the close S88_Shot37 composition into this wide framing.\n  - subject_position_directive: S88_Shot7 commits a complete supine restrained subject along marker 11, diagonally lower-left to upper-right, with attention toward a person outside the opening frame. Preserve that placement as shot-layer staging. S88_Shot37 instead commits a partial face on the right and a touching fingertip entering lower-left; these are separate shot-layer cues, not additional subjects to place in the clean anchor plate.\n  - state_cue_directive: No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Preserve base marker 12 and its attachment geometry; its staged engagement and subject contact belong to the consuming-shot layer.\n  - negative_continuity_directive: Exclude overlay markers 38, 39, and 40. Avoid relocating markers 11–16 or treating the visibility supersets as a committed panoramic view. Do not conflate markers 8 and 29 because their projected grid cells coincide.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [4, 6]\n  - look_at_unit: 2\n  - look_at_cell: [3, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Representative broad view toward marker 11 from inside unit 2. Preserve the staged oblique view of its top and long side and surrounding floor. Height and downward orientation come from S88_Shot7 staging; the grid encodes only the horizontal placement.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 2 around marker 11, with marker 12 attached in its base position and markers 13–16 retained at their recorded positions wherever in frame. Show only the portion of surrounding unit 1 admitted by the 90-degree view. Visibility candidates for other units and openings are supersets, not permission to expose all of them.\n  - camera_framing_directive: Use camera_unit 2 at [4, 6], looking within unit 2 toward [3, 4], with wide 90-degree broad coverage. For the representative S88_Shot7 composition, show marker 11 diagonally with surrounding floor and less than two-fifths image occupancy. Do not merge the close S88_Shot37 composition into this wide framing.\n  - subject_position_directive: S88_Shot7 commits a complete supine restrained subject along marker 11, diagonally lower-left to upper-right, with attention toward a person outside the opening frame. Preserve that placement as shot-layer staging. S88_Shot37 instead commits a partial face on the right and a touching fingertip entering lower-left; these are separate shot-layer cues, not additional subjects to place in the clean anchor plate.\n  - state_cue_directive: No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Preserve base marker 12 and its attachment geometry; its staged engagement and subject contact belong to the consuming-shot layer.\n  - negative_continuity_directive: Exclude overlay markers 38, 39, and 40. Avoid relocating markers 11–16 or treating the visibility supersets as a committed panoramic view. Do not conflate markers 8 and 29 because their projected grid cells coincide.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [4, 6]\n  - look_at_unit: 2\n  - look_at_cell: [3, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Representative broad view toward marker 11 from inside unit 2. Preserve the staged oblique view of its top and long side and surrounding floor. Height and downward orientation come from S88_Shot7 staging; the grid encodes only the horizontal placement.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Establish unit 2 around marker 11, with marker 12 attached in its base position and markers 13–16 retained at their recorded positions wherever in frame. Show only the portion of surrounding unit 1 admitted by the 90-degree view. Visibility candidates for other units and openings are supersets, not permission to expose all of them.\n  - camera_framing_directive: Use camera_unit 2 at [4, 6], looking within unit 2 toward [3, 4], with wide 90-degree broad coverage. For the representative S88_Shot7 composition, show marker 11 diagonally with surrounding floor and less than two-fifths image occupancy. Do not merge the close S88_Shot37 composition into this wide framing.\n  - subject_position_directive: S88_Shot7 commits a complete supine restrained subject along marker 11, diagonally lower-left to upper-right, with attention toward a person outside the opening frame. Preserve that placement as shot-layer staging. S88_Shot37 instead commits a partial face on the right and a touching fingertip entering lower-left; these are separate shot-layer cues, not additional subjects to place in the clean anchor plate.\n  - state_cue_directive: No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Preserve base marker 12 and its attachment geometry; its staged engagement and subject contact belong to the consuming-shot layer.\n  - negative_continuity_directive: Exclude overlay markers 38, 39, and 40. Avoid relocating markers 11–16 or treating the visibility supersets as a committed panoramic view. Do not conflate markers 8 and 29 because their projected grid cells coincide.\n\n2069년 대한민국의 첨단 연구시설 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 메인 실험실의 실제 현장 기록 사진처럼 표현한다. 제공된 평면도는 구조와 고정 설비의 상대 위치를 파악하는 용도로만 사용한다. 남쪽 진입 동선 안쪽에서 중심축보다 약간 서쪽에 서서, 원형 유리 시험실의 남쪽 자동 출입문을 향해 북북동쪽을 바라보는 구도다. 촬영 높이는 바닥에서 약 1.6미터, 35밀리미터 풀프레임 미러리스 카메라에 28밀리미터 광각 렌즈를 사용한다. 수직선과 공간 비례가 자연스러운 눈높이 사진이며, 위에서 내려다본 모습이나 평면도, 건축 도해가 아니다.\n\n전경 왼쪽에는 시험 침대를 향하는 관찰용 의자가 있고, 그 너머 중앙에 원형 유리 경계로 둘러싸인 시험 공간이 보인다. 자동 출입문 바로 동쪽의 고정 문틀에는 출입문 스위치가 있다. 유리 시험실 내부의 중심보다 약간 서쪽에는 머리 쪽이 북쪽을 향하는 스테인리스 시험 침대가 놓여 있고, 침대 양옆에 부착된 결박 장치의 실제 기계 구조가 식별된다. 침대 동쪽에는 북쪽을 향한 금속 시험 의자가 있다. 침대 북서쪽과 북동쪽의 스캐너 암, 시험실 동쪽 내부 가장자리의 케이블 접속부와 배관은 평면도에 제시된 상대 위치를 따른다.\n\n유리 시험실 뒤쪽 북측에는 책상·좌석·모니터가 통합된 작업대 네 개가 나란히 있고, 서측과 동측에는 각각 두 개의 통합 작업대가 둘러 배치되어 있다. 동측 남쪽 작업대에는 내장 서랍이 있다. 남쪽 진입 동선 위 천장의 경보등은 고정 설비로 자연스럽게 보인다. 전경의 관찰용 의자, 중경의 침대와 결박 장치, 후경의 작업대가 공간의 깊이에 따라 겹쳐 보이도록 한다.\n\n한국의 정밀 연구시설에서 볼 법한 실용적인 설비 구성과 절제된 산업용 마감을 바탕으로, 미래 기술은 스캐너의 정밀한 관절과 통합 작업대의 기능적인 구조로 표현한다. 아침의 부드러운 확산광과 정상적인 실내 백색 조명이 자연스럽게 어우러지며, 유리의 투과와 반사, 스테인리스의 미세한 가공 결, 금속 접합부와 케이블 피복의 질감이 실제 재료처럼 보인다. 재료에는 오래 관리하며 사용한 정도의 은은한 사용감이 있으나 표면을 과장되게 낡히지 않는다. 공간은 깨끗하고 정돈된 상태다. 자연스러운 심도와 노출을 유지하고 과도한 보정이나 광고 사진 같은 완벽한 광택을 피한다. 컴퓨터로 합성한 건축 이미지가 아니라 실제 장소를 담은 사진이어야 한다. 사람, 얼굴, 인체 형태의 형상은 화면과 유리 반사에도 나타나지 않는다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 2,
          "camera_cell": [
            4,
            6
          ],
          "look_at_unit": 2,
          "look_at_cell": [
            3,
            4
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Representative broad view toward marker 11 from inside unit 2. Preserve the staged oblique view of its top and long side and surrounding floor. Height and downward orientation come from S88_Shot7 staging; the grid encodes only the horizontal placement."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Establish unit 2 around marker 11, with marker 12 attached in its base position and markers 13–16 retained at their recorded positions wherever in frame. Show only the portion of surrounding unit 1 admitted by the 90-degree view. Visibility candidates for other units and openings are supersets, not permission to expose all of them.",
          "camera_framing_directive": "Use camera_unit 2 at [4, 6], looking within unit 2 toward [3, 4], with wide 90-degree broad coverage. For the representative S88_Shot7 composition, show marker 11 diagonally with surrounding floor and less than two-fifths image occupancy. Do not merge the close S88_Shot37 composition into this wide framing.",
          "subject_position_directive": "S88_Shot7 commits a complete supine restrained subject along marker 11, diagonally lower-left to upper-right, with attention toward a person outside the opening frame. Preserve that placement as shot-layer staging. S88_Shot37 instead commits a partial face on the right and a touching fingertip entering lower-left; these are separate shot-layer cues, not additional subjects to place in the clean anchor plate.",
          "state_cue_directive": "No committed background state cue beyond \"clean residential space\" applies: clean_background_expected is true and no transient markers are listed. Refrain from inventing additional cues. Preserve base marker 12 and its attachment geometry; its staged engagement and subject contact belong to the consuming-shot layer.",
          "negative_continuity_directive": "Exclude overlay markers 38, 39, and 40. Avoid relocating markers 11–16 or treating the visibility supersets as a committed panoramic view. Do not conflate markers 8 and 29 because their projected grid cells coincide."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_l130_main_laboratory",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_l130_main_laboratory"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L130B03": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L130",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L130B03.png",
        "t2i_prompt": "2069년 대한민국의 첨단 연구시설 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 메인 실험실의 아침이며, 천장의 침입 경보가 적색으로 가장 밝게 섬광하는 순간이다. 실제 장소 기록 사진과 구별되지 않는 물리적 재질과 노출을 사용한다. 삽화나 컴퓨터 생성 이미지, 건축 시각화가 아닌 실제 촬영본으로 표현하며, 과도하게 말끔한 광고 사진처럼 만들지 않는다.\n\n참조 평면도는 구조와 고정 설비의 상대적 위치를 파악하는 용도로만 사용한다. 남쪽 통로의 중심축에서 약간 서쪽으로 비켜선 지점에 카메라를 두고 북북동쪽을 바라본다. 높이는 서 있는 사람의 눈높이인 약 1.6미터이며, 35밀리미터 규격의 풀프레임 미러리스 카메라에 28밀리미터 광각 렌즈를 사용한 자연스러운 원근감이다. 원형 유리 시험실의 남쪽 자동 출입구를 통해 시험대와 측면 고정 장치가 보이도록 구성한다. 위에서 내려다보지 않고, 화면 상단에는 남쪽 통로 위 천장에 설치된 경광등이 들어오도록 한다.\n\n중앙의 원형 유리 시험실과 그 둘레의 작업 구역은 참조의 배치를 따른다. 자동 출입구의 동쪽 유리벽 문설주에는 고정 스위치가 있다. 시험실 중앙에서 조금 서쪽에 놓인 스테인리스 시험대는 머리 쪽이 북쪽을 향하며, 양옆에 부착된 고정 장치의 체결 상태를 임의로 강조하지 않는다. 시험대 동쪽에는 북쪽을 향한 금속 시험 의자가 있고, 북서쪽과 북동쪽에는 각각 스캐너 암이 있다. 동쪽 안쪽 가장자리의 케이블 접속부와 배관은 시험대와 의자에 연결된다. 유리 시험실 바깥 북쪽에는 책상·좌석·모니터가 통합된 작업대 네 개가 나란히 있으며, 서쪽과 동쪽에는 각각 두 개씩 배치된다. 동쪽 남단 작업대에는 붙박이 서랍이 있다. 출입구 남서쪽의 관찰용 의자는 시험대를 향한다. 정밀한 금속 접합부, 실제 유리의 두께와 투과, 스테인리스의 미세한 결, 작업대와 좌석의 가벼운 일상적 사용감으로 국내 연구시설의 실용적인 산업 설비가 발전한 공간을 표현한다.\n\n아침의 부드러운 자연광과 기존 실내 조도의 차분한 중성 기조를 유지하면서, 천장 경광등의 강렬한 적색 섬광이 원형 유리벽과 시험대, 금속 의자, 스캐너 외장에 일시적으로 반사된다. 곡면 유리에는 곡률에 맞는 붉은 반사 띠가, 금속에는 표면 방향에 따른 붉은 하이라이트가 생긴다. 붉은빛은 광원과 반사면 사이의 실제 거리와 각도에 따라 약해지며 공간 전체의 고유색을 붉게 바꾸지 않는다. 밝은 경광등 주변을 제외한 설비의 재질과 세부는 읽을 수 있게 노출한다. 유리와 모든 장비는 온전하고 제자리에 있다. 실제 렌즈의 자연스러운 피사계 심도와 별도 색 보정 없는 색감을 사용한다. 사람, 얼굴, 인체 형태의 형상은 화면이나 반사 속에도 나타나지 않는 빈 배경이다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S88_Shot41",
            "guide_text": "남쪽 통로에서 약 1.6미터 눈높이로 북북동쪽을 바라보는 넓은 구도를 사용한다. 원형 유리 시험실의 자동 출입구 너머로 시험대와 측면 고정 장치가 읽히고, 주변 작업대가 공간의 깊이를 형성하도록 한다. 화면 상단에 천장 경광등을 포함해 적색 섬광이 최대 밝기에 이른 순간을 포착한다. 붉은 반사는 유리의 곡면과 금속의 방향에 맞춰 나타내되, 기존 아침 조도와 재질은 유지한다. 모든 설비가 온전한 빈 실험실 배경으로 구성하며 사람이나 인체 형태의 형상을 추가하지 않는다."
          }
        ],
        "shot_ids": [
          "S88_Shot41"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "Just inside number 6 (laboratory entrance), slightly west of the entrance axis, facing north-northeast through number 7 toward numbers 11 and 12, matching the pre-alarm laboratory camera.",
          "camera_height": "eye-level standing, approximately 1.6 m",
          "lens_hint": "28mm wide angle",
          "framing_notes": "Match the geometry and framing of L130B02. Include the upper mounting position of number 29 where the frame permits. Overlay 39 supplies the peak red beacon flash and corresponding temporary reflections in this background only; it does not recolor the floor-plan zones or alter any equipment positions. Keep all glass and equipment intact; exclude later battle damage."
        },
        "reference_decision": {
          "bg_id": "L130B03",
          "fp_id": "fp_l130_main_laboratory",
          "node_index": 1,
          "mode": "same_physical_space_view",
          "is_dwelling_identity_anchor": false,
          "rationale": "S88_Shot41 remains at the preceding bedside camera base but looks upward toward fixed marker 29 and the surrounding ceiling in unit 1. L130B02 commits the same physical environment. This requires a different structural slice rather than reuse of its downward-facing plate: the camera cell remains [4, 6], while the look-at changes from marker 11 at [3, 4] to marker 29's projected mounting cell [5, 5].",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L130B02.png"
          ],
          "source_bg_ids": [
            "L130B02"
          ],
          "fp_included": false,
          "reference_decision": {
            "selected_refs": [
              {
                "ref_bg_id": "L130B02",
                "physical_space_id": "fp_l130_main_laboratory:units_1_2",
                "space_description": "Connected fixed environment of units 1 and 2."
              }
            ],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "single_same_space_reference",
            "why_single_ref_or_two_refs": "One reference establishes the fixed environment inherited by the upward view in S88_Shot41; no second distinct visible space is committed.",
            "physical_space_id_per_ref": [
              "fp_l130_main_laboratory:units_1_2"
            ],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 2,
            "camera_cell": [
              4,
              6
            ],
            "look_at_unit": 1,
            "look_at_cell": [
              5,
              5
            ],
            "lens_enum": "normal",
            "fov_deg": 50,
            "framing_notes": "Keep the bedside horizontal base. Target marker 29 at its projected mounting cell, not marker 8 at the same cell. S88_Shot41 supplies the steep upward orientation and retained bedside height; use neutral coverage of the fixture and surrounding ceiling."
          },
          "render_guidance": {
            "visible_space_directive": "From unit 2, show the underside and oblique side of base marker 29 mounted above the southern aisle in unit 1, with surrounding ceiling. Keep its mounting relationship to units 1 and 2 consistent with the fixed environment of L130B02. The upward view does not commit visibility of the floor-level openings or neighboring units.",
            "camera_framing_directive": "Use camera_unit 2 at [4, 6], looking toward unit 1 at [5, 5], with normal 50-degree neutral coverage. Apply the staged steep upward orientation: marker 29 lies near the upper-right intersection, occupies less than one-third of the image, and remains surrounded by ceiling. The coordinate represents its projected mounting location, not ceiling elevation.",
            "subject_position_directive": "S88_Shot41 explicitly commits no people in the held frame. Keep this upward-facing background free of subjects and do not carry subject silhouettes from L130B02 into it.",
            "state_cue_directive": "Apply transient marker 39 to fixed marker 29 at the staged dazzling red peak, with controlled highlight bloom preserving the housing outline. Keep the fixed housing and mounting position stable; the transient illumination is not structural damage or a fixture replacement.",
            "negative_continuity_directive": "Exclude overlay markers 38 and 40. Avoid importing the downward framing of L130B02 into this upward view. Do not substitute marker 8 for marker 29 despite their shared projected cell, relocate marker 29, or expose unrelated units merely because they occur in visibility supersets."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L130B02' physical_space_id='fp_l130_main_laboratory:units_1_2'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [4, 6]\n  - look_at_unit: 1\n  - look_at_cell: [5, 5]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Keep the bedside horizontal base. Target marker 29 at its projected mounting cell, not marker 8 at the same cell. S88_Shot41 supplies the steep upward orientation and retained bedside height; use neutral coverage of the fixture and surrounding ceiling.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 2, show the underside and oblique side of base marker 29 mounted above the southern aisle in unit 1, with surrounding ceiling. Keep its mounting relationship to units 1 and 2 consistent with the fixed environment of L130B02. The upward view does not commit visibility of the floor-level openings or neighboring units.\n  - camera_framing_directive: Use camera_unit 2 at [4, 6], looking toward unit 1 at [5, 5], with normal 50-degree neutral coverage. Apply the staged steep upward orientation: marker 29 lies near the upper-right intersection, occupies less than one-third of the image, and remains surrounded by ceiling. The coordinate represents its projected mounting location, not ceiling elevation.\n  - subject_position_directive: S88_Shot41 explicitly commits no people in the held frame. Keep this upward-facing background free of subjects and do not carry subject silhouettes from L130B02 into it.\n  - state_cue_directive: Apply transient marker 39 to fixed marker 29 at the staged dazzling red peak, with controlled highlight bloom preserving the housing outline. Keep the fixed housing and mounting position stable; the transient illumination is not structural damage or a fixture replacement.\n  - negative_continuity_directive: Exclude overlay markers 38 and 40. Avoid importing the downward framing of L130B02 into this upward view. Do not substitute marker 8 for marker 29 despite their shared projected cell, relocate marker 29, or expose unrelated units merely because they occur in visibility supersets.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L130B02' physical_space_id='fp_l130_main_laboratory:units_1_2'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [4, 6]\n  - look_at_unit: 1\n  - look_at_cell: [5, 5]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Keep the bedside horizontal base. Target marker 29 at its projected mounting cell, not marker 8 at the same cell. S88_Shot41 supplies the steep upward orientation and retained bedside height; use neutral coverage of the fixture and surrounding ceiling.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 2, show the underside and oblique side of base marker 29 mounted above the southern aisle in unit 1, with surrounding ceiling. Keep its mounting relationship to units 1 and 2 consistent with the fixed environment of L130B02. The upward view does not commit visibility of the floor-level openings or neighboring units.\n  - camera_framing_directive: Use camera_unit 2 at [4, 6], looking toward unit 1 at [5, 5], with normal 50-degree neutral coverage. Apply the staged steep upward orientation: marker 29 lies near the upper-right intersection, occupies less than one-third of the image, and remains surrounded by ceiling. The coordinate represents its projected mounting location, not ceiling elevation.\n  - subject_position_directive: S88_Shot41 explicitly commits no people in the held frame. Keep this upward-facing background free of subjects and do not carry subject silhouettes from L130B02 into it.\n  - state_cue_directive: Apply transient marker 39 to fixed marker 29 at the staged dazzling red peak, with controlled highlight bloom preserving the housing outline. Keep the fixed housing and mounting position stable; the transient illumination is not structural damage or a fixture replacement.\n  - negative_continuity_directive: Exclude overlay markers 38 and 40. Avoid importing the downward framing of L130B02 into this upward view. Do not substitute marker 8 for marker 29 despite their shared projected cell, relocate marker 29, or expose unrelated units merely because they occur in visibility supersets.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L130B02' physical_space_id='fp_l130_main_laboratory:units_1_2'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [4, 6]\n  - look_at_unit: 1\n  - look_at_cell: [5, 5]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Keep the bedside horizontal base. Target marker 29 at its projected mounting cell, not marker 8 at the same cell. S88_Shot41 supplies the steep upward orientation and retained bedside height; use neutral coverage of the fixture and surrounding ceiling.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 2, show the underside and oblique side of base marker 29 mounted above the southern aisle in unit 1, with surrounding ceiling. Keep its mounting relationship to units 1 and 2 consistent with the fixed environment of L130B02. The upward view does not commit visibility of the floor-level openings or neighboring units.\n  - camera_framing_directive: Use camera_unit 2 at [4, 6], looking toward unit 1 at [5, 5], with normal 50-degree neutral coverage. Apply the staged steep upward orientation: marker 29 lies near the upper-right intersection, occupies less than one-third of the image, and remains surrounded by ceiling. The coordinate represents its projected mounting location, not ceiling elevation.\n  - subject_position_directive: S88_Shot41 explicitly commits no people in the held frame. Keep this upward-facing background free of subjects and do not carry subject silhouettes from L130B02 into it.\n  - state_cue_directive: Apply transient marker 39 to fixed marker 29 at the staged dazzling red peak, with controlled highlight bloom preserving the housing outline. Keep the fixed housing and mounting position stable; the transient illumination is not structural damage or a fixture replacement.\n  - negative_continuity_directive: Exclude overlay markers 38 and 40. Avoid importing the downward framing of L130B02 into this upward view. Do not substitute marker 8 for marker 29 despite their shared projected cell, relocate marker 29, or expose unrelated units merely because they occur in visibility supersets.\n\n2069년 대한민국의 첨단 연구시설 내부를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 메인 실험실의 아침이며, 천장의 침입 경보가 적색으로 가장 밝게 섬광하는 순간이다. 실제 장소 기록 사진과 구별되지 않는 물리적 재질과 노출을 사용한다. 삽화나 컴퓨터 생성 이미지, 건축 시각화가 아닌 실제 촬영본으로 표현하며, 과도하게 말끔한 광고 사진처럼 만들지 않는다.\n\n참조 평면도는 구조와 고정 설비의 상대적 위치를 파악하는 용도로만 사용한다. 남쪽 통로의 중심축에서 약간 서쪽으로 비켜선 지점에 카메라를 두고 북북동쪽을 바라본다. 높이는 서 있는 사람의 눈높이인 약 1.6미터이며, 35밀리미터 규격의 풀프레임 미러리스 카메라에 28밀리미터 광각 렌즈를 사용한 자연스러운 원근감이다. 원형 유리 시험실의 남쪽 자동 출입구를 통해 시험대와 측면 고정 장치가 보이도록 구성한다. 위에서 내려다보지 않고, 화면 상단에는 남쪽 통로 위 천장에 설치된 경광등이 들어오도록 한다.\n\n중앙의 원형 유리 시험실과 그 둘레의 작업 구역은 참조의 배치를 따른다. 자동 출입구의 동쪽 유리벽 문설주에는 고정 스위치가 있다. 시험실 중앙에서 조금 서쪽에 놓인 스테인리스 시험대는 머리 쪽이 북쪽을 향하며, 양옆에 부착된 고정 장치의 체결 상태를 임의로 강조하지 않는다. 시험대 동쪽에는 북쪽을 향한 금속 시험 의자가 있고, 북서쪽과 북동쪽에는 각각 스캐너 암이 있다. 동쪽 안쪽 가장자리의 케이블 접속부와 배관은 시험대와 의자에 연결된다. 유리 시험실 바깥 북쪽에는 책상·좌석·모니터가 통합된 작업대 네 개가 나란히 있으며, 서쪽과 동쪽에는 각각 두 개씩 배치된다. 동쪽 남단 작업대에는 붙박이 서랍이 있다. 출입구 남서쪽의 관찰용 의자는 시험대를 향한다. 정밀한 금속 접합부, 실제 유리의 두께와 투과, 스테인리스의 미세한 결, 작업대와 좌석의 가벼운 일상적 사용감으로 국내 연구시설의 실용적인 산업 설비가 발전한 공간을 표현한다.\n\n아침의 부드러운 자연광과 기존 실내 조도의 차분한 중성 기조를 유지하면서, 천장 경광등의 강렬한 적색 섬광이 원형 유리벽과 시험대, 금속 의자, 스캐너 외장에 일시적으로 반사된다. 곡면 유리에는 곡률에 맞는 붉은 반사 띠가, 금속에는 표면 방향에 따른 붉은 하이라이트가 생긴다. 붉은빛은 광원과 반사면 사이의 실제 거리와 각도에 따라 약해지며 공간 전체의 고유색을 붉게 바꾸지 않는다. 밝은 경광등 주변을 제외한 설비의 재질과 세부는 읽을 수 있게 노출한다. 유리와 모든 장비는 온전하고 제자리에 있다. 실제 렌즈의 자연스러운 피사계 심도와 별도 색 보정 없는 색감을 사용한다. 사람, 얼굴, 인체 형태의 형상은 화면이나 반사 속에도 나타나지 않는 빈 배경이다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 2,
          "camera_cell": [
            4,
            6
          ],
          "look_at_unit": 1,
          "look_at_cell": [
            5,
            5
          ],
          "lens_enum": "normal",
          "fov_deg": 50,
          "framing_notes": "Keep the bedside horizontal base. Target marker 29 at its projected mounting cell, not marker 8 at the same cell. S88_Shot41 supplies the steep upward orientation and retained bedside height; use neutral coverage of the fixture and surrounding ceiling."
        },
        "shot_aware_plan_node_index": 1,
        "shot_aware_plan_mode": "same_physical_space_view",
        "render_guidance": {
          "visible_space_directive": "From unit 2, show the underside and oblique side of base marker 29 mounted above the southern aisle in unit 1, with surrounding ceiling. Keep its mounting relationship to units 1 and 2 consistent with the fixed environment of L130B02. The upward view does not commit visibility of the floor-level openings or neighboring units.",
          "camera_framing_directive": "Use camera_unit 2 at [4, 6], looking toward unit 1 at [5, 5], with normal 50-degree neutral coverage. Apply the staged steep upward orientation: marker 29 lies near the upper-right intersection, occupies less than one-third of the image, and remains surrounded by ceiling. The coordinate represents its projected mounting location, not ceiling elevation.",
          "subject_position_directive": "S88_Shot41 explicitly commits no people in the held frame. Keep this upward-facing background free of subjects and do not carry subject silhouettes from L130B02 into it.",
          "state_cue_directive": "Apply transient marker 39 to fixed marker 29 at the staged dazzling red peak, with controlled highlight bloom preserving the housing outline. Keep the fixed housing and mounting position stable; the transient illumination is not structural damage or a fixture replacement.",
          "negative_continuity_directive": "Exclude overlay markers 38 and 40. Avoid importing the downward framing of L130B02 into this upward view. Do not substitute marker 8 for marker 29 despite their shared projected cell, relocate marker 29, or expose unrelated units merely because they occur in visibility supersets."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_l130_main_laboratory",
          "prior_bg_ids": [
            "L130B02"
          ],
          "attached_ref_labels": [
            "bg:L130B02"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L131B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L131",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L131B01.png",
        "t2i_prompt": "2069년 대한민국의 현대적인 소장실과 공용 홀이 연결된 실내를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실제 장소 기록 사진과 구별되지 않는 재질, 원근감, 노출을 구현한다. 남쪽 벽 가까이에서 북동쪽 책상을 향해 바라보는 구도이며, 카메라는 서 있는 사람의 눈높이인 약 1.6미터에 둔다. 35밀리미터 규격의 센서를 갖춘 미러리스 카메라와 28밀리미터 광각 렌즈로 촬영하되 가장자리 왜곡은 절제한다. 내려다보는 시점이나 평면도, 건축 도해가 아닌 수평에 가까운 실내 사진이다.\n\n참조 평면도에서 확인되는 공간과 고정 가구의 상대적 배치를 따른다. 서쪽과 중앙에는 열린 공용 홀이 있고, 북동쪽에는 긴 변이 동서 방향인 소장 책상이 남쪽 출입구를 향한다. 책상 뒤 북쪽에는 소장 의자가 있으며 의자와 북쪽 벽 사이의 여유 공간을 유지한다. 남쪽 벽 동쪽 끝의 출입문을 화면 오른쪽 가장자리에 포함하고, 출입문에서 책상 앞으로 이어지는 접근 공간을 넓게 드러낸다. 책상과 출입문이 한 화면에서 명확히 읽히도록 한다. 왼쪽에는 공용 홀 중앙의 어쿠스틱 피아노와 그 남쪽 건반 앞의 피아노 의자를 배치 관계 그대로 보여준다. 피아노 건반은 남쪽을 향하며, 그보다 더 왼쪽 먼 곳에는 홀 북서쪽 기둥이 보인다. 책상 북서쪽 모서리에 놓인 작은 가족사진 액자는 기존 책상 부속품으로 유지하되, 이 시점에서는 액자의 뒷면과 가장자리만 보이게 하여 사진 속 인물은 드러내지 않는다.\n\n한국의 업무시설에서 볼 수 있는 절제된 직선형 마감과 실용적인 가구 비례를 바탕으로, 미래 시점의 정밀한 시공 마감과 오래 사용해 온 아날로그 피아노가 자연스럽게 공존한다. 실제 콘크리트의 미세한 입자감, 금속 표면의 은은한 광택 차이, 책상 목재의 나뭇결, 피아노 도장면의 현실적인 반사를 담는다. 새 제품만 진열한 공간처럼 획일적으로 매끈하게 만들지 않는다. 야간 실내의 일정하고 조용한 조명 아래, 차분한 중성색 벽면과 목재 본연의 따뜻한 색이 보인다. 실제 실내광의 자연스러운 반사와 부드러운 그림자, 어두운 부분에도 남아 있는 재질 정보를 유지한다. 책상과 출입문, 왼쪽 피아노가 함께 알아보이는 자연스러운 피사계 심도로 촬영한다. 공간은 깨끗하고 정돈된 평상 상태다. 사람, 얼굴, 인체 형태의 형상은 사진과 반사면을 포함해 어디에도 보이지 않는다. 과도한 후처리 없이 실제 장소의 질감을 기록하며, 광고용 견본 사진이나 컴퓨터 생성 이미지, 삽화, 건축 시각화가 아닌 현실의 촬영본으로 표현한다. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S86_Shot2",
            "guide_text": "남쪽 벽 부근의 약 1.6미터 눈높이에서 북동쪽 책상을 바라보는 공통 구도를 사용한다. 오른쪽 가장자리의 출입문과 책상 앞의 열린 공간을 함께 확보하고, 왼쪽 피아노와 피아노 의자를 공간 기준점으로 남긴다. 북서쪽 기둥은 더 왼쪽 먼 곳에 보이게 한다. 인물 없이 정돈된 야간 실내만 촬영한다."
          },
          {
            "shot_id": "S86_Shot6",
            "guide_text": "앞선 숏과 동일한 카메라 위치, 높이, 광각 범위와 노출을 유지한다. 출입문에서 책상까지 이어지는 열린 공간의 폭과 가구의 상대 위치를 바꾸지 않는다. 왼쪽 피아노와 의자, 책상 위 액자 뒷면의 방향도 동일하게 유지하고, 조용하고 정돈된 야간 배경만 보여준다."
          }
        ],
        "shot_ids": [
          "S86_Shot2",
          "S86_Shot6"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Near the south wall, just east of number 11 (southwest column), facing northeast across number 1 (shared hall) toward number 5 (director desk), with number 4 (entry door) at the right edge.",
          "camera_height": "Eye-level standing, approximately 1.6 m",
          "lens_hint": "28mm wide angle",
          "framing_notes": "Use the same camera for both assigned shots. Keep number 4 and number 5 legible within the frame and preserve the open confrontation space of number 3 between them. Include numbers 8 and 9 on the left as stable hall anchors, number 10 farther left, and number 7 on the desk when resolution permits. Number 11 may remain behind the camera. The background is orderly and quiet at night, with no damage, alarm activation, or later laboratory-event objects; do not bake characters into it."
        },
        "reference_decision": {
          "bg_id": "L131B01",
          "fp_id": "fp_l131_director_office",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L131B01 is the sole clean anchor candidate and its readiness is true for both surfaced shots. With no prior references, establish identity directly from the floor plan. Camera unit 1 looking obliquely toward marker 5 in unit 2 provides the diagonal boundary required by S86_Shot2 and the shorter continuity edge required by S86_Shot6. Normal coverage provides a neutral base for their medium and close framing without forcing all dossier target units into view.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/floor_plan/fp_l131_director_office.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The dwelling identity anchor is seeded fresh from the floor plan; the reference catalog is empty.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 1,
            "camera_cell": [
              7,
              3
            ],
            "look_at_unit": 2,
            "look_at_cell": [
              2,
              7
            ],
            "lens_enum": "normal",
            "fov_deg": 50,
            "framing_notes": "Neutral oblique coverage from unit 1 toward marker 5 in unit 2. Use this as the shared structural base for the staged medium and close views, retaining the diagonal edge and right-side compositional space."
          },
          "render_guidance": {
            "visible_space_directive": "Show the forward slice toward unit 2 from unit 1, centered on base marker 5 at [2, 7]. Preserve marker 6 north of marker 5 and marker 7 at its northwest corner wherever exposed. The listed target units and opening candidates are visibility supersets, not a requirement to show every marker; do not force units 3 or 10 or opening 4 into this forward normal view.",
            "camera_framing_directive": "Place the camera in unit 1 at [7, 3], looking toward unit 2 at [2, 7], with normal lens coverage of 50 degrees. Preserve an oblique view of marker 5 rather than a frontal view. Support S86_Shot2's medium composition with a diagonal corner below and S86_Shot6's close composition with a short oblique edge beneath the lower-edge gesture; maintain open space to the right.",
            "subject_position_directive": "Keep the clean background plate free of rendered subjects while reserving the committed staging positions. S86_Shot2 places the subject left-center, weight forward with both fists low, attention directed off-screen right. S86_Shot6 places the same subject's face in the left two-thirds, with the pointing hand entering along the lower edge toward off-screen right. Preserve the lower boundary and right-side space needed for these placements.",
            "state_cue_directive": "No committed state cue beyond \"clean residential space\" applies to this clean background: no transient markers are listed. Maintain the restrained existing ambient treatment requested by both shots, with no additional lighting change. Refrain from inventing additional state cues.",
            "negative_continuity_directive": "No ignored numbered elements or ignored state overlays are supplied. Avoid relocating markers 5, 6, or 7 to accommodate the shot crops, and avoid changing their relative placement between S86_Shot2 and S86_Shot6. Do not pull markers 4, 8, 9, or 10 into the composition merely because they appear in the reference inventory. Do not treat visibility supersets as confirmed opening adjacency or expose spaces outside the chosen view."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [7, 3]\n  - look_at_unit: 2\n  - look_at_cell: [2, 7]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral oblique coverage from unit 1 toward marker 5 in unit 2. Use this as the shared structural base for the staged medium and close views, retaining the diagonal edge and right-side compositional space.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward slice toward unit 2 from unit 1, centered on base marker 5 at [2, 7]. Preserve marker 6 north of marker 5 and marker 7 at its northwest corner wherever exposed. The listed target units and opening candidates are visibility supersets, not a requirement to show every marker; do not force units 3 or 10 or opening 4 into this forward normal view.\n  - camera_framing_directive: Place the camera in unit 1 at [7, 3], looking toward unit 2 at [2, 7], with normal lens coverage of 50 degrees. Preserve an oblique view of marker 5 rather than a frontal view. Support S86_Shot2's medium composition with a diagonal corner below and S86_Shot6's close composition with a short oblique edge beneath the lower-edge gesture; maintain open space to the right.\n  - subject_position_directive: Keep the clean background plate free of rendered subjects while reserving the committed staging positions. S86_Shot2 places the subject left-center, weight forward with both fists low, attention directed off-screen right. S86_Shot6 places the same subject's face in the left two-thirds, with the pointing hand entering along the lower edge toward off-screen right. Preserve the lower boundary and right-side space needed for these placements.\n  - state_cue_directive: No committed state cue beyond \"clean residential space\" applies to this clean background: no transient markers are listed. Maintain the restrained existing ambient treatment requested by both shots, with no additional lighting change. Refrain from inventing additional state cues.\n  - negative_continuity_directive: No ignored numbered elements or ignored state overlays are supplied. Avoid relocating markers 5, 6, or 7 to accommodate the shot crops, and avoid changing their relative placement between S86_Shot2 and S86_Shot6. Do not pull markers 4, 8, 9, or 10 into the composition merely because they appear in the reference inventory. Do not treat visibility supersets as confirmed opening adjacency or expose spaces outside the chosen view.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [7, 3]\n  - look_at_unit: 2\n  - look_at_cell: [2, 7]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral oblique coverage from unit 1 toward marker 5 in unit 2. Use this as the shared structural base for the staged medium and close views, retaining the diagonal edge and right-side compositional space.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward slice toward unit 2 from unit 1, centered on base marker 5 at [2, 7]. Preserve marker 6 north of marker 5 and marker 7 at its northwest corner wherever exposed. The listed target units and opening candidates are visibility supersets, not a requirement to show every marker; do not force units 3 or 10 or opening 4 into this forward normal view.\n  - camera_framing_directive: Place the camera in unit 1 at [7, 3], looking toward unit 2 at [2, 7], with normal lens coverage of 50 degrees. Preserve an oblique view of marker 5 rather than a frontal view. Support S86_Shot2's medium composition with a diagonal corner below and S86_Shot6's close composition with a short oblique edge beneath the lower-edge gesture; maintain open space to the right.\n  - subject_position_directive: Keep the clean background plate free of rendered subjects while reserving the committed staging positions. S86_Shot2 places the subject left-center, weight forward with both fists low, attention directed off-screen right. S86_Shot6 places the same subject's face in the left two-thirds, with the pointing hand entering along the lower edge toward off-screen right. Preserve the lower boundary and right-side space needed for these placements.\n  - state_cue_directive: No committed state cue beyond \"clean residential space\" applies to this clean background: no transient markers are listed. Maintain the restrained existing ambient treatment requested by both shots, with no additional lighting change. Refrain from inventing additional state cues.\n  - negative_continuity_directive: No ignored numbered elements or ignored state overlays are supplied. Avoid relocating markers 5, 6, or 7 to accommodate the shot crops, and avoid changing their relative placement between S86_Shot2 and S86_Shot6. Do not pull markers 4, 8, 9, or 10 into the composition merely because they appear in the reference inventory. Do not treat visibility supersets as confirmed opening adjacency or expose spaces outside the chosen view.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [7, 3]\n  - look_at_unit: 2\n  - look_at_cell: [2, 7]\n  - lens_enum: 'normal'\n  - fov_deg: 50\n  - framing_notes: 'Neutral oblique coverage from unit 1 toward marker 5 in unit 2. Use this as the shared structural base for the staged medium and close views, retaining the diagonal edge and right-side compositional space.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Show the forward slice toward unit 2 from unit 1, centered on base marker 5 at [2, 7]. Preserve marker 6 north of marker 5 and marker 7 at its northwest corner wherever exposed. The listed target units and opening candidates are visibility supersets, not a requirement to show every marker; do not force units 3 or 10 or opening 4 into this forward normal view.\n  - camera_framing_directive: Place the camera in unit 1 at [7, 3], looking toward unit 2 at [2, 7], with normal lens coverage of 50 degrees. Preserve an oblique view of marker 5 rather than a frontal view. Support S86_Shot2's medium composition with a diagonal corner below and S86_Shot6's close composition with a short oblique edge beneath the lower-edge gesture; maintain open space to the right.\n  - subject_position_directive: Keep the clean background plate free of rendered subjects while reserving the committed staging positions. S86_Shot2 places the subject left-center, weight forward with both fists low, attention directed off-screen right. S86_Shot6 places the same subject's face in the left two-thirds, with the pointing hand entering along the lower edge toward off-screen right. Preserve the lower boundary and right-side space needed for these placements.\n  - state_cue_directive: No committed state cue beyond \"clean residential space\" applies to this clean background: no transient markers are listed. Maintain the restrained existing ambient treatment requested by both shots, with no additional lighting change. Refrain from inventing additional state cues.\n  - negative_continuity_directive: No ignored numbered elements or ignored state overlays are supplied. Avoid relocating markers 5, 6, or 7 to accommodate the shot crops, and avoid changing their relative placement between S86_Shot2 and S86_Shot6. Do not pull markers 4, 8, 9, or 10 into the composition merely because they appear in the reference inventory. Do not treat visibility supersets as confirmed opening adjacency or expose spaces outside the chosen view.\n\n2069년 대한민국의 현대적인 소장실과 공용 홀이 연결된 실내를 실제 카메라로 촬영한 다큐멘터리 풍 사진. 실제 장소 기록 사진과 구별되지 않는 재질, 원근감, 노출을 구현한다. 남쪽 벽 가까이에서 북동쪽 책상을 향해 바라보는 구도이며, 카메라는 서 있는 사람의 눈높이인 약 1.6미터에 둔다. 35밀리미터 규격의 센서를 갖춘 미러리스 카메라와 28밀리미터 광각 렌즈로 촬영하되 가장자리 왜곡은 절제한다. 내려다보는 시점이나 평면도, 건축 도해가 아닌 수평에 가까운 실내 사진이다.\n\n참조 평면도에서 확인되는 공간과 고정 가구의 상대적 배치를 따른다. 서쪽과 중앙에는 열린 공용 홀이 있고, 북동쪽에는 긴 변이 동서 방향인 소장 책상이 남쪽 출입구를 향한다. 책상 뒤 북쪽에는 소장 의자가 있으며 의자와 북쪽 벽 사이의 여유 공간을 유지한다. 남쪽 벽 동쪽 끝의 출입문을 화면 오른쪽 가장자리에 포함하고, 출입문에서 책상 앞으로 이어지는 접근 공간을 넓게 드러낸다. 책상과 출입문이 한 화면에서 명확히 읽히도록 한다. 왼쪽에는 공용 홀 중앙의 어쿠스틱 피아노와 그 남쪽 건반 앞의 피아노 의자를 배치 관계 그대로 보여준다. 피아노 건반은 남쪽을 향하며, 그보다 더 왼쪽 먼 곳에는 홀 북서쪽 기둥이 보인다. 책상 북서쪽 모서리에 놓인 작은 가족사진 액자는 기존 책상 부속품으로 유지하되, 이 시점에서는 액자의 뒷면과 가장자리만 보이게 하여 사진 속 인물은 드러내지 않는다.\n\n한국의 업무시설에서 볼 수 있는 절제된 직선형 마감과 실용적인 가구 비례를 바탕으로, 미래 시점의 정밀한 시공 마감과 오래 사용해 온 아날로그 피아노가 자연스럽게 공존한다. 실제 콘크리트의 미세한 입자감, 금속 표면의 은은한 광택 차이, 책상 목재의 나뭇결, 피아노 도장면의 현실적인 반사를 담는다. 새 제품만 진열한 공간처럼 획일적으로 매끈하게 만들지 않는다. 야간 실내의 일정하고 조용한 조명 아래, 차분한 중성색 벽면과 목재 본연의 따뜻한 색이 보인다. 실제 실내광의 자연스러운 반사와 부드러운 그림자, 어두운 부분에도 남아 있는 재질 정보를 유지한다. 책상과 출입문, 왼쪽 피아노가 함께 알아보이는 자연스러운 피사계 심도로 촬영한다. 공간은 깨끗하고 정돈된 평상 상태다. 사람, 얼굴, 인체 형태의 형상은 사진과 반사면을 포함해 어디에도 보이지 않는다. 과도한 후처리 없이 실제 장소의 질감을 기록하며, 광고용 견본 사진이나 컴퓨터 생성 이미지, 삽화, 건축 시각화가 아닌 현실의 촬영본으로 표현한다. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 1,
          "camera_cell": [
            7,
            3
          ],
          "look_at_unit": 2,
          "look_at_cell": [
            2,
            7
          ],
          "lens_enum": "normal",
          "fov_deg": 50,
          "framing_notes": "Neutral oblique coverage from unit 1 toward marker 5 in unit 2. Use this as the shared structural base for the staged medium and close views, retaining the diagonal edge and right-side compositional space."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Show the forward slice toward unit 2 from unit 1, centered on base marker 5 at [2, 7]. Preserve marker 6 north of marker 5 and marker 7 at its northwest corner wherever exposed. The listed target units and opening candidates are visibility supersets, not a requirement to show every marker; do not force units 3 or 10 or opening 4 into this forward normal view.",
          "camera_framing_directive": "Place the camera in unit 1 at [7, 3], looking toward unit 2 at [2, 7], with normal lens coverage of 50 degrees. Preserve an oblique view of marker 5 rather than a frontal view. Support S86_Shot2's medium composition with a diagonal corner below and S86_Shot6's close composition with a short oblique edge beneath the lower-edge gesture; maintain open space to the right.",
          "subject_position_directive": "Keep the clean background plate free of rendered subjects while reserving the committed staging positions. S86_Shot2 places the subject left-center, weight forward with both fists low, attention directed off-screen right. S86_Shot6 places the same subject's face in the left two-thirds, with the pointing hand entering along the lower edge toward off-screen right. Preserve the lower boundary and right-side space needed for these placements.",
          "state_cue_directive": "No committed state cue beyond \"clean residential space\" applies to this clean background: no transient markers are listed. Maintain the restrained existing ambient treatment requested by both shots, with no additional lighting change. Refrain from inventing additional state cues.",
          "negative_continuity_directive": "No ignored numbered elements or ignored state overlays are supplied. Avoid relocating markers 5, 6, or 7 to accommodate the shot crops, and avoid changing their relative placement between S86_Shot2 and S86_Shot6. Do not pull markers 4, 8, 9, or 10 into the composition merely because they appear in the reference inventory. Do not treat visibility supersets as confirmed opening adjacency or expose spaces outside the chosen view."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_l131_director_office",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_l131_director_office"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L138B01": {
        "status": "ok",
        "location_id": "L138",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L138B01.png",
        "t2i_prompt": "2069년 대한민국의 해안 상륙 지점에서 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 실제 장소 기록 사진과 구별되지 않는 사실적인 배경으로, 사람이나 얼굴, 사람 형태의 형상은 일절 보이지 않는다. 개방된 해변의 가까운 가장자리에 서서 높이 약 1.6미터의 눈높이로 물가를 따라 바라본다. 35밀리미터 규격의 전면형 센서와 24밀리미터 광각 렌즈로 촬영한 넓은 시야이며, 수평선을 화면 아래쪽에 두어 접근 방향을 읽을 수 있는 하늘을 충분히 확보한다. 내려다보는 시점이나 평면도 구도가 아니다.\n\n화면 왼쪽에는 먼바다로 이어지는 해수가 펼쳐지고, 물과 해변이 만나는 좁은 경계가 화면 안쪽으로 길게 이어진다. 중앙 아래에는 넓게 트인 상륙 해변이 있고, 오른쪽에는 해변보다 높은 해안 지면과 개방된 내륙 진입 구역이 연결된다. 오른쪽 끝은 연구시설이 있는 방향으로 이어지는 주변 지형까지만 담고, 건물의 형태를 임의로 만들지 않는다. 한국 해안에서 볼 수 있는 회갈색 모래의 입자, 물가의 젖은 표면과 마른 지면의 질감 차이, 잔물결의 불규칙한 반사를 실제 자연 표면처럼 표현한다.\n\n주간이지만 두꺼운 먹구름이 하늘을 넓게 덮어 해안 전체가 어둡다. 구름층을 통과한 약한 자연광이 바다와 지면을 부드럽게 비추며, 그늘 속 질감은 알아볼 수 있도록 유지한다. 먼바다와 물가 위 공역에는 무장 헬기 여러 대가 편대로 진입하고 있다. 기체의 진행 방향은 바다 쪽에서 화면 오른쪽의 연구시설 방향으로 일관되게 향한다. 거리 차이에 따른 기체 크기와 겹침, 습한 대기에 따른 원거리 대비 감소를 자연스럽게 표현한다. 헬기는 현실적인 항공기 구조와 무장 장착부를 갖추고, 외장의 금속 이음매와 사용에 따른 미세한 마모가 거리에서 식별 가능한 정도로만 보인다. 회전날개에는 실제 촬영에서 생기는 정도의 움직임 흐림이 있다. 과장된 미래 장식보다 설득력 있는 기계 구조를 우선한다. 자연스러운 피사계 심도와 현장 노출, 별도 색 보정 없는 흐린 날의 색감을 유지한다. 합성 영상이나 삽화, 건축 시각화가 아닌 실제 카메라 사진의 표면감과 공간감. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S89_Shot38",
            "guide_text": "눈높이의 넓은 해안 전경에서 먹구름 낀 하늘을 화면의 주된 면적으로 확보한다. 하단의 물가와 해변으로 지리적 기준을 남기고, 왼쪽 바다에서 오른쪽 연구시설 방향으로 진입하는 무장 헬기 편대의 진행축을 명료하게 보여준다. 지면과 수평선의 원근을 유지하며 기체는 실제 거리와 대기감에 맞는 크기로 배치한다. 인물 없이 해안과 공중의 접근 상황만 담는다."
          }
        ],
        "shot_ids": [
          "S89_Shot38"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "near the lower edge of number 3 (open landing beach), looking along number 2 (waterline threshold), with number 1 (offshore approach water) to frame-left and numbers 4 through 6 toward frame-right",
          "camera_height": "standing eye level, approximately 1.6 m",
          "lens_hint": "24mm wide angle",
          "framing_notes": "Wide air-assault plate with a large cloud-darkened daytime sky for number 7. Keep the coast and research-facing geographic axis legible. Aircraft belong to the transient overlay, not the base plan; do not introduce the later beam or torso remains."
        },
        "reference_decision": {
          "mode": "camera_geometry_direct_plate",
          "surface_role": "exterior_plate",
          "fp_id": "",
          "source_bg_ids": []
        },
        "effective_render_prompt": "2069년 대한민국의 해안 상륙 지점에서 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 실제 장소 기록 사진과 구별되지 않는 사실적인 배경으로, 사람이나 얼굴, 사람 형태의 형상은 일절 보이지 않는다. 개방된 해변의 가까운 가장자리에 서서 높이 약 1.6미터의 눈높이로 물가를 따라 바라본다. 35밀리미터 규격의 전면형 센서와 24밀리미터 광각 렌즈로 촬영한 넓은 시야이며, 수평선을 화면 아래쪽에 두어 접근 방향을 읽을 수 있는 하늘을 충분히 확보한다. 내려다보는 시점이나 평면도 구도가 아니다.\n\n화면 왼쪽에는 먼바다로 이어지는 해수가 펼쳐지고, 물과 해변이 만나는 좁은 경계가 화면 안쪽으로 길게 이어진다. 중앙 아래에는 넓게 트인 상륙 해변이 있고, 오른쪽에는 해변보다 높은 해안 지면과 개방된 내륙 진입 구역이 연결된다. 오른쪽 끝은 연구시설이 있는 방향으로 이어지는 주변 지형까지만 담고, 건물의 형태를 임의로 만들지 않는다. 한국 해안에서 볼 수 있는 회갈색 모래의 입자, 물가의 젖은 표면과 마른 지면의 질감 차이, 잔물결의 불규칙한 반사를 실제 자연 표면처럼 표현한다.\n\n주간이지만 두꺼운 먹구름이 하늘을 넓게 덮어 해안 전체가 어둡다. 구름층을 통과한 약한 자연광이 바다와 지면을 부드럽게 비추며, 그늘 속 질감은 알아볼 수 있도록 유지한다. 먼바다와 물가 위 공역에는 무장 헬기 여러 대가 편대로 진입하고 있다. 기체의 진행 방향은 바다 쪽에서 화면 오른쪽의 연구시설 방향으로 일관되게 향한다. 거리 차이에 따른 기체 크기와 겹침, 습한 대기에 따른 원거리 대비 감소를 자연스럽게 표현한다. 헬기는 현실적인 항공기 구조와 무장 장착부를 갖추고, 외장의 금속 이음매와 사용에 따른 미세한 마모가 거리에서 식별 가능한 정도로만 보인다. 회전날개에는 실제 촬영에서 생기는 정도의 움직임 흐림이 있다. 과장된 미래 장식보다 설득력 있는 기계 구조를 우선한다. 자연스러운 피사계 심도와 현장 노출, 별도 색 보정 없는 흐린 날의 색감을 유지한다. 합성 영상이나 삽화, 건축 시각화가 아닌 실제 카메라 사진의 표면감과 공간감. 16:9 가로 비율, 실제 카메라 촬영본\n\nThe LAST attached image is a TOP-DOWN INTERIOR FLOOR PLAN of the building at this location — a STRUCTURAL REFERENCE ONLY, never content to draw. It defines the building's real scale: its footprint, room count, and the placement of its doors and windows. Render the scene so the building's exterior size, number of storeys, and the scale and placement of its doors and windows stay consistent with that plan. Do NOT draw the floor plan itself, its lines, text or numbers anywhere in the image.",
        "shot_aware_plan_mode": "camera_geometry_direct_plate",
        "attached_reference_lineage": {
          "fp_id": "",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "building_fp:fp_l130_main_laboratory"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        },
        "building_fp_ref": {
          "fp_id": "fp_l130_main_laboratory",
          "indoor_loc_sid": "L130",
          "group_id": "bg_island_research_complex",
          "fp_asset_id": "c6e459e2-5b2b-4ff1-bb17-f83d19284b5d"
        },
        "render_degraded": true,
        "fallback_reason": "no_viable_camera_look_at_pair",
        "source_fp_id": "fp_l138_beach_landing"
      },
      "L138B02": {
        "status": "ok",
        "location_id": "L138",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L138B02.png",
        "t2i_prompt": "2069년 대한민국의 연구 시설 인접 해안을 밤에 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 해안 외부의 실제 장소 기록 사진처럼 표현한다. 첨부 평면도는 지형과 공간의 연결 관계를 파악하는 자료로만 사용한다. 넓게 열린 상륙 해변을 전경에 두고, 그 너머의 높은 해안 지대와 내륙으로 열린 접근 구역을 대각선으로 바라본다. 연구 시설 쪽 인접 구역은 먼 오른쪽 가장자리로 이어지며, 시설 전체의 형태나 배치를 임의로 만들어 넣지 않는다. 해변의 낮은 쪽에 선 관찰자의 약 1.3미터 높이에서, 35밀리미터 규격 카메라의 24밀리미터 광각 렌즈로 위를 향해 조금 기울여 촬영한다. 내려다보는 조감도가 아니라 지면 가까운 전경부터 높은 밤하늘까지 담기는 지상 시점이다.\n\n먼 연구 시설 쪽 인접 구역보다 더 뒤에 있는 옥상에서 거대한 새하얀 에너지 광선이 수직으로 솟아 밤하늘 위쪽 화면 밖까지 이어진다. 발원 옥상은 먼 지형 뒤로 대부분 가려지고, 광선이 해변이나 전경 지면에서 시작되는 것으로 보이지 않게 한다. 광선은 실제 현장에서 발생하는 물리적인 빛이며, 그 압도적인 역광이 높은 해안 지대와 접근 구역의 표면을 밝히고 카메라 쪽으로 긴 그림자를 드리운다. 백색 중심부의 강한 노출과 주변 공기에서의 제한적인 빛 번짐을 실제 카메라의 광학 반응처럼 표현한다. 광선 주변을 제외한 하늘은 분명한 밤의 어둠을 유지하며, 해안 전체를 낮처럼 균일하게 밝히지 않는다.\n\n높은 해안 지대와 연구 시설 방향 접근 구역의 외부 전투 흔적이 남은 부분에만 국소적인 그을음, 거칠게 패인 지표와 소량의 부서진 잔해를 집중시킨다. 해안 모래와 흙의 입자, 습기가 밴 표면, 잔해의 실제 파단면이 역광과 반사광 속에서 구분된다. 한국 해안의 습한 공기와 염분에 노출된 지표의 현실적인 질감을 살리고, 미래라는 이유만으로 새로운 설비나 장식물을 추가하지 않는다. 실제 야간 주변광과 광선의 입사 방향에 일치하는 조명, 자연스러운 원근과 피사계 심도, 과장된 보정 없는 질감으로 촬영된 사진이어야 한다. 인물, 얼굴, 인체 형태의 형상은 전혀 없는 배경만 담는다. 컴퓨터 그래픽이나 삽화, 건축 시각화가 아닌 실제 현장 사진. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S89_Shot58",
            "guide_text": "열린 해변의 낮은 쪽에서 높은 해안 지대와 내륙 접근 구역을 가로질러 연구 시설 방향을 대각선으로 바라본다. 약 1.3미터 높이의 지상 시점과 위로 조금 기울인 광각 구도로, 하단에는 해안의 거리감을 남기고 상단에는 어두운 밤하늘과 수직 백색 광선을 크게 확보한다. 광선 하단은 먼 시설 쪽 지형 뒤로 이어져 발원 거리가 분명해야 한다. 전투 흔적은 높은 해안 지대와 접근 구역에 집중시키고, 실제 노출에서 발생할 법한 강한 역광과 깊은 그림자를 유지한다. 사람이나 인체 형태의 형상 없이 배경만 구성한다."
          }
        ],
        "shot_ids": [
          "S89_Shot58"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_2",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "near the lower part of number 3 (open landing beach), facing diagonally across number 4 (upper coastal ground) and number 5 (open inland approach) toward number 6 (research-side context)",
          "camera_height": "low standing viewpoint, approximately 1.3 m",
          "lens_hint": "24mm wide angle with upward tilt",
          "framing_notes": "Prioritize the explicitly specified night sky. Number 8 rises from the research-side rooftop direction and overwhelmingly backlights the real coastal exterior; it is not a hallucination or a beach-mounted light source. Retain a readable coastal ground band and ongoing battle traces from number 9. Do not show the later partial torso remains."
        },
        "reference_decision": {
          "mode": "camera_geometry_direct_plate",
          "surface_role": "exterior_plate",
          "fp_id": "",
          "source_bg_ids": []
        },
        "effective_render_prompt": "2069년 대한민국의 연구 시설 인접 해안을 밤에 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 해안 외부의 실제 장소 기록 사진처럼 표현한다. 첨부 평면도는 지형과 공간의 연결 관계를 파악하는 자료로만 사용한다. 넓게 열린 상륙 해변을 전경에 두고, 그 너머의 높은 해안 지대와 내륙으로 열린 접근 구역을 대각선으로 바라본다. 연구 시설 쪽 인접 구역은 먼 오른쪽 가장자리로 이어지며, 시설 전체의 형태나 배치를 임의로 만들어 넣지 않는다. 해변의 낮은 쪽에 선 관찰자의 약 1.3미터 높이에서, 35밀리미터 규격 카메라의 24밀리미터 광각 렌즈로 위를 향해 조금 기울여 촬영한다. 내려다보는 조감도가 아니라 지면 가까운 전경부터 높은 밤하늘까지 담기는 지상 시점이다.\n\n먼 연구 시설 쪽 인접 구역보다 더 뒤에 있는 옥상에서 거대한 새하얀 에너지 광선이 수직으로 솟아 밤하늘 위쪽 화면 밖까지 이어진다. 발원 옥상은 먼 지형 뒤로 대부분 가려지고, 광선이 해변이나 전경 지면에서 시작되는 것으로 보이지 않게 한다. 광선은 실제 현장에서 발생하는 물리적인 빛이며, 그 압도적인 역광이 높은 해안 지대와 접근 구역의 표면을 밝히고 카메라 쪽으로 긴 그림자를 드리운다. 백색 중심부의 강한 노출과 주변 공기에서의 제한적인 빛 번짐을 실제 카메라의 광학 반응처럼 표현한다. 광선 주변을 제외한 하늘은 분명한 밤의 어둠을 유지하며, 해안 전체를 낮처럼 균일하게 밝히지 않는다.\n\n높은 해안 지대와 연구 시설 방향 접근 구역의 외부 전투 흔적이 남은 부분에만 국소적인 그을음, 거칠게 패인 지표와 소량의 부서진 잔해를 집중시킨다. 해안 모래와 흙의 입자, 습기가 밴 표면, 잔해의 실제 파단면이 역광과 반사광 속에서 구분된다. 한국 해안의 습한 공기와 염분에 노출된 지표의 현실적인 질감을 살리고, 미래라는 이유만으로 새로운 설비나 장식물을 추가하지 않는다. 실제 야간 주변광과 광선의 입사 방향에 일치하는 조명, 자연스러운 원근과 피사계 심도, 과장된 보정 없는 질감으로 촬영된 사진이어야 한다. 인물, 얼굴, 인체 형태의 형상은 전혀 없는 배경만 담는다. 컴퓨터 그래픽이나 삽화, 건축 시각화가 아닌 실제 현장 사진. 16:9 가로 비율, 실제 카메라 촬영본\n\nOne attached image is a PHOTOREAL RENDER of this SAME place — the same physical location, possibly seen from a different angle or at a different moment. Treat it as the PLACE IDENTITY reference. Keep this render consistent with it: the same spatial layout and architecture, the same surface materials and colors, and the same permanently installed fixtures and furniture. Lettering visible in the reference is reproduced EXACTLY — same characters, same mark, same position; never invent different wording from render to render. Camera angle, framing, lighting, time of day and weather follow THIS prompt — do NOT copy the reference's composition or mood; only the place's physical identity carries over.\n\nThe LAST attached image is a TOP-DOWN INTERIOR FLOOR PLAN of the building at this location — a STRUCTURAL REFERENCE ONLY, never content to draw. It defines the building's real scale: its footprint, room count, and the placement of its doors and windows. Render the scene so the building's exterior size, number of storeys, and the scale and placement of its doors and windows stay consistent with that plan. Do NOT draw the floor plan itself, its lines, text or numbers anywhere in the image.",
        "shot_aware_plan_mode": "camera_geometry_direct_plate",
        "attached_reference_lineage": {
          "fp_id": "",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "same_loc_anchor:L138B01",
            "building_fp:fp_l130_main_laboratory"
          ],
          "ref_used": "refs_2",
          "db_write_policy": "checkpoint_only"
        },
        "building_fp_ref": {
          "fp_id": "fp_l130_main_laboratory",
          "indoor_loc_sid": "L130",
          "group_id": "bg_island_research_complex",
          "fp_asset_id": "c6e459e2-5b2b-4ff1-bb17-f83d19284b5d"
        },
        "same_loc_anchor_ref": {
          "anchor_bg_id": "L138B01",
          "loc_id": "L138"
        },
        "render_degraded": true,
        "fallback_reason": "no_viable_camera_look_at_pair",
        "source_fp_id": "fp_l138_beach_landing"
      },
      "L138B03": {
        "status": "ok",
        "location_id": "L138",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L138B03.png",
        "t2i_prompt": "2069년 대한민국의 연구시설 인접 해안 지면을 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 야간 현장 기록으로, 해안 상부의 지면에서 내륙 진입부로 이어지는 열린 공간을 담는다. 평면도는 지면 구역들의 연결 관계를 파악하는 용도로만 사용한다. 해안 상부는 화면 중앙과 오른쪽에 펼쳐지고, 내륙으로 향하는 진입부가 오른쪽 뒤로 이어진다. 연구시설 쪽 공간은 화면 맨 오른쪽 가장자리의 인접 맥락으로만 남기며 건물 외관을 임의로 만들지 않는다.\n카메라는 지상 약 1.6미터의 서 있는 사람 눈높이에 두고, 35밀리미터급에 가까운 40밀리미터 렌즈의 자연스러운 원근으로 촬영한다. 전경 지면을 넉넉히 포함하되 지면을 따라 뒤쪽 진입부까지 이어지는 깊이가 보이는 비스듬한 구도이며, 수직으로 내려다보는 시점이나 평면도식 구도가 아니다. 한국 해안의 습기와 염분에 노출된 거친 흙과 모래의 질감, 차가운 금속 표면의 산화와 생활 마모를 사실적으로 드러낸다. 희미한 밤하늘의 자연광이 지면과 금속 모서리를 겨우 구분할 만큼 비추고, 그림자는 깊되 실제 야간 촬영에서 가능한 명암과 자연스러운 피사계 심도를 유지한다.\n해안 상부에서 연구시설 방향의 진입부에 걸쳐 전투로 긁히고 패인 지면, 국소적으로 그을린 표면과 흩어진 작은 금속 파편이 남아 있다. 흔적은 두 구역이 만나는 외부 지면 주변에 집중되어 있으며, 청소하거나 복구한 모습으로 정돈하지 않는다. 해안 상부의 연구시설 쪽 끝, 내륙 진입부로 바뀌는 경계 옆에는 로봇 몸통의 일부였던 부서진 금속 기계 잔해가 놓여 있다. 찌그러진 외장 일부와 끊어진 내부 결합부만 남은 비정형의 파손 부품으로 표현하고, 완성된 신체 실루엣을 만들지 않는다. 잔해는 차갑고 무거운 실제 금속 물체처럼 지면에 밀착되어 있고, 약한 주변광을 무디게 반사한다. 잔해 옆에는 빈 지면이 보이도록 한다. 사람, 얼굴, 신체 형태의 형상 없이 공간과 파손된 기계 부품만 담는다. 실제 장소의 질감과 손상을 있는 그대로 기록한 사진이며, 과장된 색 보정이나 인공적인 광택 없이 표현한다. 삽화나 컴퓨터 생성 이미지, 건축 조감도가 아닌 실제 촬영 사진. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S89_Shot73",
            "guide_text": "부분적인 금속 기계 잔해와 그 옆의 빈 지면을 전경의 기준점으로 삼고, 뒤쪽으로 연구시설 방향의 열린 진입부가 이어지게 한다. 잔해는 완성된 로봇이나 신체 형상이 아닌 파손된 외장과 결합부의 일부만 보여준다. 어두운 밤의 약한 자연광 아래 금속의 차가운 반사와 지면의 전투 흔적이 판독되도록 유지하되, 주변을 환하게 밝히지 않는다. 정리되지 않은 현장 상태를 유지하고 인물이나 얼굴은 포함하지 않는다."
          }
        ],
        "shot_ids": [
          "S89_Shot73"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_2",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "near the lower research-facing portion of number 4 (upper coastal ground), facing number 10 (partial robot torso remains) beside number 5 (open inland approach), with number 6 (research-side context) receding beyond",
          "camera_height": "low crouched viewpoint, approximately 0.7 m",
          "lens_hint": "40mm natural perspective",
          "framing_notes": "Night aftermath with the beam and active attack absent. Emphasize cold partial metal torso remains and leave adjacent ground space for a grieving figure supplied separately. Preserve number 9 as unrepaired battle traces; do not restore the exterior or reconstruct a complete robot. Keep the research-facing orientation consistent even in this tighter ground-level frame."
        },
        "reference_decision": {
          "mode": "camera_geometry_direct_plate",
          "surface_role": "exterior_plate",
          "fp_id": "",
          "source_bg_ids": []
        },
        "effective_render_prompt": "2069년 대한민국의 연구시설 인접 해안 지면을 실제 미러리스 카메라로 촬영한 다큐멘터리 풍 사진. 사람이 없는 야간 현장 기록으로, 해안 상부의 지면에서 내륙 진입부로 이어지는 열린 공간을 담는다. 평면도는 지면 구역들의 연결 관계를 파악하는 용도로만 사용한다. 해안 상부는 화면 중앙과 오른쪽에 펼쳐지고, 내륙으로 향하는 진입부가 오른쪽 뒤로 이어진다. 연구시설 쪽 공간은 화면 맨 오른쪽 가장자리의 인접 맥락으로만 남기며 건물 외관을 임의로 만들지 않는다.\n카메라는 지상 약 1.6미터의 서 있는 사람 눈높이에 두고, 35밀리미터급에 가까운 40밀리미터 렌즈의 자연스러운 원근으로 촬영한다. 전경 지면을 넉넉히 포함하되 지면을 따라 뒤쪽 진입부까지 이어지는 깊이가 보이는 비스듬한 구도이며, 수직으로 내려다보는 시점이나 평면도식 구도가 아니다. 한국 해안의 습기와 염분에 노출된 거친 흙과 모래의 질감, 차가운 금속 표면의 산화와 생활 마모를 사실적으로 드러낸다. 희미한 밤하늘의 자연광이 지면과 금속 모서리를 겨우 구분할 만큼 비추고, 그림자는 깊되 실제 야간 촬영에서 가능한 명암과 자연스러운 피사계 심도를 유지한다.\n해안 상부에서 연구시설 방향의 진입부에 걸쳐 전투로 긁히고 패인 지면, 국소적으로 그을린 표면과 흩어진 작은 금속 파편이 남아 있다. 흔적은 두 구역이 만나는 외부 지면 주변에 집중되어 있으며, 청소하거나 복구한 모습으로 정돈하지 않는다. 해안 상부의 연구시설 쪽 끝, 내륙 진입부로 바뀌는 경계 옆에는 로봇 몸통의 일부였던 부서진 금속 기계 잔해가 놓여 있다. 찌그러진 외장 일부와 끊어진 내부 결합부만 남은 비정형의 파손 부품으로 표현하고, 완성된 신체 실루엣을 만들지 않는다. 잔해는 차갑고 무거운 실제 금속 물체처럼 지면에 밀착되어 있고, 약한 주변광을 무디게 반사한다. 잔해 옆에는 빈 지면이 보이도록 한다. 사람, 얼굴, 신체 형태의 형상 없이 공간과 파손된 기계 부품만 담는다. 실제 장소의 질감과 손상을 있는 그대로 기록한 사진이며, 과장된 색 보정이나 인공적인 광택 없이 표현한다. 삽화나 컴퓨터 생성 이미지, 건축 조감도가 아닌 실제 촬영 사진. 16:9 가로 비율, 실제 카메라 촬영본\n\nOne attached image is a PHOTOREAL RENDER of this SAME place — the same physical location, possibly seen from a different angle or at a different moment. Treat it as the PLACE IDENTITY reference. Keep this render consistent with it: the same spatial layout and architecture, the same surface materials and colors, and the same permanently installed fixtures and furniture. Lettering visible in the reference is reproduced EXACTLY — same characters, same mark, same position; never invent different wording from render to render. Camera angle, framing, lighting, time of day and weather follow THIS prompt — do NOT copy the reference's composition or mood; only the place's physical identity carries over.\n\nThe LAST attached image is a TOP-DOWN INTERIOR FLOOR PLAN of the building at this location — a STRUCTURAL REFERENCE ONLY, never content to draw. It defines the building's real scale: its footprint, room count, and the placement of its doors and windows. Render the scene so the building's exterior size, number of storeys, and the scale and placement of its doors and windows stay consistent with that plan. Do NOT draw the floor plan itself, its lines, text or numbers anywhere in the image.",
        "shot_aware_plan_mode": "camera_geometry_direct_plate",
        "attached_reference_lineage": {
          "fp_id": "",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "same_loc_anchor:L138B01",
            "building_fp:fp_l130_main_laboratory"
          ],
          "ref_used": "refs_2",
          "db_write_policy": "checkpoint_only"
        },
        "building_fp_ref": {
          "fp_id": "fp_l130_main_laboratory",
          "indoor_loc_sid": "L130",
          "group_id": "bg_island_research_complex",
          "fp_asset_id": "c6e459e2-5b2b-4ff1-bb17-f83d19284b5d"
        },
        "same_loc_anchor_ref": {
          "anchor_bg_id": "L138B01",
          "loc_id": "L138"
        },
        "render_degraded": true,
        "fallback_reason": "no_viable_camera_look_at_pair",
        "source_fp_id": "fp_l138_beach_landing"
      },
      "L143B01": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L143",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L143B01.png",
        "t2i_prompt": "2069년 대한민국의 대형 연구실 내부를 실제 미러리스 카메라와 35밀리미터 광각 렌즈로 촬영한 다큐멘터리 풍 사진. 사람이 없는 직사각형 실내를 서 있는 사람의 눈높이 약 1.6미터에서 바라본다. 카메라는 북쪽을 향하는 두 관람 의자 바로 남쪽에 있고, 의자 등받이가 화면 아래쪽에 일부 보인다. 왼쪽에는 투사 제어 버튼이 달린 제어 책상, 중앙에는 비어 있는 투사 바닥 영역, 그 너머 북쪽에는 동서로 길게 놓인 낮고 묵직한 부품 전시대, 전시대 뒤 북쪽 벽에는 대형 벽면 화면이 보인다. 전시대의 엄숙하고 단정한 비례가 제단을 연상시키되 실제 연구용 작업 가구로 보이게 한다. 서쪽과 중앙의 관람 공간 및 이동 통로가 자연스럽게 이어지도록 깊이를 확보한다.\n\n한국의 산업 연구시설에서 이어진 실용적인 건축과 미래의 정밀 장비가 공존한다. 실제 콘크리트 표면의 미세한 기공, 금속 전시대와 제어 책상의 가공 결 및 오래된 손때, 관람 의자 천의 직조와 가벼운 눌림을 있는 그대로 담는다. 모든 표면을 새 제품처럼 매끈하게 만들지 않는다. 어두운 실내의 약한 주변광과 화면에서 나오는 빛이 물리적으로 자연스럽게 섞이며, 재료의 질감과 공간 경계는 어둠 속에서도 읽힌다. 푸른빛은 작동 중인 투사와 그 가까운 표면에 절제되어 나타난다.\n\n전시대 위에는 분해된 로봇의 금속 외장 조각과 기계 부품이 서로 떨어져 정돈된 상태로 배열되어 있다. 이 부품들은 머리나 얼굴, 연결된 신체의 형태를 이루지 않는다. 뒤편 대형 화면에서는 세계 각지 에너지 장치의 분포와 장치 영상에서 특정 지역의 섬 전경으로 넘어가는 표시 프로그램이 재생되고 있다. 촬영 순간에는 섬 전경이 화면 대부분을 차지하고 이전의 세계 분포 영상 일부가 전환 과정으로 남아 있다. 모든 지도와 장치 영상, 섬의 풍경은 벽면 화면의 표면 안에만 존재한다. 중앙 바닥 위의 지정된 투사 영역에는 푸른 홀로그램 재생의 반투명한 빛의 윤곽과 영상 조각이 나타난다. 투사 내용에 사람이나 얼굴, 몸체 형태를 만들지 않으며, 실제 실내가 그 너머로 계속 보이는 광학적 영상으로 표현한다. 투사광은 실물 물체처럼 바닥에 놓이지 않고, 바닥과 주변 금속에 약한 푸른 반사만 남긴다.\n\n사람, 얼굴, 인체형 형상은 실내뿐 아니라 화면과 투사 영상에도 없다. 자연스러운 원근과 피사계 심도, 실제 카메라의 저조도 노출을 유지한 현장 기록 사진이며, 과도한 보정이나 인위적인 광채 없이 실제 장소 촬영본과 구별되지 않게 한다. 조감도나 평면도, 건축 도해가 아닌 눈높이의 실내 사진. 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S90_Shot3",
            "guide_text": "두 관람 의자 뒤쪽의 눈높이에서 북쪽을 바라보는 전체 구도를 사용한다. 왼쪽 제어 책상과 버튼, 중앙 투사 영역, 뒤편 전시대와 벽면 화면의 위치 관계가 함께 읽히게 한다. 전시대의 분해 부품과 푸른 투사광은 분명하게 구별하고 모든 관람 자리는 비워 둔다."
          },
          {
            "shot_id": "S90_Shot11",
            "guide_text": "같은 북향 시점과 어두운 실내 조도를 유지한다. 중앙의 반투명한 투사 효과를 통해 실제 바닥과 뒤편 전시대가 보이게 하고, 섬 전경으로 전환되는 영상은 벽면 화면의 테두리 안에 한정한다. 앞선 구도와 가구 배치 및 재료 질감을 일치시키며 실물 몸체나 인물을 추가하지 않는다."
          }
        ],
        "shot_ids": [
          "S90_Shot3",
          "S90_Shot11"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "refs_1",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": false,
        "camera_recommendations": {
          "camera_position": "Just south of numbers 9 and 10, facing north across number 5 toward number 8 and number 7, with number 11 on the left.",
          "camera_height": "standing eye level, approximately 1.6 m",
          "lens_hint": "28–35mm wide angle",
          "framing_notes": "Maintain one camera for both shots. Include the seats in the foreground, the open projection footprint centrally, the parts dais beyond it, and the large display behind the dais. Keep the surgical table outside this composition. Marker 15 is changing screen content, not multiple simultaneous physical installations. Marker 16 applies during holographic playback; it must not turn the room into a separate imagined landscape or create a physical duplicate. The earlier parts-view moment can have projection inactive without changing the camera or base layout."
        },
        "reference_decision": {
          "bg_id": "L143B01",
          "fp_id": "fp_l143_reassembly_laboratory",
          "node_index": 1,
          "mode": "same_physical_space_view",
          "is_dwelling_identity_anchor": false,
          "rationale": "S90_Shot3 and S90_Shot11 require the western and central portion of the same open unit 1 established by L143B02, rather than a separate room. Use L143B02 for fixed-space continuity while moving to camera unit 2 and aiming toward marker 8 in unit 3. Wide coverage supports the seated foreground, unit 5 middle distance, and markers 8 and 7 beyond. This reveals a substantially different structural slice from the anchor's narrow view of marker 13, so it is not a low-delta reuse candidate. The two consuming shots' subject, display, and projection differences remain shot-specific layers.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L143B02.png"
          ],
          "source_bg_ids": [
            "L143B02"
          ],
          "fp_included": false,
          "reference_decision": {
            "selected_refs": [
              {
                "ref_bg_id": "L143B02",
                "physical_space_id": "fp_l143_reassembly_laboratory_space_1",
                "space_description": "The single open interior of unit 1, including its western-central units 3 and 5 and eastern unit 4."
              }
            ],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "single_same_physical_space_reference",
            "why_single_ref_or_two_refs": "One reference is sufficient because units 3, 4, and 5 belong to the same open interior. S90_Shot3 and S90_Shot11 reveal another portion of that interior, not two distinct spaces requiring separate references.",
            "physical_space_id_per_ref": [
              "fp_l143_reassembly_laboratory_space_1"
            ],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 2,
            "camera_cell": [
              8,
              1
            ],
            "look_at_unit": 3,
            "look_at_cell": [
              1,
              4
            ],
            "lens_enum": "wide",
            "fov_deg": 90,
            "framing_notes": "Broad coverage from behind and west of markers 9 and 10, aimed toward marker 8 in unit 3. Preserve foreground-to-middle-distance-to-background depth for both consuming shots. Their differing vertical angles and framing scales are shot-specific staging; the readback supplies no height or motion candidates."
          },
          "render_guidance": {
            "visible_space_directive": "From unit 2 at [8, 1], frame the western-central portion of unit 1 toward marker 8 at [1, 4] in unit 3. Include markers 9 and 10 in the lower foreground, markers 11 and 12 to their west, unit 5 in the middle distance, and markers 8 and 7 beyond where they fit the wide cone. Maintain L143B02's committed unit-1 structure and marker 13 position; establish newly exposed elements at their base-plan positions: marker 7 on the north wall, marker 8 below it, markers 9 and 10 south of unit 5, and marker 12 on marker 11.",
            "camera_framing_directive": "Use camera unit 2 at [8, 1], looking toward unit 3 at [1, 4], with wide 90-degree broad coverage. Keep the rear and left-side relationship to markers 9 and 10 and the depth toward markers 8 and 7. Supply common spatial coverage for S90_Shot3's medium staging and S90_Shot11's wide staging without combining their differing vertical-angle instructions into an invented camera operation.",
            "subject_position_directive": "For S90_Shot3, preserve the committed hunched seated subject in the left foreground at marker 9, with lowered attention toward marker 14 on marker 8. For S90_Shot11, preserve the two seated observers across the lower foreground at markers 9 and 10, looking upward toward the projected presence in unit 5; keep that presence to roughly one-third of the image. These are separate consuming-shot arrangements, not a simultaneous additional set of subjects.",
            "state_cue_directive": "clean_background_expected is false. Carry marker 14 on marker 8 and use markers 15 and 16 only according to the consuming shot's committed state. In S90_Shot3, marker 7 shows the staged worldwide-unit content within the generally dark setting. In S90_Shot11, its content changes to 제주도 and marker 16 supplies the staged selective blue projected appearance while marker 14 remains laid out. Keep these display states shot-specific rather than merging them into one image.",
            "negative_continuity_directive": "Exclude ignored marker 17, including any carryover from L143B02. Avoid repositioning fixed markers 7 through 13 or subdividing unit 1 to reconcile the changed view. Do not import the reference's narrow framing, force unit 4 or opening 6 into the selected cone, or infer opening adjacency from the visibility supersets. Avoid merging the distinct shot states of markers 15 and 16."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L143B02' physical_space_id='fp_l143_reassembly_laboratory_space_1'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [8, 1]\n  - look_at_unit: 3\n  - look_at_cell: [1, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad coverage from behind and west of markers 9 and 10, aimed toward marker 8 in unit 3. Preserve foreground-to-middle-distance-to-background depth for both consuming shots. Their differing vertical angles and framing scales are shot-specific staging; the readback supplies no height or motion candidates.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 2 at [8, 1], frame the western-central portion of unit 1 toward marker 8 at [1, 4] in unit 3. Include markers 9 and 10 in the lower foreground, markers 11 and 12 to their west, unit 5 in the middle distance, and markers 8 and 7 beyond where they fit the wide cone. Maintain L143B02's committed unit-1 structure and marker 13 position; establish newly exposed elements at their base-plan positions: marker 7 on the north wall, marker 8 below it, markers 9 and 10 south of unit 5, and marker 12 on marker 11.\n  - camera_framing_directive: Use camera unit 2 at [8, 1], looking toward unit 3 at [1, 4], with wide 90-degree broad coverage. Keep the rear and left-side relationship to markers 9 and 10 and the depth toward markers 8 and 7. Supply common spatial coverage for S90_Shot3's medium staging and S90_Shot11's wide staging without combining their differing vertical-angle instructions into an invented camera operation.\n  - subject_position_directive: For S90_Shot3, preserve the committed hunched seated subject in the left foreground at marker 9, with lowered attention toward marker 14 on marker 8. For S90_Shot11, preserve the two seated observers across the lower foreground at markers 9 and 10, looking upward toward the projected presence in unit 5; keep that presence to roughly one-third of the image. These are separate consuming-shot arrangements, not a simultaneous additional set of subjects.\n  - state_cue_directive: clean_background_expected is false. Carry marker 14 on marker 8 and use markers 15 and 16 only according to the consuming shot's committed state. In S90_Shot3, marker 7 shows the staged worldwide-unit content within the generally dark setting. In S90_Shot11, its content changes to 제주도 and marker 16 supplies the staged selective blue projected appearance while marker 14 remains laid out. Keep these display states shot-specific rather than merging them into one image.\n  - negative_continuity_directive: Exclude ignored marker 17, including any carryover from L143B02. Avoid repositioning fixed markers 7 through 13 or subdividing unit 1 to reconcile the changed view. Do not import the reference's narrow framing, force unit 4 or opening 6 into the selected cone, or infer opening adjacency from the visibility supersets. Avoid merging the distinct shot states of markers 15 and 16.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L143B02' physical_space_id='fp_l143_reassembly_laboratory_space_1'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [8, 1]\n  - look_at_unit: 3\n  - look_at_cell: [1, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad coverage from behind and west of markers 9 and 10, aimed toward marker 8 in unit 3. Preserve foreground-to-middle-distance-to-background depth for both consuming shots. Their differing vertical angles and framing scales are shot-specific staging; the readback supplies no height or motion candidates.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 2 at [8, 1], frame the western-central portion of unit 1 toward marker 8 at [1, 4] in unit 3. Include markers 9 and 10 in the lower foreground, markers 11 and 12 to their west, unit 5 in the middle distance, and markers 8 and 7 beyond where they fit the wide cone. Maintain L143B02's committed unit-1 structure and marker 13 position; establish newly exposed elements at their base-plan positions: marker 7 on the north wall, marker 8 below it, markers 9 and 10 south of unit 5, and marker 12 on marker 11.\n  - camera_framing_directive: Use camera unit 2 at [8, 1], looking toward unit 3 at [1, 4], with wide 90-degree broad coverage. Keep the rear and left-side relationship to markers 9 and 10 and the depth toward markers 8 and 7. Supply common spatial coverage for S90_Shot3's medium staging and S90_Shot11's wide staging without combining their differing vertical-angle instructions into an invented camera operation.\n  - subject_position_directive: For S90_Shot3, preserve the committed hunched seated subject in the left foreground at marker 9, with lowered attention toward marker 14 on marker 8. For S90_Shot11, preserve the two seated observers across the lower foreground at markers 9 and 10, looking upward toward the projected presence in unit 5; keep that presence to roughly one-third of the image. These are separate consuming-shot arrangements, not a simultaneous additional set of subjects.\n  - state_cue_directive: clean_background_expected is false. Carry marker 14 on marker 8 and use markers 15 and 16 only according to the consuming shot's committed state. In S90_Shot3, marker 7 shows the staged worldwide-unit content within the generally dark setting. In S90_Shot11, its content changes to 제주도 and marker 16 supplies the staged selective blue projected appearance while marker 14 remains laid out. Keep these display states shot-specific rather than merging them into one image.\n  - negative_continuity_directive: Exclude ignored marker 17, including any carryover from L143B02. Avoid repositioning fixed markers 7 through 13 or subdividing unit 1 to reconcile the changed view. Do not import the reference's narrow framing, force unit 4 or opening 6 into the selected cone, or infer opening adjacency from the visibility supersets. Avoid merging the distinct shot states of markers 15 and 16.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nThe supplied reference image shows the SAME physical room as this background, from a different camera angle or framing. Inherit the exact architecture, floor, walls, windows, fixed furniture and lighting of that room — this is literally the same space, only the viewpoint changes.\n\nREFERENCE PLAN: mode='same_physical_space_view'\n  - selected_refs[0]: ref_bg_id='L143B02' physical_space_id='fp_l143_reassembly_laboratory_space_1'\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 2\n  - camera_cell: [8, 1]\n  - look_at_unit: 3\n  - look_at_cell: [1, 4]\n  - lens_enum: 'wide'\n  - fov_deg: 90\n  - framing_notes: 'Broad coverage from behind and west of markers 9 and 10, aimed toward marker 8 in unit 3. Preserve foreground-to-middle-distance-to-background depth for both consuming shots. Their differing vertical angles and framing scales are shot-specific staging; the readback supplies no height or motion candidates.'\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: From unit 2 at [8, 1], frame the western-central portion of unit 1 toward marker 8 at [1, 4] in unit 3. Include markers 9 and 10 in the lower foreground, markers 11 and 12 to their west, unit 5 in the middle distance, and markers 8 and 7 beyond where they fit the wide cone. Maintain L143B02's committed unit-1 structure and marker 13 position; establish newly exposed elements at their base-plan positions: marker 7 on the north wall, marker 8 below it, markers 9 and 10 south of unit 5, and marker 12 on marker 11.\n  - camera_framing_directive: Use camera unit 2 at [8, 1], looking toward unit 3 at [1, 4], with wide 90-degree broad coverage. Keep the rear and left-side relationship to markers 9 and 10 and the depth toward markers 8 and 7. Supply common spatial coverage for S90_Shot3's medium staging and S90_Shot11's wide staging without combining their differing vertical-angle instructions into an invented camera operation.\n  - subject_position_directive: For S90_Shot3, preserve the committed hunched seated subject in the left foreground at marker 9, with lowered attention toward marker 14 on marker 8. For S90_Shot11, preserve the two seated observers across the lower foreground at markers 9 and 10, looking upward toward the projected presence in unit 5; keep that presence to roughly one-third of the image. These are separate consuming-shot arrangements, not a simultaneous additional set of subjects.\n  - state_cue_directive: clean_background_expected is false. Carry marker 14 on marker 8 and use markers 15 and 16 only according to the consuming shot's committed state. In S90_Shot3, marker 7 shows the staged worldwide-unit content within the generally dark setting. In S90_Shot11, its content changes to 제주도 and marker 16 supplies the staged selective blue projected appearance while marker 14 remains laid out. Keep these display states shot-specific rather than merging them into one image.\n  - negative_continuity_directive: Exclude ignored marker 17, including any carryover from L143B02. Avoid repositioning fixed markers 7 through 13 or subdividing unit 1 to reconcile the changed view. Do not import the reference's narrow framing, force unit 4 or opening 6 into the selected cone, or infer opening adjacency from the visibility supersets. Avoid merging the distinct shot states of markers 15 and 16.\n\n2069년 대한민국의 대형 연구실 내부를 실제 미러리스 카메라와 35밀리미터 광각 렌즈로 촬영한 다큐멘터리 풍 사진. 사람이 없는 직사각형 실내를 서 있는 사람의 눈높이 약 1.6미터에서 바라본다. 카메라는 북쪽을 향하는 두 관람 의자 바로 남쪽에 있고, 의자 등받이가 화면 아래쪽에 일부 보인다. 왼쪽에는 투사 제어 버튼이 달린 제어 책상, 중앙에는 비어 있는 투사 바닥 영역, 그 너머 북쪽에는 동서로 길게 놓인 낮고 묵직한 부품 전시대, 전시대 뒤 북쪽 벽에는 대형 벽면 화면이 보인다. 전시대의 엄숙하고 단정한 비례가 제단을 연상시키되 실제 연구용 작업 가구로 보이게 한다. 서쪽과 중앙의 관람 공간 및 이동 통로가 자연스럽게 이어지도록 깊이를 확보한다.\n\n한국의 산업 연구시설에서 이어진 실용적인 건축과 미래의 정밀 장비가 공존한다. 실제 콘크리트 표면의 미세한 기공, 금속 전시대와 제어 책상의 가공 결 및 오래된 손때, 관람 의자 천의 직조와 가벼운 눌림을 있는 그대로 담는다. 모든 표면을 새 제품처럼 매끈하게 만들지 않는다. 어두운 실내의 약한 주변광과 화면에서 나오는 빛이 물리적으로 자연스럽게 섞이며, 재료의 질감과 공간 경계는 어둠 속에서도 읽힌다. 푸른빛은 작동 중인 투사와 그 가까운 표면에 절제되어 나타난다.\n\n전시대 위에는 분해된 로봇의 금속 외장 조각과 기계 부품이 서로 떨어져 정돈된 상태로 배열되어 있다. 이 부품들은 머리나 얼굴, 연결된 신체의 형태를 이루지 않는다. 뒤편 대형 화면에서는 세계 각지 에너지 장치의 분포와 장치 영상에서 특정 지역의 섬 전경으로 넘어가는 표시 프로그램이 재생되고 있다. 촬영 순간에는 섬 전경이 화면 대부분을 차지하고 이전의 세계 분포 영상 일부가 전환 과정으로 남아 있다. 모든 지도와 장치 영상, 섬의 풍경은 벽면 화면의 표면 안에만 존재한다. 중앙 바닥 위의 지정된 투사 영역에는 푸른 홀로그램 재생의 반투명한 빛의 윤곽과 영상 조각이 나타난다. 투사 내용에 사람이나 얼굴, 몸체 형태를 만들지 않으며, 실제 실내가 그 너머로 계속 보이는 광학적 영상으로 표현한다. 투사광은 실물 물체처럼 바닥에 놓이지 않고, 바닥과 주변 금속에 약한 푸른 반사만 남긴다.\n\n사람, 얼굴, 인체형 형상은 실내뿐 아니라 화면과 투사 영상에도 없다. 자연스러운 원근과 피사계 심도, 실제 카메라의 저조도 노출을 유지한 현장 기록 사진이며, 과도한 보정이나 인위적인 광채 없이 실제 장소 촬영본과 구별되지 않게 한다. 조감도나 평면도, 건축 도해가 아닌 눈높이의 실내 사진. 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 2,
          "camera_cell": [
            8,
            1
          ],
          "look_at_unit": 3,
          "look_at_cell": [
            1,
            4
          ],
          "lens_enum": "wide",
          "fov_deg": 90,
          "framing_notes": "Broad coverage from behind and west of markers 9 and 10, aimed toward marker 8 in unit 3. Preserve foreground-to-middle-distance-to-background depth for both consuming shots. Their differing vertical angles and framing scales are shot-specific staging; the readback supplies no height or motion candidates."
        },
        "shot_aware_plan_node_index": 1,
        "shot_aware_plan_mode": "same_physical_space_view",
        "render_guidance": {
          "visible_space_directive": "From unit 2 at [8, 1], frame the western-central portion of unit 1 toward marker 8 at [1, 4] in unit 3. Include markers 9 and 10 in the lower foreground, markers 11 and 12 to their west, unit 5 in the middle distance, and markers 8 and 7 beyond where they fit the wide cone. Maintain L143B02's committed unit-1 structure and marker 13 position; establish newly exposed elements at their base-plan positions: marker 7 on the north wall, marker 8 below it, markers 9 and 10 south of unit 5, and marker 12 on marker 11.",
          "camera_framing_directive": "Use camera unit 2 at [8, 1], looking toward unit 3 at [1, 4], with wide 90-degree broad coverage. Keep the rear and left-side relationship to markers 9 and 10 and the depth toward markers 8 and 7. Supply common spatial coverage for S90_Shot3's medium staging and S90_Shot11's wide staging without combining their differing vertical-angle instructions into an invented camera operation.",
          "subject_position_directive": "For S90_Shot3, preserve the committed hunched seated subject in the left foreground at marker 9, with lowered attention toward marker 14 on marker 8. For S90_Shot11, preserve the two seated observers across the lower foreground at markers 9 and 10, looking upward toward the projected presence in unit 5; keep that presence to roughly one-third of the image. These are separate consuming-shot arrangements, not a simultaneous additional set of subjects.",
          "state_cue_directive": "clean_background_expected is false. Carry marker 14 on marker 8 and use markers 15 and 16 only according to the consuming shot's committed state. In S90_Shot3, marker 7 shows the staged worldwide-unit content within the generally dark setting. In S90_Shot11, its content changes to 제주도 and marker 16 supplies the staged selective blue projected appearance while marker 14 remains laid out. Keep these display states shot-specific rather than merging them into one image.",
          "negative_continuity_directive": "Exclude ignored marker 17, including any carryover from L143B02. Avoid repositioning fixed markers 7 through 13 or subdividing unit 1 to reconcile the changed view. Do not import the reference's narrow framing, force unit 4 or opening 6 into the selected cone, or infer opening adjacency from the visibility supersets. Avoid merging the distinct shot states of markers 15 and 16."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_l143_reassembly_laboratory",
          "prior_bg_ids": [
            "L143B02"
          ],
          "attached_ref_labels": [
            "bg:L143B02"
          ],
          "ref_used": "refs_1",
          "db_write_policy": "checkpoint_only"
        }
      },
      "L143B02": {
        "status": "ok",
        "is_reuse": false,
        "render_action": "render_new_plate",
        "location_id": "L143",
        "location_name": "",
        "png_path": "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/background_chain/L143B02.png",
        "t2i_prompt": "2069년 대한민국의 연구시설 내부, 밤의 조용한 재조립 구역을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 직사각형의 개방형 연구실 동쪽 구역이며, 공간 중앙의 수술대는 남북 방향으로 놓이고 머리 쪽 끝은 북쪽을 향한다. 바닥 평면도는 공간 구성과 수술대 위치를 파악하는 용도로만 참고한다. 실제 실내를 서서 바라보는 원근감으로 촬영한다.\n\n카메라는 수술대 남쪽 끝의 남서편에 두고 북동쪽으로 향하여 북쪽 머리 끝까지 비스듬히 바라본다. 촬영 높이는 약 1.7미터, 풀프레임 미러리스 카메라의 40밀리미터 렌즈를 사용한다. 수술대 전체와 주변 바닥, 연구실 동쪽 경계 벽이 함께 보이도록 여유 있게 구도를 잡는다. 수술대 상판은 비워 두며, 사람이나 얼굴, 신체 형태의 형상은 반사상까지 포함하여 묘사하지 않는다.\n\n미래의 시설이지만 현실의 국내 산업용 연구실처럼 실용적인 마감과 물리적으로 설득력 있는 구조를 유지한다. 수술대의 실제 금속 표면에는 미세한 사용 마모와 은은한 광택 차이가 있고, 콘크리트 바탕의 바닥과 도장 벽에는 오래 사용한 시설의 절제된 질감이 보인다. 밤의 실내 조명은 낮고 일정하며, 차가운 중성광이 수술대와 바닥에 부드럽게 퍼진다. 실제 광원의 자연스러운 반사와 그림자, 과장되지 않은 명암과 자연스러운 심도를 유지한다. 고요함은 비어 있는 공간과 안정적인 빛으로만 표현하며, 현실의 연구실을 벗어나지 않는다. 광고용으로 지나치게 말끔한 사진이나 컴퓨터 생성 이미지가 아닌, 현장에서 촬영한 장소 기록 사진의 사실성을 유지한다. 위에서 내려다본 구도나 건축 도면이 아닌 16:9 가로 비율, 실제 카메라 촬영본",
        "shot_guides": [
          {
            "shot_id": "S90_Shot18",
            "guide_text": "수술대 남쪽 끝의 남서편에서 높이 약 1.7미터로 북동쪽을 바라본다. 수술대의 북쪽 머리 끝까지 화면에 담고 주변 바닥과 동쪽 벽을 남겨 동일한 연구실 안의 구역임을 보여준다. 비어 있는 수술대 상판의 원근과 가시성을 확보하여 별도 대상 레이어를 배치할 수 있게 한다. 밤의 일정하고 부드러운 실내광을 유지하며, 평온함을 환상 공간으로 바꾸지 않는다."
          }
        ],
        "shot_ids": [
          "S90_Shot18"
        ],
        "scenes": [],
        "parent_id": "",
        "ref_used": "fp_only",
        "render_attempts": 1,
        "render_error": "",
        "variant_label": "",
        "floor_plan_used": true,
        "camera_recommendations": {
          "camera_position": "Within number 4, southwest of the foot of number 13, facing northeast along the surgical table toward its northern head end.",
          "camera_height": "slightly elevated standing viewpoint, approximately 1.7 m",
          "lens_hint": "40–50mm normal lens",
          "framing_notes": "Frame the intact body on number 13 with enough surrounding floor and the eastern room boundary to establish the same real laboratory. Preserve the table's north-south orientation. Exclude the parts-display composition and active hologram; peacefulness is mood, not a new dream environment. Do not show loose duplicate body parts beside the reconstructed body."
        },
        "reference_decision": {
          "bg_id": "L143B02",
          "fp_id": "fp_l143_reassembly_laboratory",
          "node_index": 0,
          "mode": "fp_seeded_anchor",
          "is_dwelling_identity_anchor": true,
          "rationale": "L143B02 is the sole supplied anchor candidate and is staged for S90_Shot18. The candidate metadata explicitly permits a minimum-transient fallback; its clean_background_expected remains false, and marker 17 is retained as a transient rather than fixed identity. Seed the fixed structure from the floor plan. Camera unit 1 looking toward marker 13 in unit 4 provides an oblique view from the northwestern side, with telephoto coverage supporting the close framing. The discrete camera candidates do not provide the shot's exact head-end camera position.",
          "reference_paths": [
            "/Users/manta/Documents/Projects/TheRoad-I1/projects/edfaa1fa-6366-4bfc-bca4-4403163b092e/episodes/089c4a91-4d48-420f-9ded-550269221fa0/images/floor_plan/fp_l143_reassembly_laboratory.png"
          ],
          "source_bg_ids": [],
          "fp_included": true,
          "reference_decision": {
            "selected_refs": [],
            "rejected_refs": [],
            "same_physical_space_dedup_decision": "no_prior_reference",
            "why_single_ref_or_two_refs": "The first node establishes dwelling identity directly from the floor plan; no prior reference is selected.",
            "physical_space_id_per_ref": [],
            "same_physical_space_low_delta_candidate": false,
            "low_delta_reuse_target_bg_id": "",
            "low_delta_rationale": ""
          },
          "camera_decision": {
            "camera_unit": 1,
            "camera_cell": [
              0,
              0
            ],
            "look_at_unit": 4,
            "look_at_cell": [
              4,
              8
            ],
            "lens_enum": "telephoto",
            "fov_deg": 25,
            "framing_notes": "Use narrow, compressed coverage toward marker 13. Unit 4 is identified by the dossier's placement of marker 13, although it has no unit-cell record. The listed camera position supports a northwestern oblique view, not an exact head-end placement; do not invent a closer camera coordinate."
          },
          "render_guidance": {
            "visible_space_directive": "Concentrate on marker 13 at [4, 8] in dossier unit 4, within unit 1. Show only the narrow portion of its top supporting marker 17 that fits the telephoto view from [0, 0]. Preserve marker 13's north-south long axis and northern head end. The visibility supersets do not establish additional visible units or opening adjacency.",
            "camera_framing_directive": "Place the camera in unit 1 at [0, 0], looking toward unit 4 at [4, 8], with telephoto 25-degree narrow, compressed coverage. Within this discrete oblique view, favor the committed central-left face placement and upper-right body recession with a narrow margin of marker 13. Do not substitute an unlisted head-end camera cell or assert an unsupported camera movement.",
            "subject_position_directive": "For S90_Shot18, place the committed reclining subject associated with marker 17 on marker 13, with a relaxed three-quarter face and both gently closed eyes visible. Favor the face in the central-left and the body receding toward the upper-right insofar as the fixed table orientation and selected camera permit. Keep the observation direct and add no other subjects.",
            "state_cue_directive": "clean_background_expected is false. Carry transient marker 17 as the assembled body supported by marker 13 after the committed assembly cut and time ellipsis. Use the staged dark setting with gentle tonal separation at the closed eyelids and facial contours. Marker 17 is scene state, not a permanent fixture or an inferred change to the fixed layout.",
            "negative_continuity_directive": "Exclude ignored overlay markers 14, 15, and 16. Avoid transferring their appearance to marker 17. Do not relocate marker 13, widen coverage to unsupported portions of units 2, 3, or 5, or force opening 6 into this narrow view. Do not treat visibility supersets as confirmed opening connections."
          },
          "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [0, 0]\n  - look_at_unit: 4\n  - look_at_cell: [4, 8]\n  - lens_enum: 'telephoto'\n  - fov_deg: 25\n  - framing_notes: \"Use narrow, compressed coverage toward marker 13. Unit 4 is identified by the dossier's placement of marker 13, although it has no unit-cell record. The listed camera position supports a northwestern oblique view, not an exact head-end placement; do not invent a closer camera coordinate.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Concentrate on marker 13 at [4, 8] in dossier unit 4, within unit 1. Show only the narrow portion of its top supporting marker 17 that fits the telephoto view from [0, 0]. Preserve marker 13's north-south long axis and northern head end. The visibility supersets do not establish additional visible units or opening adjacency.\n  - camera_framing_directive: Place the camera in unit 1 at [0, 0], looking toward unit 4 at [4, 8], with telephoto 25-degree narrow, compressed coverage. Within this discrete oblique view, favor the committed central-left face placement and upper-right body recession with a narrow margin of marker 13. Do not substitute an unlisted head-end camera cell or assert an unsupported camera movement.\n  - subject_position_directive: For S90_Shot18, place the committed reclining subject associated with marker 17 on marker 13, with a relaxed three-quarter face and both gently closed eyes visible. Favor the face in the central-left and the body receding toward the upper-right insofar as the fixed table orientation and selected camera permit. Keep the observation direct and add no other subjects.\n  - state_cue_directive: clean_background_expected is false. Carry transient marker 17 as the assembled body supported by marker 13 after the committed assembly cut and time ellipsis. Use the staged dark setting with gentle tonal separation at the closed eyelids and facial contours. Marker 17 is scene state, not a permanent fixture or an inferred change to the fixed layout.\n  - negative_continuity_directive: Exclude ignored overlay markers 14, 15, and 16. Avoid transferring their appearance to marker 17. Do not relocate marker 13, widen coverage to unsupported portions of units 2, 3, or 5, or force opening 6 into this narrow view. Do not treat visibility supersets as confirmed opening connections.\n\n",
          "diagnostics": []
        },
        "reference_guidance_prefix": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [0, 0]\n  - look_at_unit: 4\n  - look_at_cell: [4, 8]\n  - lens_enum: 'telephoto'\n  - fov_deg: 25\n  - framing_notes: \"Use narrow, compressed coverage toward marker 13. Unit 4 is identified by the dossier's placement of marker 13, although it has no unit-cell record. The listed camera position supports a northwestern oblique view, not an exact head-end placement; do not invent a closer camera coordinate.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Concentrate on marker 13 at [4, 8] in dossier unit 4, within unit 1. Show only the narrow portion of its top supporting marker 17 that fits the telephoto view from [0, 0]. Preserve marker 13's north-south long axis and northern head end. The visibility supersets do not establish additional visible units or opening adjacency.\n  - camera_framing_directive: Place the camera in unit 1 at [0, 0], looking toward unit 4 at [4, 8], with telephoto 25-degree narrow, compressed coverage. Within this discrete oblique view, favor the committed central-left face placement and upper-right body recession with a narrow margin of marker 13. Do not substitute an unlisted head-end camera cell or assert an unsupported camera movement.\n  - subject_position_directive: For S90_Shot18, place the committed reclining subject associated with marker 17 on marker 13, with a relaxed three-quarter face and both gently closed eyes visible. Favor the face in the central-left and the body receding toward the upper-right insofar as the fixed table orientation and selected camera permit. Keep the observation direct and add no other subjects.\n  - state_cue_directive: clean_background_expected is false. Carry transient marker 17 as the assembled body supported by marker 13 after the committed assembly cut and time ellipsis. Use the staged dark setting with gentle tonal separation at the closed eyelids and facial contours. Marker 17 is scene state, not a permanent fixture or an inferred change to the fixed layout.\n  - negative_continuity_directive: Exclude ignored overlay markers 14, 15, and 16. Avoid transferring their appearance to marker 17. Do not relocate marker 13, widen coverage to unsupported portions of units 2, 3, or 5, or force opening 6 into this narrow view. Do not treat visibility supersets as confirmed opening connections.\n\n",
        "effective_render_prompt": "STYLE CONTRACT — an ordinary, modest, real place, exactly as the supplied plan, reference images and prose establish it. Treat the result as an actual reference photograph of that real place: everyday materials, believable wear, plain practical furnishings appropriate to the place's established type and use, natural daylight or simple ceiling lighting. Strictly avoid luxury, showroom, hotel-suite, boutique-design, high-end-retail, or magazine-staging styling. No marble surfaces, no chandeliers, no designer furniture, no polished decor displays, no curated styling props, no glossy magazine finish. When the supplied inputs establish a currently occupied dwelling, its rooms carry the ordinary, unstaged traces of the residents' daily life, accumulated naturally on surfaces and in corners — never a bare, just-moved-in or showroom-empty room — and which particular belongings show this is the image's own choice. Whenever the supplied inputs establish a different place type, occupancy state, age or condition, that established fact wins over every default in this entire style contract.\n\nUse the supplied base floor plan as the only visual reference. Render a fresh photoreal interior under the modest style contract. The base plan's numbered markers, labels, arrows and diagram graphics are planning aids ONLY — the rendered photograph must contain NONE of them: no numerals, no letters, no circles or arrows, no diagram lines of any kind anywhere in the image. Treat the markers purely as invisible spatial guidance.\n\nREFERENCE PLAN: mode='fp_seeded_anchor'\n  - reference: base floor plan (anchor)\n\nCAMERA DECISION (exact, from validated plan):\n  - camera_unit: 1\n  - camera_cell: [0, 0]\n  - look_at_unit: 4\n  - look_at_cell: [4, 8]\n  - lens_enum: 'telephoto'\n  - fov_deg: 25\n  - framing_notes: \"Use narrow, compressed coverage toward marker 13. Unit 4 is identified by the dossier's placement of marker 13, although it has no unit-cell record. The listed camera position supports a northwestern oblique view, not an exact head-end placement; do not invent a closer camera coordinate.\"\n\nRENDER GUIDANCE (from validated plan):\n  - visible_space_directive: Concentrate on marker 13 at [4, 8] in dossier unit 4, within unit 1. Show only the narrow portion of its top supporting marker 17 that fits the telephoto view from [0, 0]. Preserve marker 13's north-south long axis and northern head end. The visibility supersets do not establish additional visible units or opening adjacency.\n  - camera_framing_directive: Place the camera in unit 1 at [0, 0], looking toward unit 4 at [4, 8], with telephoto 25-degree narrow, compressed coverage. Within this discrete oblique view, favor the committed central-left face placement and upper-right body recession with a narrow margin of marker 13. Do not substitute an unlisted head-end camera cell or assert an unsupported camera movement.\n  - subject_position_directive: For S90_Shot18, place the committed reclining subject associated with marker 17 on marker 13, with a relaxed three-quarter face and both gently closed eyes visible. Favor the face in the central-left and the body receding toward the upper-right insofar as the fixed table orientation and selected camera permit. Keep the observation direct and add no other subjects.\n  - state_cue_directive: clean_background_expected is false. Carry transient marker 17 as the assembled body supported by marker 13 after the committed assembly cut and time ellipsis. Use the staged dark setting with gentle tonal separation at the closed eyelids and facial contours. Marker 17 is scene state, not a permanent fixture or an inferred change to the fixed layout.\n  - negative_continuity_directive: Exclude ignored overlay markers 14, 15, and 16. Avoid transferring their appearance to marker 17. Do not relocate marker 13, widen coverage to unsupported portions of units 2, 3, or 5, or force opening 6 into this narrow view. Do not treat visibility supersets as confirmed opening connections.\n\n2069년 대한민국의 연구시설 내부, 밤의 조용한 재조립 구역을 실제 카메라로 촬영한 다큐멘터리 풍 사진. 직사각형의 개방형 연구실 동쪽 구역이며, 공간 중앙의 수술대는 남북 방향으로 놓이고 머리 쪽 끝은 북쪽을 향한다. 바닥 평면도는 공간 구성과 수술대 위치를 파악하는 용도로만 참고한다. 실제 실내를 서서 바라보는 원근감으로 촬영한다.\n\n카메라는 수술대 남쪽 끝의 남서편에 두고 북동쪽으로 향하여 북쪽 머리 끝까지 비스듬히 바라본다. 촬영 높이는 약 1.7미터, 풀프레임 미러리스 카메라의 40밀리미터 렌즈를 사용한다. 수술대 전체와 주변 바닥, 연구실 동쪽 경계 벽이 함께 보이도록 여유 있게 구도를 잡는다. 수술대 상판은 비워 두며, 사람이나 얼굴, 신체 형태의 형상은 반사상까지 포함하여 묘사하지 않는다.\n\n미래의 시설이지만 현실의 국내 산업용 연구실처럼 실용적인 마감과 물리적으로 설득력 있는 구조를 유지한다. 수술대의 실제 금속 표면에는 미세한 사용 마모와 은은한 광택 차이가 있고, 콘크리트 바탕의 바닥과 도장 벽에는 오래 사용한 시설의 절제된 질감이 보인다. 밤의 실내 조명은 낮고 일정하며, 차가운 중성광이 수술대와 바닥에 부드럽게 퍼진다. 실제 광원의 자연스러운 반사와 그림자, 과장되지 않은 명암과 자연스러운 심도를 유지한다. 고요함은 비어 있는 공간과 안정적인 빛으로만 표현하며, 현실의 연구실을 벗어나지 않는다. 광고용으로 지나치게 말끔한 사진이나 컴퓨터 생성 이미지가 아닌, 현장에서 촬영한 장소 기록 사진의 사실성을 유지한다. 위에서 내려다본 구도나 건축 도면이 아닌 16:9 가로 비율, 실제 카메라 촬영본\n\nThis interior belongs to the same single real building/place as this location group's other spaces. Keep its construction era, age and state of repair, material quality and window/door frame styles consistent with ONE ordinary real building of the kind this prompt describes, and anything visible through its windows, doorways or passages must plausibly belong to that same building and its immediate surroundings.",
        "camera_decision": {
          "camera_unit": 1,
          "camera_cell": [
            0,
            0
          ],
          "look_at_unit": 4,
          "look_at_cell": [
            4,
            8
          ],
          "lens_enum": "telephoto",
          "fov_deg": 25,
          "framing_notes": "Use narrow, compressed coverage toward marker 13. Unit 4 is identified by the dossier's placement of marker 13, although it has no unit-cell record. The listed camera position supports a northwestern oblique view, not an exact head-end placement; do not invent a closer camera coordinate."
        },
        "shot_aware_plan_node_index": 0,
        "shot_aware_plan_mode": "fp_seeded_anchor",
        "render_guidance": {
          "visible_space_directive": "Concentrate on marker 13 at [4, 8] in dossier unit 4, within unit 1. Show only the narrow portion of its top supporting marker 17 that fits the telephoto view from [0, 0]. Preserve marker 13's north-south long axis and northern head end. The visibility supersets do not establish additional visible units or opening adjacency.",
          "camera_framing_directive": "Place the camera in unit 1 at [0, 0], looking toward unit 4 at [4, 8], with telephoto 25-degree narrow, compressed coverage. Within this discrete oblique view, favor the committed central-left face placement and upper-right body recession with a narrow margin of marker 13. Do not substitute an unlisted head-end camera cell or assert an unsupported camera movement.",
          "subject_position_directive": "For S90_Shot18, place the committed reclining subject associated with marker 17 on marker 13, with a relaxed three-quarter face and both gently closed eyes visible. Favor the face in the central-left and the body receding toward the upper-right insofar as the fixed table orientation and selected camera permit. Keep the observation direct and add no other subjects.",
          "state_cue_directive": "clean_background_expected is false. Carry transient marker 17 as the assembled body supported by marker 13 after the committed assembly cut and time ellipsis. Use the staged dark setting with gentle tonal separation at the closed eyelids and facial contours. Marker 17 is scene state, not a permanent fixture or an inferred change to the fixed layout.",
          "negative_continuity_directive": "Exclude ignored overlay markers 14, 15, and 16. Avoid transferring their appearance to marker 17. Do not relocate marker 13, widen coverage to unsupported portions of units 2, 3, or 5, or force opening 6 into this narrow view. Do not treat visibility supersets as confirmed opening connections."
        },
        "attached_reference_lineage": {
          "fp_id": "fp_l143_reassembly_laboratory",
          "prior_bg_ids": [],
          "attached_ref_labels": [
            "fp:fp_l143_reassembly_laboratory"
          ],
          "ref_used": "fp_only",
          "db_write_policy": "checkpoint_only"
        }
      }
    },
    "consumed_bg_catalog_hash": "d887f7025a38f225",
    "consumed_shot_binding_hash": "0fdd7e9664bad419",
    "bg_reference_catalog": [
      {
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